Stamitz Opus 3 No 2 Essay Points Flashcards
1
Q
Stamitz Opus 3 No 2 - Overall form and style
A
- One of first symphonies in four movements/ that uses the standard four-movement pattern.
- The second movement is in the subdominant, which is a very common more relaxed key for the slow movement.
2
Q
Stamitz Opus 3 No 2 - First movements
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
3
Q
Stamitz Opus 3 No 2 - Second movements/slow mvts
A
- Has a very lyrical second movement.
- It begins with only strings and the brass instruments join later.
- Written in a loosely rounded binary form without any repeats.
- Written in relaxed andante which contrasts with most first movements which are usually allegro and is in the subdominant key.
- This second movement has a simple MDH texture which was very typical of the earlier classical period.
4
Q
Stamitz Opus 3 No 2 - Third movements/Dance forms
A
- Old fashioned in some of its features e.g. first and second violins play the same throughout
- Reduction of forces in the trio (no trumpets) is standard, but the relatively independent woodwind parts are more innovative.
- Another more old-fashioned feature = B section of the rounded binary minuet starts with a new idea before the A’ brings back the opening material. Composers later in the Classical period nearly always treated the beginning of the B section a bit like a sonata development, modulating whilst fragmenting ideas from the A section rather than introducing anything new
5
Q
Stamitz Opus 3 No 2 - 4th movements
A
- 4th movt is in extended binary form
- Drama created through textural, dynamic, and instrumental contrasts
- Movt begins with dramatic tutti homophony rising chords over semiquaver arpeggios
- Rising triadic melody known as Mannheim rocket is typical of galant
- As typical of style, movt uses homophonic primary chords and finishes with perfect cadence
- Ends with ff tutti chords - very emphatic and dramatic end
6
Q
Stamitz Opus 3 No 2 - Melodic writing
A
- Gallant style influence
- Melodies moved away from Baroque complexity to simpler and scalic melodies with short phrases - follows simple scalic pattern through majority of 1st mvt
- Melodies pleasant to ear due to predictability
- Mannheim features also evident in the melody here e.g. Mannheim sigh (two slurred notes with first one accented).
- Overall, melody of this early classical work simplistic, built off short phrases and structurally predictable
7
Q
Stamitz Opus 3 No 2 - Harmony and Tonality
A
- Follows conventional tonalities of 4 mvts - tonic tonic, subdominant, tonic
- Very simple and direct harmony with lots of pedals and primary chords
- In terms of tonality, double returns of tonic and thematic material that would become standard in sonata form is not yet established since tonic returns in dev as well
- In 1st movt modulation is only from tonic-dom-tonic; there is none of the wider exploration of keys expected in later Classical symphonies
8
Q
Stamitz Opus 3 No 2 - Rhythm and metre
A
- Rhythmic structure of the music in the Galant style favours regularity and simplicity
- Opening of the first movement, for example, starts with a four-bar idea (Mannheim hammerstroke)
9
Q
Stamitz Opus 3 No 2 - Drama, narrative, programme music
A
- Not programmatic
- Highly dramatic in 1st mvt
- Uses Mannheim techniques such as the opening forte tutti chords ‘Mannheim hammerstroke’, the dramatic crescendo with pedal notes ‘Mannheim roller’, and sudden dynamic contrast
10
Q
Stamitz Opus 3 No 2 - Folk and nationalism
A
- Some folk related elements such as: pedal notes (that it can be argued are a sophisticated version of a drone) dotted rhythms, accented notes as well as simple melodies and motifs
11
Q
Stamitz Opus 3 No 2 - Orchestration and texture
A
- Galantwriting is typically melody-dominated homophony – the second movement provides very clear examples.
- Mostly MDH
- Textural contrast in trio where oboe and horn play melody with light string accompaniment → also pioneering solo woodwind
- Textural and instrumental contrasts add drama to finale
- In 3rd mvt, 1st and 2nd vlns play same part (traditional)