Mendelssohn 4 Essay Points Flashcards
1
Q
Mendelssohn 4 - Overall form and style
A
- This symphony is one of the first to start in the major and end in the minor. The reverse journey from minor to major is familiar from Beethoven’s fifth and ninth
symphonies but to start in A major and end in A minor is much more surprising. - He chooses not to go for the aggressive scherzo-type minuet that was common to many later symphonies, but to write a more gentle mvt more like the original minuet.
- At the very end of final mvt, he brings back minor version of S1 from mvt 1 (like Beethoven no 9)
2
Q
Mendelssohn 4 - First movements
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 developed by other romantic composers such as Schumman and Tchaikovsky.
3
Q
Mendelssohn 4 - Second movements/slow movements
A
- 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.
3
Q
Mendelssohn 4 - Third movements/Dance forms
A
- Less influenced by dance forms than Haydn’s 104th symphony.
- Follows traditional minuet-trio-minuet model.
- Although both the minuet and trio are in binary form (AB), the second sections of each are expanded, particularly in the minuet.
- A2 section modulates around related keys as expected - this development includes further modulation. The trio takes a similar form to this.
- The movement closes with a coda that combines elements of both Minuet and Trio as way of rounding it off.
- There is also not a clear rhythmic emphasis on the first bear of each bar in this symphony, which was not typical of a traditional minuet-trio.
- Names the last movement after an Italian Saltarello but arguably the rhythms are at least as much based on those of a Tarantella
4
Q
Mendelssohn 4 - Fourth movements
A
- The movement is in the tonic minor of the opening A major, which is very unusual.
- Mendelssohn names the last movement after an Italian Saltarello but arguably the rhythms are at least as much based on those of a Tarantella
- At the very end of the last movement, he brings back a minor version of S1 from the mv 1. The linking together of movements can be seen in Haydn and more explicitly in Beethoven (e.g. 9) but linking last movements to previous ones is particularly a feature of later Romantic symphonies.
5
Q
Mendelssohn 4 - Melodic writing
A
Mendelssohn also used new melodic methods. Mendelssohn’s 4th Symphony → 4th mv has tripleted, tarantella style flute melody (example of programmatic writing as he wanted to depict Italian dances)
* New melodic material in development in mv1
* In the coda of the last movement, Mendelssohn brings back a minor version of the S1 of the mv 1– a common feature of Romantic symphonies.
6
Q
Mendelssohn 4 - Harmony and tonality
A
- Mendelssohn’s harmonic language is broadly the same as that of his Classical predecessors. He uses chromaticism and modulates quite widely but not significantly more than Haydn and Mozart. His relatively slow harmonic rhythm is enlivened by interesting and colourful textures
- This symphony is one of the first to start in the major and end in the minor. The reverse journey from minor to major is familiar from Beethoven’s fifth and ninth symphonies
- Mv 3 - A2 section modulates around related keys as expected - this development includes further modulation. The trio takes a similar form to this.
7
Q
Mendelssohn 4 - Rhythm and metre
A
- The rhythms and pedals of the last movement evoke the tarantella and saltarello italian dances. Both of these folk dances involve fast triplet rhythms.
8
Q
Mendelssohn 4 - Orchestration and texture
A
- Mendelssohn is considered relatively conservative in his orchestration and his Italian symphony was written for the exact same forces as Haydn’s Symphony 104
- Mendelssohn conjures up a real variety of distinctive colours and
textures, with truly independent and creative use of woodwind and brass. - Mv 1 opens with pulsating woodwind chords and a violin tune in octaves (first movement, bar 1). The clarity and energy of this orchestration is one of the immediately attractive features of the work
- The second part of S1 has a range of interesting orchestrations starting
with clarinets and bassoons doubling the melody in thirds over a low bubbling
accompaniment of string arpeggiations in bar 110
9
Q
Mendelssohn 4 - Drama, narrative, programme music
A
10
Q
Mendelssohn 4 - Folk and nationalism
A
- Written to reflect the Italian countryside so some folk elements.
- Last movement is an Italian folk dance (Saltarello) which has a fast jumpy dotted like rhythm. It is also argued that the rhythms are at times reminiscent of another Italian folk dance called Tarantella – the rhythm of the tarantella is continuous quavers/semiquavers
- Whole piece overall is folk-like with accented notes and simple melodies (e.g. start of movement 2). The modal inflections are a clear folk reference as are the flattened 2nd which has a phrygian quality
