Marriage of Figaro- Overture

How does Mozart create drama in the overture?

The overture is in Abridged sonata form so the piece is without the development.

Exposition (bar 1-34)

In the tonic of D major
Starts off pianissimo so most people wouldn’t be able to hear and then from piano to fortissimo- contrast with dynamics create drama
First idea of the exposition is in octave unison
Motif a appears in bar one and is sequences in bar 3 in the dominant (A)
In bar 8, The conjunct descending motion is immediately contrasted by the rising apogeic movement which creates drama
The Tonic pedal note establishes the key and is played by the cello, violas and timpani
There is a perfect cadence into the repetition at bar 18
Bar 19 starts the countermelody which develops the harmony and creates drama as there’s more than one melodic line
Increasing harmonic rate from 1 chord per bar to 2 chords per bar which creates anticipation

Bridge/transition (bar 35-58)

Modulates from tonic (D) to dominant (A) which creates interest and some interest
Melody in violin 1 sequenced a tone up
Alternates between G major and D major which creates contrast from the usual tonic and dominant harmony
Ends in an imperfect Cadence

Second subject (39-107)

Now in A major
Diminished secondary dominant which creates tension
Motif B appears in bar 59- dotted minim and two quavers
Texture- contrary motion in the upper 3 part strings
Melody is conjunct
Rhythm- constant quavers create a driving feel accompanied by the fp dynamics
Bar 62 have motif b inverted as the second note goes up instead of down
motif c appears at 65 with an arch shape moving conjunct in parallel thirds
Imitation between flute and oboe in bar 73-74
Third idea consists of a chromatic ascending motif from tonic to dominant at bar 86
appoggiatura at bar 87 from an F# to E
Bar 91 has a flattened submediant chord: F (bVI)
Oboe and strings have contrary motion
Flute and oboe have two note answering phrase
Piano dynamics with just the strings which contrasts the large timbre used before when all instruments were playing
Comical bassoon line in bar 102 which is chromatic- this creates contrast to the diatonic melody lines

Codetta (108-138)

Style gallant means 4 bar regular phrase. This is used in the codetta
Triadic and diatonic melodic movement
Homophonic
Melody line id doubled in octave unison in the violin and bassoon
8 bar repeat
in bar 118 the oboe plays a countermelody
Rising and ascending in pitch using sequences which helps build dynamics
Bar 113 has the only timpani roll in the overture which creates drama and contrast
it also has rhythmic variation and has a heavy build up which contrast the violins playing thirds after the modulation
Modulates back to the tonic at bar 135

Recapitulation (bar 139- 135)

Bar 158 there are modulations via the dominant and suspensions
Modulations: D to G to Em to D
Modulations happen through A4-3, G9-8, B76-5, Em9-8 and D9-8
Repetition of final 8 bars of transition
dominant pedal note (A)
Alternates between Tonic and Dominant harmony
Motif C appears in 178 which is then sequences in the flutes a 4th above
Leaping disjunct octaves create drama as we’ve had conjunct motif C
The rising scaling idea is doubled in the viola and cello but a fourth interval difference
Quavers more staccato which creates contrast in te more legato melodic ideas seen before
tonic pedal note in bar 232

Coda (bar 136-