third movements of the symohony

— symphonies usually had three movements, following the Baroque concerto form of I: fast in tonic, II: slower in subdominant, III: fast in tonic

early

CPE Bach’s Symphony in Em is a ——— symphony which follows this structure, ending with an allegro finale in Em in 3/4.

sturm und drang

 CPE Bach’s Symphony in Em-It is in ——— form with a striking homorhythmic theme which starts with a trill, followed by dotted rhythms.This theme returns throughout the movement with ——episodes in between, providing a dramatic finale to this work.

ritornello, contrasting

Stamitz was a pioneer of the 4 movement symphony which added a minuet and trio to the fast outer movements and ——2nd movement and this became the Classical standard

slow

 A minuet was originally a courtly dance and then became one movement of ——— (a set of instrumental pieces in the same key, all based on dances).

baroque dance suites

Minuets are characterised by moderate tempo triple metre with—— punctuated with regular cadences This perfectly suited the popular Style Galant style of the early Classical period.

graceful and elegant balanced phrases

Minuets are in binary or rounded binary form with the A section/s starting in the——— and B section  in the dominant, sometimes with wider modulation  before returning to the tonic.

tonic major and modulating to the dominant key

The overall structure of the 3rd movement is ternary as the minuet would be followed by a trio which has the same triple time, ——- of the minuet but with reduced texture/instrumentation - this often means reduced or no—-

dance like qualities, brass and percussion

The trio is followed by the da capo minuet.  Trios also provided contrast in key, —- and character in comparison to the minuet. 

melody

Stamitz Symphony in D Op. 3 no. 2, an early 4 movement symphony, has a 3rd movement——with both sections  in binary form.

minuet and trio

Stamitz Symphony in D Op. 3 no. 2 The minuet is constructed in 2 bar patterns, creating three 4 bar phrases in the ——.  The trio has a reduced texture with no trumpets or timpani and a quieter dynamic.  Unusually for the period, horns and oboe play the melody in the trio, over very simple crotchet string and continuo accompaniment.

a section

The 3rd movement finale of Boulogne de Saint-Georges’ Symphony no. 1 is a lively, —- 6/8 sonata form movement with mostly quaver movement decorated by trills and acciaccaturas.

allegro assai

The 3rd movement finale of Boulogne de Saint-Georges’ Symphony no. 1At only 3.5 minutes including —— it is the shortest movement in the symphony and provides a light-hearted and energetic conclusion to the symphony, with a briefly darker minor key —- section.  

both repeats, development

Mozart’s Symphony no. 38 ‘Prague’ follows the convention of the — which was popular in Prague where the work was first performed All movements are in sonata form and the 3rd movement finale is a lively and boisterous 2/4 presto with two repeated sections.  as shown here

italian overture

mozart no 38 ‘prague’ has only 3 movements with no minuet and trio which was unusual for the -symphony.

mid classical

The flute features prominently in this work —- and there are —- exchanges between ww and strings and sudden contrasts in texture, instrumentation and dynamics

flute solos in 3rd movement , antiphonal

Haydn Symphony 104  3rd movement minuet theme consists of a 4 bar antecedent phrase finishing with an —cadence, followed by 4 bar consequent phrase finishing with a perfect cadence.

imperfect

Haydn Symphony 104  3rd movement The melody is characterised by a rising triad starting on an anacrusis and followed by - movement.

conjunct

haydn 104 There is a distinctive downward leap of a - at the end of the consequent phrase.

minor 7th

haynd 104 third moevment Haydn disguises the triple time by placing sforzando accents on the last beat of the first three bars and uses hemiola in bars -

20-26

 The Austrian Ländler dance, with its characteristic legato, running scalic quavers, provided inspiration for the trio which begins with a rising -followed by quaver movement

minor third

 As well as contrast in - and instrumentation, with no brass, timpani or clarinets

character

This necessitates a harmonically - link between Trio and Minuet to enable a return to D major.

sophisticated

 Haydn manages this challenging modulation in only 10 bars by expanding the minor 3rd motif chromatically over a -. This creates a German augmented 6th chord in bar 99, then the viola bass descends a semitone to an ‘A’ dominant pedal which prepares for the return of the minuet in D.  

viola tonic pedal

Beethoven replaced the very Classical sounding minuet and trio with the more —, a much livelier and energetic form which nevertheless retains the ternary structure: scherzo-trio-scherzo. Whilst many Scherzos are in triple time, they often feel like one-in-a-bar due to the fast tempo. 

romantic scherzo

Beethoven’s 1st symphony 3rd movement, is titled —-, but is ‘Allegro molto e vivace’ and has more the character of a 1-in-a-bar scherzo than an elegant minuet.  This movement uses motivic material (based on scales and triads) from the 1st movement. 

minuetto,boisterous

In his programmatic 6th symphony, Pastoral, the 3rd movement Scherzo is the middle of —-movements and represents peasants merrymaking, . This movement features oboe, clarinet and horn solos, representing the village instruments.

five

pastoral symphony Beethoven changes structural conventions as the trio is repeated — times, followed by a shortened Scherzo

three

This movement features oboe, clarinet and horn solos, representing the — instruments

village

  Towards the end the main motif from the 1st movement returns, an example of —form.

cyclic

The presto coda is abruptly cut-off on the dominant (C) chord as tremolo Db cellos and double basses represent — gathering.

stprm clouds