Chapter 13
The Symphony
The Symphony
• Originated in Classical period
– Outgrowth of public concerts
• Large multimovement work for orchestra
• Each movement a distinct musical work
• “Pleasing variety”
Key Terms
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Symphony
Sonata form
Exposition
First theme
Bridge
Second group
Second theme
Cadence theme
Development
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Recapitulation
Coda
Fragmentation
Retransition
Theme and variations
Slow movement
Minuet form
Trio
Rondo
Movements of the Symphony
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I
II
III
IV
Opening movement
Slow movement
Minuet (with trio)
Closing movement
– Contrasting tempi, forms, themes, moods
I Opening Movement
• Moderate to fast tempo
• Sonata form
– Optional slow introduction
• Many moods possible
• Emphasizes contrast and development
Something to make you think
II Slow Movement
• Slow tempo
• No standard form
• Often lyrical and songlike
A beautiful melody
III Minuet and Trio
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Moderate tempo, triple meter
Minuet form (ternary)
Stylized dance
Usually aristocratic in mood
IV Closing Movement
• Fast to very fast
• Usually sonata or rondo form
• Light, tuneful, brilliant
A tune to whistle on your way out
Something to set your foot tapping
Sonata Form
• Most important new form of Classical
era
• New way of handling contrasts between
keys and themes
• Three large sections
– Exposition (A)
– Development (B)
– Recapitulation (A )
Elements of the Exposition
• First theme
• Bridge
• Second group
– Second theme
– Cadence theme
Exposition (A)
• Presents main themes of the
movement
• Establishes conflict between two
primary keys
• Is usually repeated
• May be preceded by slow introduction
Mozart, Symphony No. 40, I
• First theme: stable theme in tonic key
• Bridge: modulates to new key
Mozart, Symphony No. 40, I
• Second group
– Second theme: stable, in new key
– Cadence theme
Mozart, Symphony No. 40, I
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Theme 1 developed
Contrapuntal passage
Fragmentation
Retransition
Mozart, Symphony No. 40, I
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Theme 1, modulating differently
Bridge, longer than before
Second group—themes in tonic key
Cadence theme
Development
• Develops themes
from exposition
• Heightens tension
• Modulates
frequently
• Retransition
returns to first key
Recapitulation
• Resolves tension
• Presents
exposition themes
in same order
– But with second
group in original
key
Coda
• Optional section following recapitulation
• Short or long
• Usually very stable, repeated
cadences, big ending
Sonata Form Example
Mozart, Symphony No. 40 in G Minor, I
Wolfgang Amadeus Mozart
(1756–1791)
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Born in Salzburg to musical family
Child prodigy
After court position, moved to Vienna
Made living from teaching and
concerts
• Died with Requiem Mass unfinished
Theme and Variations
• Theme: a complete tune in several
phrases
• Variations: changes to the theme on each
repetition
– Usually same phrase structure as theme
– Creates contrasting moods from same
material
Sonata Form Example
Haydn, Symphony No. 95 in C Minor, I
Franz Joseph Haydn
(1732–1809)
• 30-year career with Esterhazys
• Kapellmeister—wrote for court,
church, and opera
• Gained international fame with public
concerts
– Paris and London Symphonies
• Turned to choral music late in life
Haydn, Symphony No. 95, II
• Slow movement
• Theme and variations form
– Theme
– Variation 1
– Variation 2
– Variation 3
– Coda
Haydn, Symphony No. 95, II
Features of Haydn’s Theme
Haydn writes variations within variations
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Haydn’s Theme
Simple melody, regular phrases
Mostly legato
Major mode, stable harmonies
Simple rhythms emphasize beat
First violins play melody
Middle to low register
Simple, staccato chords
Features of Variation 1
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Melody ornamented
More staccato
Feels faster
Solo cello, pizzicato accompaniment
Changes in register
New countermelody above cello melody
Haydn Variations 2 and 3
Haydn, Symphony No. 95, II
What changes do you hear in these variations?
• Theme
• How is this coda unusual?
• What is Haydn’s joke?
• Variation 2
• Variation 3
Minuet Form
Haydn, Symphony No. 95, III
• Derived from Baroque minuet and trio
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• Classical composers extended internal forms
Contrast in Haydn’s
Minuet and Trio
Minuet
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Somber, dramatic
Staccato
Grace notes
Rhythm emphasizes
beat
Loud vs. soft
Strings vs. full
orchestra
Minor mode
b develops grace notes
b shorter than a
Rondo Form
Trio
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Light, gallant
Legato
Arpeggios
Shorter, quicker notes
Mostly soft
Solo cello with pizzicato
strings
• Major mode
• d develops c materials
• d same length as c
– Fast tempo, rondo form, light and tuneful
• Haydn’s rondo theme (a b c phrases)
Simple contrast and return
Light, tuneful theme (A)
Contrasting episodes
Some possible schemes:
A B A C A Coda
ABACABA
ABACADA
Features of Haydn’s
Rondo Theme
Haydn, Symphony No. 95, IV
• Typical closing movement
Typical symphony third movement
Minuet form (ternary)
Aristocratic, stylized dance
Triple meter, moderate tempo
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Simple tune based on rhythmic motives
Mix of staccato and legato
|: a :||: bc :|
Major mode
Varied, fast-moving rhythm
Duple meter, fast tempo
Features of Haydn’s
Episodes
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Elaborate, dramatic fugal sections
Power of full orchestra
Tonally unstable
Occasional surprises (episode 2)
Continuous motion, few cadences
Fugue subject uses opening motive of rondo
theme
Haydn’s Use of Surprise
• C section “storm” interrupts fugue
• Long retransition to last rondo
statement
• New harmonies for rondo theme
• Coda interrupts rondo theme after
first phrase
• Sharp contrasts in dynamics