/concertos and shost 5

Shostakovich Piano Concerto No.2 (2nd movement)

Q: Describe the opening texture and orchestration.

A: Starts monophonically with 1st violins in unison; inner strings join by bar 6 for homophonic chords; piano enters at bar 11 with triplet broken chords creating polyphony.

Q: How does the texture develop in bars 30-60?

A: Piano takes melodic lead with counterpoint against strings, thickening texture.

Q: What happens in bars 66 to end?

A: Woodwinds (horn, clarinet, flute) join with gentle, transparent colours; strings and winds fade for chamber-like texture.

Q: What is the tempo and rhythm like?

A: Andante (~84 bpm), slow lyrical flow; long note values, simple rhythms; piano adds flowing triplet semiquavers.

Q: Describe the melody.

A: Opening theme is cantabile, stepwise with expressive leaps (minor 6th), balanced 4-bar phrases. Piano theme in B section is decorated with grace notes, turns, wider intervals.

Q: What is the structure?

A: Ternary form ABA′ plus coda.

Q: What is the harmony and tonality?

A: E♭ major opening; modulates to closely related keys (G minor, C minor, A♭ major); diatonic with subtle chromaticism and modal hints; coda ends with gentle plagal inflection, no strong cadence.

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MacMillan Trumpet Concerto (1st movement)

Q: What is the overall structure?

A: Sonata form with clear 1st and contrasting 2nd subjects, development section (B), recapitulation (E), and coda (H).

Q: Describe the 1st and 2nd subjects.

A: Both share opening rising 4th and falling 3rd; 2nd subject contrasts in dynamics, articulation, rhythm, and accompaniment.

Q: What happens in section B (development)?

A: Repeating semiquavers form the basis; 2nd subject appears in parallel 6ths in 1st violins.

Q: What’s notable about the recapitulation and coda?

A: Recap at letter E, 2nd subject transposed; coda begins at H where development would usually start.

Q: What instrumentation is used?

A: Typical classical orchestra with strings accompanying trumpet soloist.

Q: What melodic and textural devices are present?

A: Sequence (descending and ascending), fanfare-like dotted rhythms, imitation between parts, counterpoint, arpeggiated figuration.

Q: How is harmony described?

A: Dissonant harmony contrasts neo-classical gestures; simultaneous cycles of fifths; polytonal moments (e.g., lower strings playing C♯ major while trumpet outlines B♭ major).

Q: What are some harmonic details?

A: Opening chord is quartal with adjacent semitones; trumpet motif suggests B♭ major; movement includes parallel 3rds and 6ths amid dissonance.

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Shostakovich Symphony No.5 (1st movement)

Q: What is the form and how does it deviate from classical sonata form?

A: Sonata form with departures; lacks classical tonal adherence, truncated recapitulation omitting opening themes, divided development with tempo changes, coda starts in the wrong key.

Q: How does it follow sonata form principles?

A: Has first and second subjects; main themes in D minor tonic; recap preceded by dominant preparation; 2nd subject in tonic major; development divided by tempo; recap omits early themes and is shortened.

Q: Describe harmony and tonality.

A: Centered in D minor but includes D, E, C, B minor keys (DSCH motif); 2nd subject in E and B minor; recap in tonic D minor with cadences; coda starts in E minor then returns to D minor.

Q: What are key melodic features?

A: Motifs a, b, and c open movement; first subject has rising minor 6th, quavers, and falling semis; 2nd subject rhythmically augments motif a; development starts with brutal piano three-note motif; figure 1 theme transformed into goosestep march rhythm.

Q: How is rhythm used?

A: Double dotted rhythm in motif a; galloping rhythm in development; 2nd subject rhythmically altered motif a.

Q: Describe texture and orchestration.

A: Contrapuntal with pedals; piano and brass play brutal motifs; goosestep march rhythm transferred to snare and xylophone abrasively; motif a returns in low strings near end; oboe theme accented fortissimo in recap; textures harsh and violent.

Q: What about the coda?

A: Begins with inverted figure 1 theme on low flute; includes parts of figure 5 and motif a; ends with rising chromatic scale on celesta.

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Harmony and Tonality Details

Q: What is the key center of Symphony No.5?

A: D minor, with deviations.

Q: How does the 1st subject explore harmony?

A: Visits keys D, E, C, B minor reflecting DSCH motif.

Q: Where is the 2nd subject found harmonically?

A: In E minor and B minor in exposition; tonic major in recap.

Q: What unusual harmonic feature occurs in the coda?

A: Starts in E minor (wrong key) then slips back to D minor.

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Rhythm and Melodic Motifs Summary

Q: What rhythmic motifs dominate the first movement of Symphony No.5?

A: Double dotted rhythm in motif a, galloping rhythms in development.

Q: What rhythmic changes happen to motif a?