Untitled Flashcards Set

Overall form

Early Classical

·       1750 – Stamitz Op.3 No.2: Short symphony, standard 4 mvt pattern. 1^st mvt in old fashioned concerto form – early sonata form. 2^nd mvt in subdominant – common. 3^rd mvt minuet and trio, final a lively presto binary mvt that modulates to dominant and back

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: 4 mvts, clear thematic links between them all, important romantic idea of symphony moving towards a last mvt that culminates it all, middle mvts different in tone

Mendelssohn

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Romantic

·       1830 – Berlioz symphony fantastique: 5 programmatic mvts, explicit and bizarre, funeral march. He uses a recurring theme to tie all the mvts together. This is a new innovation

·       1854 – Liszt, Les preludes, no3: free in form. All in a single mvt.

·       1893 – Tchaikovsky, symphonie pathetique: mvts organised in a strange way. 2^nd mvt like a dance, 3^rd mvt scherzo that turns into triumphant march and 4^th mvt sombre and deperssing

1^st mvt/sonata

Early Classical

·       1750 – Stamitz Op.3 No.2: Somewhat like sonata form. Differences: Development not that different from exposition, just shows the whole themes in closely related keys. Recapitulation reverses order of subjects.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: sonata form expanded and dramaticised, problematic c sharp in bar 8 which is then resolved with modulations to d flat major, horn comes in a few bars before the recap (humour), development much longer than exposition in relation to haydn, coda very extended

Mendelssohn

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Romantic

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2^nd mvt

Early Classical

·       1750 – Stamitz Op.3 No.2: In loose rounded binary form. No repeats. In subdominant key – typical. Relaxed andante.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: funeral march, very different to the more andante movements, expanded ternary form,

Mendelssohn

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Romantic

·       1893 – Tchaikovsky, symphonie pathetique: like a waltz but in 5/4 time

3^rd mvt

Early Classical

·       1750 – Stamitz Op.3 No.2: 1^st and 2^nd violins play in unision throughout. Standard reduction of parts in trio, however relatively unusual independent woodwind parts. B section of rounded binary starts with new idea before A brings back opening material. Trio is short and has a similar feel to the minuet.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: scherzo, fast and lively,

Mendelssohn

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Romantic

·       1830 – Berlioz symphony fantastique: it is a waltz. The 2 harps at the beginning make it stand out. He then combines this with the idee fix with good results

·       1893 – Tchaikovsky, symphonie pathetique: begins like a scherzo – unusual as would expect a slow mvt, then a march idea comes out and it ends triumphantly

Final mvt

Early Classical

·       1765 - Haydn 31: variations followed by a presto section where material from the 1^st mvt comes back, including a good bit for horns

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: theme and variations, including a fugue, presto towards end

Mendelssohn

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Romantic

·       1893 – Tchaikovsky, symphonie pathetique: starts with adagio, then goes to heartfelt andante which makes you think itll finish triumphantly, but it moves back to b minor and ends in despar

Dev. of orchestra

Early Classical

·       1750 – Stamitz Op.3 No.2: Would have been played with a continuo keyboard. Orchestra is larger than the ‘Sinfonia a 8’ configuration with added trumpets and timps. Pioneering orchestration – for e.g in 2^nd movement the independent woodwind lines.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: no larger than previous classical orchestras however used in a much more forceful way

Mendelssohn

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Romantic

·       1830 – Berlioz symphony fantastique: massive for development of orchestra. Nearly 100 players. 4^th movt opens with timpani rolls and cello and double basses divided into 4 low parts. This is unlike anything that has ever happened before. 5^th mvt has violins and violas in 8 parts playing high tremolo to create the nightmarish effect. The high e flat clarinet is used, which has never been yet used, to create a distorted version of the idee fixe

Harmony + tonality

Early Classical

·       1750 – Stamitz Op.3 No.2: Simple and direct harmony. Pedals and primary chords. Tonic returns in development – sonata form not yet established.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: diatonic harmony then problematic c sharp in bar 8 which is then resolved with modulations to d flat major, interesting neopolitan chord

Mendelssohn

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Romantic

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Drama/progression

Early Classical

·       1750 – Stamitz Op.3 No.2: Dramatic opening of 1^st mvt. Mannheim hammerstroke followed by Mannheim crescendo. Also a Mannheim roller

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: dedication to napolean changed to a more generalized homage to heroism. Depicts struggles and triumphs of a heroic protagonist – typical of romantic

Mendelssohn

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Romantic

·       1893 – Tchaikovsky, symphonie pathetique: portrays a hero like the rest of romantic however this is more tragic and rather than a triumphant end it ends tragically

Melody/theme

Early Classical

·       1750 – Stamitz Op.3 No.2: Galant style, lots of motivic repetition. Last movement begins with a rising arpeggio – typical of galant style.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: short clear motifs, c sharp the interesting part

Mendelssohn

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Romantic

·       1830 – Berlioz symphony fantastique: the idee fixe is used throughout and gets distorted and changed throughout, from representing the artist’s beloved in the first mvt to hearing the beloved represented at a ball to the high e flat clarinet used

·       1854 – Liszt, Les preludes, no3: melodic motif used in many different ways to portray many different things. This development is an emotional one rather than narrative

Texture

Early Classical

·       1750 – Stamitz Op.3 No.2: Melody dominated homophony – especially in 2^nd mvt.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: last mvt has variations and a fugal texture

Mendelssohn

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Romantic

·       1893 – Tchaikovsky, symphonie pathetique: texture of final mvt strange as the melody swaps note by note across the 2 violin parts

Rythmn

Early Classical

·       1750 – Stamitz Op.3 No.2: Opening of 4st mvt has 4 bar idea followed by 8 bar Mannheim steamroller. 8 bar phrases are divided into 4 bar phrases that are repeated up the octave.

Haydn 104

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Beethoven

·       1804 – Beethoven Eroica: third mvt scherzo shows how much this has changed from the original minuet and trio

Mendelssohn

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Romantic

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