Download Symphony no - Life Learning Cloud

`
SYMPHONY NO.40 - MOZART
1st movement (G minor)
Written in Sonata Form
(Exposition, Development and Recapitulation)
Bars 1-20
1st subject. (Part of the Exposition)
“The first subject, first subject, first subject
Is the theme of the opening few bars.
It is part of the exposition with
G minor the key at the heart”
1-5
Key of G Minor.
There is no introduction at the start of this movement. After just
three beats the 1st and 2nd violins play the 1st subject.
Piano is the dynamic which is rare for symphonies up to this
point in history.
The three note motif and stepwise descending pattern, of the first
subject, becomes used throughout the movement.
5-9
A sequence first heard in bars 1-4 is played a tone lower, again
by the violins.
Second half of the 1st subject.
Bars 14-16 the woodwind (flute, clarinet and bassoon) enter in
octaves, taking the tune from the strings.
Bar 16 strong woodwind chords with a dominant pedal.
Dominant is the 5th note of a scale. (D is the dominant in the key
of G minor.)
9-20
Bar 20-44
20-27
Bridge passage.
The first subject is repeated at the end of bar 20 but now moves
to the relative major key at bar 28.
B flat major is related to G minor because it contains
the same key signature. (B and E flats)
Bar 27-28 Perfect cadence (V-I) in B flat major.
28-44
Strong forte passage for full orchestra.
Horns enter for the first time.
In most of this section the bassoon doubles the string basses.
30-33
One bar descending staccato sequence in the violins.
(staccato=short and detached)
1
33-43
Bars 44-72
sf chords. ( sf=sforzando= very strong accent)
Bars 38-43 Dominant pedal ‘F’ played by the double basses.
(F is the 5the note of the B flat major scale)
Bars 33-38 are preparation for the move to the second subject.
Bar 43 Dramatic one bar rest
2nd subject (Part of the Exposition)
“Here it is ~
The second subject
With chro
ma
tic scales
for sadness and grief.
Then again ~
This time it’s changed around.
Woodwind play the tune the poor strings
once had.”
44-51
2nd subject is heard in the strings for the first eight bars.
Relaxed mood. Reduced instrumentation.
Chromatic scales are used to represent sadness and grief, first
heard in the strings bars 48-51. Clarinet and strings bar 56-57.
50-51
Bar 50-51 perfect cadence (V-I) in B flat major
Bar 51- one bar link before the second subject is repeated.
52-58
The theme first heard in the strings in bar 44 is now played by
the woodwind
Sequence (at the same pitch) is heard in bars 58-61.
This is followed by a rising chromatic bass line and crescendo
in bars 62-66.
(crescendo= gradually getting louder)
A new 6 bar idea is heard –
Chromatic ascending quavers in the strings in bars 66-67,
followed by a rhythmic sequence made up of detached crotchets
and semiquavers.
In bars 70-71 there is a descending B flat major scale played by
the flute bassoons and violins, which starts on a G and ends on B
flat in bar 72.
Bar 71-72 Perfect cadence (V-I) in B flat major.
This section is based on the opening three note motif of the
first subject.
A musical idea is passed from clarinet to bassoon.
2
58-66
66-72
Bars 73-100
73-88
88-100
Bars 101-104
Perfect cadence (V-I) in B flat major bars 79-80.
Homophonic texture where one part or melody is dominating.
Development The music throughout the development
is based entirely on the 1st subject.
101-114
Starts with a Gminor chord.
The first bars of the 1st subject are played four times.
Bassoons play descending chromatic chords starting at bars
107-114
114-138
Music reaches E minor. A staccato counter melody (new tune
which fits with another) is played with the theme.
Changes of keys are a big feature of the development.
E min – A min – D min – G min - C- F- B flat maj.
Dominant pedal ‘A’ in (D minor).
Texture reduced. Three note motif from 1st subject is passed
between the woodwind and strings.
Various pedal notes are used.
Bars 153-160- strong forte section based on the 3 note motif.
The bars leading to the recapitulation are quiet.
139-164
Bars 164-229
Recapitulation This section recaps the exposition but
is not a direct repeat.
164-184
1st subject back in tonic key G minor exactly the same as the
start.
184-227
Bridge Passage. Rather long extended Mozart develops other
thematic ideas, but is needed as it is part of the classical structure.
Theme split between upper and lower strings. Now have a quaver
counter bass melody
198-211
Theme now on violas, cellos and bassoons violins have counter
melody
2nd subject in tonic key of G minor like start shared with WW
and strings.
227-260
260-276
293-299
CODA
3 note motif from 1st Sub passed between Clarinet, Bassoon and
flute.
The final Tutti ( everyone )is homophonic.. keeps repeating series
of chords I and V in G minor
3