Stamitz Opus 3 No 2 Essay Points Flashcards

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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.
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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
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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.
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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
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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
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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
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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
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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)
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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
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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
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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)
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