__Haydn, Symphony 100__Larger instrumentation - Flutes, Timpani, trombone introducedUpper woodwinds take lead in the melody (Flute leads, Oboe harmonises) 3 part homophonic texture with no other accompanimentUses lots of general pauses (ex. Start of Development section, marks significant change in Key, Dynamics and Texture {to Bb, flattened submediant, to Piano and Pizz.}) which is very typical of Haydn’s music used to break up the music, give it room to breathe, for dramatic effect etc.

__Haydn, Symphony no. 104__TEXTURE~ begins in homorhythmic unison tutti (Multiple Octaves)
~ homophonic at the beginning- strings and bassoon~ antiphonal at bar 3~ General pause found in bar 16 (reinforces point in Haydn 100)~ bar 13 texture is antiphonal~ Comparable to Haydn 100 - Upper Woodwinds take melody at recap of s2 (mvt 1 b.201) has a 3 part Homophonic texture in winds, and link passage of second movement (b. 114) 4 part Homophonic texture in winds

__Beethoven, Symphony no. 9__The famous horn solo from bars 83-99 of the 3rd movement is a great example of the growing importance of brass instruments at this time. There is a belief that this could have been one of the earliest examples of a valve horn being used in symphonic music and may well be the very first valve horn solo.Rest of the texture at this point is homophonic but slightly more individually dressed (ex. The strings have some more rhythmic interest where the pitches of the harmony is passed between the strings)Choir introduced in finale movementFugal parts are also featured in the finale

__Berlioz, Symphonie Fantastique__Berlioz was a very innovative composer who was known to make these really big and dramatic musical gestures and he was often doing his own thing instead of harking back to other composers.The end of the 3rd movement features the astonishing effect of 4 timpani being used to produce chords (sounding very muddy due to the register in which they are playing), with the bizarre texture being completed by a solo cor anglais. Likely to be the first instance this innovation has been seen.This continues into the 4th movement where the Double Basses play 4-part G minor chords, whilst the timpani play 2-part chords (G & Bb) to an ominous triplet rhythm, with the double basses playing incredibly low, adding more of an ominous muddy sound.The atmospheric opening to the witches’ sabbath finale sees the strings divided into 10 parts (p. 97)Monophony at the end of the 4th movement.Examples of monophonic texture, melody-dominated homophony & homophonic chordal texture.

Mendelssohn, Symphony no. 4~ Mendelssohn was a composer that we tend to associate more as a development of the classical period, with his roots being much closer to composers like Beethoven and HaydnAntiphonal oscillating quavers at bar 68 with all of the wind pitted against all of the strings. Additionally, a rhythmically augmented development of motif X~ Development, s3 introduced in bar 225 is contrapuntal as it is a Fugato (based on a fugue). It features a Fugal subject that appears and develops across the orchestration. This call back to the romantic era - in particular Bach’s music - revivified Bach’s music to new audiences of the time~ Important to note Mendelssohn was a very big fan of Bach and would write music upon his death to remember him by.~ Bar 251 antiphony and stretto- melodic ideas cut off because of overlap~ Bar 297 in tutti~ Start of the 2nd movement has homorhythmic unison tutti opening (Multiple Octaves), it explored more interesting ways to double the melody line at bar 4, with the melody being in octaves across the Oboe, Bassoon and Viola.~ Basses and cellos now have separate parts

__Liszt, Faust Symphony__The 3rd movement (Mephistopheles) creates a fugue out of distorted versions of each character’s themes. Another example of this thematic transformation comes at fig. H of the 3rd movement (p.111), where the lower strings play a ‘mocking’ version of Faust’s 2nd theme.

__Smetana, Ma Vlast__Follows different parts of the river throughout its journey through Bohemia~ Begins with unusual focus on interlocking and overlapping flute melodies to represent the flow of the river, gives the music a programmatic feel-> polyphony within an otherwise homophonic texture created from these flute parts showing further influence of Bach and the Romantic period~ answering phrases

Tchaikovsky, Symphony no. 6 A little later in the exposition it is set in compound 12/8, so whilst the theme itself remains unchanged (in 4/4), the accompaniment is in triplets (essentially 4/4 pitted against 12/8)~ Melody-dominated homophony~ It had become quite fashionable to create drama in music by gradually building up the texture, initially a thin texture with melody in bassoon and accompaniment in double basses (right at the lower end of the register so he will build it from the bottom up)

__Mahler, Symphony no. 2__10 horns, 10 trumpets, 4 trombones and a tubatimpani , church bells, an organ, 2 harps, soprano and alto soloists mixed chorus‘The largest possible contingent of strings’

Symphony in Eb Opus no. 11 Stamitz

Used the basis of the Italian Overture (Fast, slow, fast) and added the Minuet and TrioSignificantly shorter than the later music, being a total of 30 minutes long.Uses 4 movement which is favoured by mannheimLack of transition between S1 and S2 (both short)Harpsichord usually played by conductor plays the basso continuo, leftover from the contrapuntal sounds of the baroque period as it was used to keep the harmonic foundatonsFor the second movement Stamitz exclusively uses strings and harpsichord in a 2/4 metre. This movement is very conventional for second movements, being an andantino tempo.It is in the key of Bb major (the V). At this time it was very typical for movements to be in closely related keys (usually I, IV & V)

Lamatainatione symphony 26 Haydn

Uses 3 movement structure, ends on the minuet and trio, this was the favoured format of baroque compositions, influenced by the Sonata de Chiesa & takes its roots in the French OvertureTwo different types of music in the Baroque period, Sonata da Camera (For Chamber) and Sonata da Chiesa (For Church), where the Sonata da Chiesa would be for more ‘serious’ compositions. Sturm und Drang - Haydn’s first symphony in a minor key

Symphony 104

Features slow introduction (Dm → D)4 movement structureTextbook allegro-sonata formSonata form bar numbers Intro 1-16Exposition 17-123 (S1=17-49 Tr=50-64 S2=65-98 Codetta=99-123)124, start of development, ends 192 beat 1Recap. Of S1 (& section) bar 193Recap. Of transition bar 208Recap. Of S2 bar 247Recap. Of S2b 257Recap. Of codetta bar 267Coda 277Movement 2 - three part (opening 1 - 37, mid-section 38 - 70, final 74 - 140 + Coda 141 - 152) but we wouldn’t call it Ternary as the third section is almost half of the movement and it makes use of Theme and Variation.Starts in GFlute Cadenza at bar 114 just woodwind, now in Db, enharmonic change to C# which takes us back into G in a matter of only a few barsMovement 3 - Minuet (A section 1 - 16, B Section 17 - 26, C section 27-34, A1 35 - 42, Codetta 43 -52) and Trio (A: 53 -64, B: 65 - 78, C: 71- 93, Link: 94 - 104) Both are in rounded binary form.Different types of phrase structure regular in minuet & irregular in TrioTrio - three wind accompanied by stringsMovement 4 Sonata Form - back in Tonic KeyExposition (1 - 117)Development (118 - 194)Recapitulation (195 - 264)Coda (265 - 334)This symphony is monothematicDevelopment end with a dominant pedal in the key of F# minor then moves to a C#7 chord which then goes to cadence on D, forming an interrupted cadence.

Beethoven 6 (Pastoral)

5 Movements, this music is programmatic and each movement has their own subtitle, because the symphony is programmatic.Awakening of cheerful feelings upon arrival in the countrysideScene by the brookMerry gathering of the country peopleThe stormHappy, grateful feelings after the stormThe slow movement is also in sonata form, a siciliana (linked with peasant dances) and it is in 12/8. We can see the growing importance of wind instruments, as beethoven uses the bassoon to play the 3rd theme (a non-solo instrument of this time)Instruments represent certain birds, Flute represent Nightingales, Clarinets represent Cuckoos and Oboes represent QuailsReplaces minuet with the more playful scherzo, much more demanding than the minuet4th movement has no structure (Symphonic Poem)Cellos and basses play 5s against 4s (quintuplets against semiquavers), very unusual

Beethoven 9 (Choral)

4 movements, 2 and 3 swapped so the scherzo and trio come before the slow movement. Almost like its setting the scene for the finale as it calms the mood down. This was a creative change to try to make the finale feel a lot more dramatic.Considered almost unplayable at the time due to the sheer difficultyThe fourth movement is very long, being as long as stamitz’s entire symphonyAll the themes from the previous movements are brought back (Quasi Recitative) at the beginning of the movement in reverse order, after each is played the basses play essentially rejecting the melodies until we reach the main theme of this movement, the ‘Ode to Joy’. This was incredibly unique as it had almost never been done before.Unusual as basses introduce the Ode to Joy themeTwo Double Fugues appear within this movement, again totally uniqueChorus + Soloists appear in the final movement as wellThe second movement has a double theme and variation structure, with themes A and B alternating, this shows us how the structure of the second movement has developed (as well as showing there is no set structure for this movement)

Symphonie Fantastique - Berlioz

Uses a 5 movement structureIt is programme music that is based around a story that Berlioz wrote. Cyclic Form- has the recurring Ideé fixe (explain how it is treated in each movement)First movement in sonata form, begins with the traditional slow introduction, however in comparison to many of the earlier symphonies Berlioz has a much more fluid tempo.The 3rd movement ‘a scene in the fields’ would be considered the slow movement - again unusual due to the placement of this movement. Heavily features use of woodwind - growing importance.This movement ends with a cor anglais and timpani playing this muddy sounding chord, preparing us for the ‘March to the gallows, arguably the turning point of the symphony where it suddenly becomes really dark.

Mendelssohn no. 4

In the classical structure of 4 movement The second movement has a modified sonata form structure where it doesn't have a development ( A [b.1-44] B [b.45-56] A1 [b.57-74] B1 [75-85] coda [86-end]) - fairly typical of the romantic periodOpening is in octaves which then moves into 2 parts with the bass in octaves The narrative behind the 2nd movement, where he watches a pilgrimage. And it is quite modal, as it makes use of the lowered 7th, and it also has a hymn-like D minor theme A (Bar 11).Theme A is a conventional 8 bar phrase with the first 4 bars ending on the dominant and the latter 4 ending on the tonic (very conventional)Theme B in A major with no key change (unusual considering we start in Dm, we’d expect to move to the parallel major)The overall structure of these piece can be understood as what is sometimes called ‘slow movement’ sonata form – there are two ideas outlined in an exposition that are then repeated with some modifications as a recapitulation with no formal development in betweenModified sonata form - A section comes back reorchestrated and in the dominant minor (Am) and the B section is in the Tonic (D) - with brief tonicisation of the following keys – B minor (bar 77), A major (bar 78), G major (bar 79), E minor (bar 80). Returning to the tonic around bar 82More in the classical style as compared to Berlioz (who was a much more progressive composer)Mvt.1 is a development of sonata form as it has a 1st development section (b.210-284) then a false recap. (b.285-296) followed by a 2nd development section (b.297-368). It also has a 3rd development section (b.456-510) right before the coda (510 - 586).Fugal section (Bach Influences) seen in Mvt.1 (b.231) in the first development section

Faust Symphony - Liszt

Uses a 3 movement structureThe first movement is in sonata formThe second movement is in 3-part form, and is based on the character of gretchen (Faust love) and liszt uses the 2nd slow movement for programmatic reasons as he uses this music to show a more loving side of the storyUnclear during the opening as to whether or not we are in Ab or Fm (ambiguous as we reach an imperfect cadence in Ab, but after that we have a few E naturals appear suggesting Fm but it eventually settle on Ab). Appoggiatura in clarinets during the Eb7 chordMain theme of the 2nd movement comes in with the Oboe supported by solo viola (unusual pairing). Mostly diatonic accompanied by chromatic chordsNot as harmonically challenging as the 1st movementThe third movement is a scherzo in 3 part form with extra development section and codaFeatures a Fugue featuring all 9 themes distorting all of themCyclic form

Resurrection - Mahler

5 MovementsFinal movement has choral featureCyclic form - ‘Cry of despair’ heard in 3rd and start of 5th movementMuch longer than earlier music, lasting between 80 - 90 minutesThe second movement recalled a happy moment in the life of the departed, plus a melancholy recollection of Mahler's youth and lost innocence. It consists of two themes that are varied each time they return. The middle section picks up the tempo and is a delicate duet for flute and harp (unusual pairing).Fairly fluid with its tempo (speeds up)3rd Movement (Scherzo) clearly in Cm with running semiquaver theme (Moto Perpetuo) in violins then later clarinetsFeatures the ‘Cry of Despair’ (fff dissonant Bbm/C chord) which follows a passage where the music seems to melodically repeat and circle almost pointlessly round and round).Seeds of atonality seen around the Cry of despair as the bar before it is total chromaticism and there’s lots of chromaticism before it but Cm is still very much suggested.Cry of despair reappears at the start of the 5th movement which then moves onto the resurrection theme (in woodwinds) which unifies the final movement.

Also Sprach Zarathustra - Richard Strauss

Set of symphonic poems that are in 9 sections:"Einleitung, oder Sonnenaufgang" (Introduction, or Sunrise)"Von den Hinterweltlern" (Of the Backworldsmen)"Von der großen Sehnsucht" (Of the Great Longing)"Von den Freuden und Leidenschaften" (Of Joys and Passions)"Das Grablied" (The Song of the Grave)"Von der Wissenschaft" (Of Science and Learning)"Der Genesende" (The Convalescent)"Das Tanzlied" (The Dance Song)"Nachtwandlerlied" (Song of the Night Wanderer)These poems do not have a gap between each movement and just flow through.The end of the final section we see a kind of ambiguity between C and B (C E F# juxtaposed with a B major chord) that never truly resolves (some kind of Neapolitan Cadence B-C [I-bII?]).The F# and C E makes use of that tritone relationship between a C major chord and F#.Features no slow movement

Haydn 26

Literary influences, example Sturm and Drang, ‘Storm and Stress’ (Minor Key, syncopation, Mannheim Sighs [plenty in 2nd movement])

Mozart 40

The second movement is in the style of a Siciliana which is a dance with lilting rhythms originating from Sicily– Italy.Musical elements include a slow 6/8. Sturm und Drang influence - minor tonality, driving moto perpetuo rhythms in accompaniment.

Haydn 104

Melody influenced by Austrian and Croatian folk music, gypsy music and Hungarian tunes – and wrote original melodies in the same style, able to transform them and take them to a new levelDiatonic with short phrase lengths - square shapeNew symphonic composers no longer wrote just for the court or church, or were exclusively employed by these institutions; now they wrote for concert-going audiences. Haydn was one composer who finally came to terms with this aspect and was successful.Conventional phrase lengths, antecedent and consequence.

Beethoven 6

-”pastoral” - do to with the countryside-Countryside feel to the whole piece-Programme music-Storyline to it-Influenced by external factors such as nature and animals-Made for entertainment- Very diatonic- The repetition of the short motif which comes back fairly unchanged helps invoke this sense of countryside-Harmony is very simple - first 50 or so bars in the first movement is pretty much all based around chords 5 and 1-‘The Storm’ Movement highly contrasting to the first (more chromatic, blurred phrasing, unstable rhythms (5 against 4s in cellos & basses)

Beethoven 9

- The Ninth Symphony symbolises powerfully the struggle through night into light, of progress against reaction, to which Beethoven dedicated his whole life and work. It is often expressed in a struggle between a dark minor key and a brilliant affirmative major key.- Beethoven started work on a tenth symphony but it was not completed before his death in 1827, leaving the Ninth to stand as a symbol of his achievements in bringing together people to extol the virtues of universal friendship.- In his new book The Ninth: Beethoven and the World in 1824, Sachs circumspectly, and persuasively, describes Beethoven's only vocal symphony as a statement of freedom in the repressive political environment of Europe after the Congress of Vienna.-Return of all the themes in 4th movement before ‘Ode to Joy’ Theme (Quasi Recitative)-First movement begins in minor key (Dm), ends in B major (moves from light to dark)The size of the orchestra was unprecedented

Berlioz

-Another programmatic symphony detailing stories of love, despair and suicide. March to the gallows movement is a march-like movement where the strings act as cheers for the people on their way. Dies Irae theme in the final movement (witches sabbath) as a dark funeral theme.-Idée Fixe, one of the first examples of it being used, first appears in Flute in mvt , representing ‘the beloved’ (based on Harriet Smithson), appears in every movement becoming very grotesque by the last movement (on Eb Clarinet). Now a square 8 bar melody instead of a flowing theme-Final movement is played like a jig/dance - linked to Smithson’s role as an actor?

Mendelssohn - Italian Symphony

The 2nd movement was based on his witness of a procession in Rome with a walking bass and Czech pilgrim song melody. Modal inflections (flat seven, C natural in D minor. The 4th movement is based on a saltarello dance but has a third theme that is influenced by a tarantella which is a fast dance associated with being bitten by a spider. The drones at the beginning support the folk-like feel.

Liszt Faust Symphony -

Story telling (programme) each character (bar Mephisto) has a dedicated movement with multiple themes. At the end all the motifs play a distorted version of themselves (cyclic structures).- Faust’s theme is made up of Augmented triads representing his thirst for knowledge, very peculiar as it could be argued it is bordering on atonality.

Smetana Ma Vlast

Used different musical techniques to paint pictures of his homeland e.g. oscillating semiquavers to represent flowing rivers.

Dvorjak

-Inspired by folk tunes when writing about America after travelling there. Used Czech ideas such as pentatonic scales (mvt. 2), heavily syncopated rhythms.-Features use of Aeolian Mode (minor with b7)-Cyclical Form-Hints of swing low sweet chariot in there

Mahler 2

Movement takes us through different questions and themes of life eg its pointlessness in the circling quavers in movement three, Urlicht (primal light). Cry of despair!

Also Sprach Zarathustra

Pentatonic melodies with a flat 7. Symphonic poem which works on the idea of nature vs man (nature is c major man is bm)-Viennese Waltz in Section B-Ending has a very unresolved ending as it alternates between a C E F# chord moving to a B major chord