texture

stamitz op3 no2

• Galant writing is typically melody dominated homophony - clearly shown in 2nd movement

• 3rd movement trio written for just 3 parts originally 

• Mannheim orchestra , not many instruments added yet

CPE Bach E minor

• Unison moments used to contrast simple MDH, for instance the symphony opening.

• Used contrapuntal passages as well, furthering the complexity of texture in a baroque influence

Haydn 26

• Mainly MDH

• Begins to use octave doubling

• Pull back of instrumentation for contrast like bars 1-8 with only 2 parts

• Showcased tuttis

Haydn using texture for orchestral interest (96 and 45) (surprise and farewell)

• Melody moves through orchestra, strong ‘surprise tuttis’

• Farewell shows a gradual pull back and experimentation with smaller ensemble playing - leaves just a violin duet to end

Mozart No.40

• Movement 1 begins with accompaniment played by lower strings with divided violas, not with the first theme

• Clear melody and accompaniment, melody dominated homophony

• Contrapuntal texture in opening bars of movement 2

• Reduced instrumentation in movement 2

• The third movement uses imitation to build up to the cadences at the end of each section of Minuet

Mozart No.41

Last movement counterpoint where themes are brought back in fugue.

• Overlapping lines like string melodies with brass fanfares in movement one

• Subject two of movement one overlaps cellos and violins

• Trumpets mirror instruments to add textural weight - e.g unison triplet opening

Haydn 104

• Brings together traditional mannheim style and progressive ideas e.g mannheim pauses and countermelodies

• Movement one uses unison octave opening, violin 2 counter melodies of main theme

• No longer sparse, e.g frantic quaver passages (development ?) texture feels full

• Many tutti sections e.g bar 32 and throughout (96)

• Bar 163 has overlapping truncated sequence in antiphony

• Bar 201 uses distinct contrapuntal woodwind trio

• Movement 2 begins just strings, imitative of early mannheim style

• Later it moves to 4 part texture 

• Monophonic links on bar 70 of mvt 2

Beethoven No.5

• Strong antiphonal writing, counterpoint and fugue in the trio within the famous motif

• Fate motif at opening in unison of clarinet and strings

• Goes into homophony

• Motif becomes accompaniment in movement 4

Beethoven No.9

• Choir and soloists added new textural richness

• Triple fugue in movement one

• Showed specialities of individual parts

Berlioz Symphonie Fantastique

• Used contrasting and changing textures 

• Mvt1 = homophonic climax with varied idee fixe in ff

• Monophonic pp solo, solo woodwind and doubling e.g opening of movement one development

Mahler No 2

• Symphony of 1000

• Every player playing smth almost different

• Impressive soloistic moments 

• Thick and extremely detailed texture