Elgar 1st Symphony - Movement 1 (Development) Flashcards
Give a broad description of the structure of the development section.
An overall sense of structure is given by a simple arch shape that builds in texture, dynamics and intensity at around figure 27, before it subsides.
Describe the new melodic idea at figure 19.
A new melodic idea in the 1st Violins starts with a rising 5th. The Cellos make use of triplet crotchets which first appeared in figure 17. It gradually becomes more disjunct before figure 20 and a hush dynamic creates an eerie feel.
What happens to this theme in figure 20?
Same melodic idea, but more lavishly scored. But there is now an answering phrase in the Violas and Cellos.
What happens in figure 21?
It changes back to 6/4. There is a melody in the Clarinets that is taken from the transition section, played in 3rds. There is a Flute part reminiscent of figure 12.
What happens in figure 22?
A sense of a Bm tonality develops. Five bars into it - the Cellos, Horns and Timpani play a B pedal. Various themes from the transition are brought back here.
What happens in figure 23?
The transition theme from figure 11 is passed around the orchestra like Rowan’s mum. This theme is set against a rising chromatic passage in the strings. It surges forward to fortissimo.
What happens in figures 24 and 25?
The metre changes to 2/2. These passages are dominated by a new angular melodic shape. This melody combines a rising 5th from figure 19 and a rising 6th from the motto theme. The 2nd bar features an Elgarian falling 7th. Still a Bm tonality but very chromatic, a change of key signature seems to move it to Bb.
What happens at figure 26?
The whole orchestra joins in to build intensity. The Trombone, Timpani and Double Bass play a B pedal, but the tonality is very unstable at this point with lots of chromaticism, including falling chromatic lines in the melody. The 2nd and 4th beats are accented which makes the feel uneasy.
What happens at figure 27?
There is an upward leaping bassline which contrasts with tied minims in the Woodwind, this makes the music frenzied and polyphonic.
What happens at figure 28?
Timpani plays a dominant F# pedal. The 2nd subject theme is played in the Clarinet, Cor Anglais and Oboe. Now in a minor tonality with a stormy character. The 2nd subject is fragmented after this by the Brass section and played with the Flutes to create a canonic effect.
What happens at figure 29?
An angular idea from figure 24 returns augmented as minims rather than crotchets. There are extreme dynamics that follow the rise and fall of the melody. The Harpy plays a falling pattern, reminiscent of figure 16. Go back into 6/4 time for 4 bars. We then hear a solo Violin motif which includes the rising 6th from the motto theme.
What happens at figure 30?
Returns to 2/2. Similar to figure 29 but we see some transition material from figure 10. References to the motto theme in Clarinet, Bassoon and Cello. There are also ‘mottoesque’ staccato crotchets in the Bass.
What happens at figure 31?
Goes back to the theme presented at the start of the development, but with more compound rhythms. 4 bars before the recap, we hear the first development theme again in the Bass Clarinet. It is then taken up by the Cellos as they lead us into the recapitulation.
