Symphony Mvmt 1

Stamitz in D (I.D-3)

STRINGS, OBOES, HORNS, CONTINUO

-Very early sonata form -Homophonic -Presto -Strong tonic tutti chords open the movement in D major -Mannheim Rocket: A rapidly ascending melodic figure, often played by the strings -Mannheim Roller: A scalar passage that builds in intensity -Mannheim Sigh: A descending two-note figure with an expressive quality -Terraced dynamics -Syncopation in strings -Very string heavy/ led

Haydn 26 lamentatione

+BASSOON (part of continuo, doubles bassline– no independent part)

-Sonata form:  Plainsong melody in second subject Some scholars consider it to be programmatic as they believe it illustrates the Passion of Christ -Sturm und Drang -D minor -Allegro -Syncopation -String led

Haydn 45 farewell

-The symphony is written in protest for the musicians of prince Esterhazy who would not allow the musicians to go home to see their families  

-Fsharp minor (unusual and horns needed special half-step slides) -First subject material mainly built on descending minor arpeggios -Mostly homophonic  -Functional harmony and terraced dynamics

Mozart 40

+flutes

+clarinets Bb

+bassoon has independent line

-Sonata Form  -Sturm und Drang  - Gminor with modulations to relative major (Bmajor)  -Terraced dynamics  -Primarily homophonic but has some counterpoint in the development section  -Very typical of early classical symphonies: string dominated with functional harmony and terraced dynamics

Haydn 104

+timpani

-Sonata form 

-D major 

- Allegro after slow introduction 

- LOTS of timpani and timpani rolls 

- Major Key moves away from the previously popular sturm und drang 

-Modulates to the dominant key in S2, typical of a major home key 

-Slow introduction is, however, in D minor and UNISON 

-After this it is mostly homophonic 

• MONOTHEMATIC Sonata form BUT 2^nd subject is the same as 1^st but in A major

-dim7 b11

-neapolitan 6th b14

Intro- 1-16

Expo- 17-123

Devel- 124-192

Recap- 193-276

Coda- 277- 294

Beethoven 5

-C minor  -Sonata form   -First Subject is the “fate” motif, fate knocking at the door  -Lots of imitative counterpoint using first subject  -Mostly homophonic  -Very big and sudden contrasts between sections eg fortissimo opening first subject and piano antiphony amongst strings following  - Lots of accents

Beethoven 9

Ode To Joy

-D minor  -Allegro ma non troppo  -Extreme dynamic contrasts -Sonata form  -The Dminor first movement creates an overall cyclical symphonic structure as the final movement is in Dmajor. This also depicts heroic triumph as the first movement mostly depicts chaos and destruction whilst the final movement is euphoric, especially with its choral writing  -Extreme pianississimo opening  -Instead of an introduction, it opens with a 5th drone A+E in strings making the tonality ambiguous in the opening bars. D minor descending scale in strings foreshadows the first subject and makes the symphony feel as though it is emerging from chaos  -The coda is over 100 bars long and builds from a soft beginning generating intensity and creating suspense

Berlioz Symphonie Fantastique

-Cminor introduction then Cmajor after  -Allegro after introduction -Introduction is in Cminor before the Idee Fixe enters in Cmajor at bar 72 AMBIGUOUS TONALITY  -Movement represents Berlioz’ romantic obsession with the reoccurring idee fixe  -Slow and long introduction—71 bars  -Modified sonata form: Long introduction serves as a more psychological/ narrative tool than a strictly musical one.   Idee fixe replaces the first subject and is heard in otherwise unexpected places. 2nd subject feels more like an extension of the first subject but does modulate to dominant major (G) as expected  -PROGRAMMATIC

Mendelssohn 4

NEED BAR NUMBERS

-A major 

- Sonata form 

- Allegro vivace 

- 2^nd Subject in dominant major, E 

- Thematic fragmentation in development

 -The coda extends the first subject, acting like a second development with a crescendo to a triumphant recapitulation end NO TERRACED DYNAMICS 

- 6/8 is unusual as previously 1^st movements were normally 2/4 or 4/4 

- 1^st subject is bold and energetic whilst 2^nd subject is more graceful