Essay - 2nd mvts/slow mvts

Question 1

2nd mvts - Stamitz Symphony Op 3 No 2

Answer 1

• Beethoven expanded symphony structurally. Used longer intros, longer development sections, long codas that include more development (e.g. Symphony 5 and 9)
• 1st movement is in sonata form and has repeated exposition (traditional)

Question 2

2nd mvts - Haydn Symphony 2

Answer 2

• Haydn’s 2nd symphony also has a slow second mv and is in ternary form.
• The key changes from C to G + has a minor section from bar 41 to 54 which returns to major at bar 55.
• The wind instruments are taken out and the violins play the entirety in semiquavers which is a kind of perpetuum mobile with the pattern frequently broken using trills.
• The violas in this movement double the bass part throughout at an octave above which is called col basso, which was common in the period.
• Also, the first and second violins are the same in the second mv.
• One of his shortest symphonies with performances generally lasting less than ten minutes, so the second movement was significantly shorter than most second movements at only about 3 minutes long.

Question 3

2nd mvts - Haydn 104

Answer 3

• Rounded binary form, modulates frequently
• Starts just strings, from bar 17 bassoons double violin 1 melody (innovative to put bassoon on melody)
• Melody is played in the minor on woodwind (bar 38-42)
• Tutti orchestra (bar 87-89)
• Bar of monophony (bar 132) for flute cadenza
• Double dotted quaver motif, antecedent consequent phrasing
• Dotted rhythm variation of phrase ‘a’ in the recap

Question 4

2nd mvts - Beethoven 3

Answer 4

• 2nd mv is a very slow sombre funeral march → very different in tone compared to some more typical 2nd movements in andante due to its thematic solemnity.
• Mv about 14-18 mins long which is significantly longer than earlier second movements because as symphonies developed, they became a lot longer over time.
• In an expanded version of ternary form with a lot of development throughout
• The opening A-section in C minor begins with the march theme in the strings, then in the woodwind instruments.
• A second theme in the relative major returns quickly to a minor tonality, and these materials are developed throughout the rest of the section.
• This introduces a brief B-section inC major.
• The coda begins with a marching motif in the strings which was heard earlier in the major section, and it eventually ends with a final softer section of the main theme.

Question 5

2nd mvts - Beethoven 9

Answer 5

• 2nd and 3rd mv swapped - 2nd mv is scherzo trio and 3rd mv is andante

Question 6

2nd mvts - Mendelssohn Symphony 4

Answer 6

• Mv 2 is called Pilgrims March and is similar to Beethoven’s 3rd symphony’s funeral march and Berlioz’s Pilgrim march since it has that solemn, serious feel to it and is programmatic.
• It is in the subdominant minor and has flattened sevenths (c natural) which gives it a modal vibe.
• There is a distinctive auxiliary note introductory idea and it’s interesting rhythm is used in transition and coda.
• It is in ‘slow movement’ sonata form.
• It has 2 ideas outlines in an exposition, then repeated with some sort of modification as a recapitulation with no formal development section.
• Ends with a diminuendo and a dramatic reduction in orchestration until it is left with PP basses and cellos in the last 4 bars.

Question 7

2nd mvts - Berlioz Symphonie Fantastique

Answer 7

• Has a very eerie, dramatic beginning → starts with only string instruments with the violins playing tremolo.
• Is the equivalent of the minuet/scherzo that is usually seen in the third movement which represents awaltz in 3/8.
• It begins with a mysterious introduction that creates an exciting atmosphere and is followed by a passage dominated by two harps.
• This movement is the only one to feature the two harps.
• There is also a short oboe solo section.
• The movement starts in minor and ends in major which makes the end of it to sound like a finale.

Question 8

2nd mvts - Brahms Symphony 4

Answer 8

• Mv 2 begins in unison → is in a modified sonata from containing an exposition and recapitulation but no development.
• The recapitulation is quite similar to the structure of the exposition → goes though many keys, starts with a theme in E Phrygian created by the flattened 7ths - makes the piece sound modal but key is E major.
• Mv then transitions into the key of E major, then to B major which is dominated by the woodwind section, the back to E major for the recapitulation, and finally back to the E Phrygian mode for the coda where there is a frequent use of arpeggios.

Question 9

2nd mvts - Tchaikovsky Symphony 6

Answer 9

• Tchaikovsky’s 6th symphony’s 2nd mv is in D major and is very lyrical (typical of 2nd mvs).
• In ternary form and written as a waltz, similarly to Berlioz’s 1st symphony.
• Irregular time signature of 5/4 (seen as unusual and innovative).
• Because of this, it was described as a ‘limping waltz’ since a normal waltz is usually in 3/4 so adding 2 more beats makes it more complicated to dance to.
• The beginning of the movement contrasts with the much darker B section which is in the tonic minor. Another reason why this movement is unusual as a second movement is due to the tempo marking which is Allegro con grazia since most second movements are in andante and are much slower than the 1st movement. At the end there is a graceful coda which leads to a quiet ending.

Question 10

2nd mvts - Dvorak 9

Answer 10

• Overall ternary form
• Slow chromatic intro followed by melody on solo cor anglais - first seen in Symphonie Fantastique
• Melody very simple for the era and uses pentatonic scale
• Refuses to follow romantic tradition of long chromatic melodies, favours folk inspired simplicity
• Faster contrasting middle section features woodwind solos reminiscient of nature like Beethoven 6.

Question 11

2nd mvts - Mahler Symphony 1

Answer 11

• Mahler’s 1st symphony 2nd mv is a modified minuet and trio.
• Mahler replaces the minuet with aländler which is a 3/4 dance-form that came from theViennese waltz.
• This structure is frequently used in Mahler’s other symphonies.
• One main theme repeats throughout the Ländler, and gathers energy towards a hectic finish.
• The main melody outlines an A major chord.
• The ländler returns, and is shortened and heavily orchestrated to close the movement.

Question 12

2nd mvts - pieces to talk about

Answer 12

• Stamitz Op 3 No 2
• Haydn 2
• Haydn 104
• Beethoven 3
• Beethoven 9
• Mendelssohn 4
• Berlioz Symphonie Fantastique
• Brahms 4
• Tchaikovsky 6
• Dvorak 9