Elgar 1st Symphony - Movement 3 (Exposition + Development) Flashcards
How does the 2nd movement link into the 3rd and why?
It is lead to by tied F# minims in the 1st Violin and Viola into the D major tonality of the 3rd movement. We suspect that Elgar does this as the 1st subject of movement 3 can be seen to be a development of the scherzo theme from movement 2.
How is the 1st subject theme a development of the scherzo theme from the 2nd movement.
It has the same number of pitches as the scherzo theme, but varies in rhythm, texture and harmonisation.
How does Elgar embellish the texture for the Woodwind at figure 92?
The Bass Clarinet plays in homophony with the Cello to support it. The Bassoons enter in the 2nd bar, in a tenor register so quite high in their range. Cor Anglais plays in homophony with the String section to add power. There is a low Flute which also plays the counter melody, to enhance it.a
How does Elgar score the strings in the opening section of the exposition?
The front desks of the 2nd Violins, Violas and Cellos play the theme along with all of the 1st Violins. Both the Viola and Cello are playing high in their pitch, which builds intensity.
Describe the second phrase of the 1st subject melody in figure 93.
It begins with a decorated fall of a minor 7th in the 1st Violins. It then climbs mostly stepwise to an intense F#. The whole wind section join here for further intensity.
What do the Cor Anglais, Bassons, Fourth Horn, Second Violins and Violas play underneath the 1st subject theme in figure 93.
The scherzo theme.
What happens in the Strings and Bassoon towards the end of figure 93?
The mood diminishes as a pianissimo contrary motion idea unfolds.
Why is the Harp significant in the transition section? (Figure 94 - 96)
It plays block chords that ground the piece.
Describe the melodic passage that leads us into figure 95.
It’s a falling, mostly semiquaver idea that switches instrumentation from Flute and Clarinet to Flute and Oboe to Flute and Bassoon to Clarinet and Bassoon.
Describe the transition music in figure 95.
Made up mostly of quiet string chords. The wind splits into two groups, of the Flute, Clarinet and Horns… and the Cor Anglais and Trombones.
What happens to the tonality before figure 96.
A feeling of Em seems to be created, but then an F# minor feel is developed instead thanks to a C# in the Cellos. However, a bar before figure 96, a diminished 7th appears.
What tonality do we eventually return to for the second subject in figure 96.
We are in the dominant key, A,
Describe the features of the 2nd subject melody.
It features in all Violins and is made up of a rising sequence.
Describe the counter melody to the 2nd subject theme in figure 96.
It is played in Clarinet, Violas and a solo Cello - it is reminiscent of the motto theme.
What happens to the orchestration at figure 97?
It is reversed with the Violas and Cellos now playing the 2nd subject theme.
