Essay - First mvts Flashcards
1
Q
First mvts - Stamitz Op 3 No 2
A
- 1st mv is very early version of sonata form. No bar line to delineate end of exposition (so no rpt)
- S1 in tonic, S2 in dominant
- Development includes a return to tonic key → later this key will be saved for start of recap
- Recapitulation reverses S1 and S2. Both subjects in tonic key
1
Q
First mvts - Haydn 26
A
- Very unusual (for Classical period) to choose a minor key. This marks this work as in the ‘storm and stress’ style (minor key, fast syncopated rhythms, diminished harmonies)
- S2 not same as S1 (unusual for Haydn)
- First mvt ends in D major, signifying triumph of life over death - resurrection of Christ
2
Q
First mvts - Haydn 104
A
- Slow intro in tonic minor
- Monothematic (S2 based on same melody as S1 but in dominant as expected)
- Development explores related minor keys of B minor, E minor, C# minor, and is based on bars 3 and 4 of first subject → varies the thematic material each time it is heard e.g. false start and imitative texture
3
Q
First mvts - Beethoven 3
A
- Beethoven expanded symphony structurally.
- 1st mv intro unusually long (18 mins)
4
Q
First mvts - Beethoven 5
A
5
Q
First mvts - Beethoven 9
A
- Beethoven expanded symphony structurally. Used longer intros, longer development sections, long codas that include more development (e.g. Symphony 5 and 9)
- 1st mv: Beethoven’s Symphony 9 and Brahms Symphony 1 → Unique approach to sonata form is a tertiary key relationship → S1 in tonic key, S2 in mediant.
- No exposition repeat - unusual
6
Q
First mvts - Mendelssohn 4
A
- 1st mv - Complex structure → he is writing after Beethoven paved the way for more structural freedom.
- Introduces a completely new theme in development and there is ‘false reprise’ where it appears recap is starting but is interrupted by continuation of development
- Recap also includes further development → a practice used by Beethoven profusely.
- Fragments of opening theme appear during S2 + reference to this theme at end of 4th mvt, showing more holistic approach to form that would be later developde by other romantic composers such as Schumman and Tchaikovsky.
7
Q
First mvts - Berlioz Symphonie Fantastique
A
- 1st mv uses a loose version of sonata form
- Long slow intro and idee fixe (theme that represents place or person that recurs throughout symphony manipulated for specific purposes).
- Recurring theme used as a structural device in 1st mv, returns to it several times in different keys.
- Can be seen as S1 in sonata form structure, in C major (tonic) but is also interwoven with S2, in G (dominant)
- Tonic reached early during development (like Stamitz op3 no2) → we hear S2 in C before dominant returns to continue development
- Like Mendelssohn 4, introduces new theme in development (in oboe) and like Beethoven 5 has very long coda.
8
Q
First mvts - Tchaikovsky Symphony 4
A
- Romantic composers strayed further from rules of structure → significant structural development of romantic era was use of programmatic symphonies (where a symphony would tell a story rather than follow strict structure)
- Tchaikovsky 4 1st mv follows general outline of sonata form but themes developed immediately instead of waiting for development section
- ‘Fate motif on brass at start recurrs throughout mv, seperating each section of sonata form strucutre
- S1 named ‘the dream’ theme → developed straight away
- S2 also developed immediately within exposition
- Development section he further develops the material and brings back fate motif
- When S1 returns at start of recap, has been transformed into powerful ominous version
- S2 extended and developed before fate motif returns.
- Peaceful new major tune near end is used for coda.
9
Q
First mvts - Dvorak 9
A
- Fairly traditional use of sonata form with a slow into
- However, he uses 3 main themes in exposition and immediately develops simple 2nd theme rather than waiting for development
- S1 foreshadowed in slow intro (same rhythm and arch shape)
- Exposition ends in relative major and repeats (traditional)
