Mozart – Symphony no.40 in G minor AoS1

Classical Era Is from 1750-1830 Music is different to the flamboyancy of Baroque music. Inspired by the ancient world of the Greeks and Romans. Traits of clarity, order and balance found in classical symphonies.

Classical music features Apart from Mozart, other famous composers of the era include Haydn and Beethoven. Balanced phrases (4/8 bars long) Use of primary chords (I IV V) Modulations are via the primary chords of relative minor/major

Classical music features continued Introduction of instruments such as the clarinet and piano Orchestras still string led but more woodwind and brass involvement (especially towards the end of the era). Strings Woodwind Brass Percussion Violins Violas Cellos Double Basses Flutes (2) Oboes (2) Clarinets (2) Bassoons (2) Trumpets (2) French horns (2) Timpani

Symphony A symphony is simply a piece written for the whole orchestra. It was invented in the Classical era and is still used in modern classical music. Traditional it had 3 movements (fast-slow-fast) As the period progressed, a 4th movement was added. 1st movement 2nd movement 3rd movement 4th movement -Fast tempo -Usually written in sonata form Slow tempo Various forms used including ternary and theme + variations Minuet and trio Fast tempo Rondo or sonata form

Symphony no.40 in G minor Written in 1788 What is the key? What other keys are related to it? (remember relative major/minor) Our piece is just the 1st Movement, not the whole piece! Firstly we need to understand the form its uses to structure the piece.

Sonata form Overall sections are: - Exposition - Development - Recapitulation Usually, the exposition is repeated twice.

Exposition The opening section of the movement. There is another structure within this section. - first subject (G minor tonic) - bridge (modulates to relative major Bb) - 2nd subject (Bb major) - codetta (Bb major)

Development This is the middle section It takes either the 1st or 2nd subject from the exposition. It uses that melody/part of it and develops it by usually going through a lot of key changes. Usually this section that uses chromatic harmony and avoids the tonic and dominant keys.

Recapitulation Based on the exposition and so has the same structure - 1st subject - Bridge - 2nd subject - coda This time, the bridge section does not modulate and stays in tonic key (G minor) so 2nd subject heard in G minor.

Melody dictation You must memorise the violin I part bars 1-5. Also do the same but with the violins and woodwind bars 44-49.

Key relations It is important to be aware of the primary chords of the 2 main keys used in the piece. G minor Bb Major Tonic (I) Bb major Dominant (V) D major F major Sub dominant (IV) C minor Eb major Relative minor/major

Exposition – 1st subject No introduction and starts quietly Bars What is happening 1-5 1st subject heard (1st violin) 5-9 1st subject heard but one tone lower (downwards sequence) 9-20 2nd part of 1st subject heard. Highlights dominant chord (V Dmajor)

Exposition – Bridge Bars What is happening 20-27 1st subject heard but modulate to Bb major (relative major) 28-44 Loud passage in Bb major, full orchestra. First time horns are heard 30-33 One bar descending sequence in violins 34-43 Strong sfz chords Last 6 bars dominant pedal note (F) One bar rest ends bridge

Exposition – 2nd subject Bars What is happening 44-51 Melody is in Bb Major (relative major) 50-51 Perfect cadence 52-58 Melody is repeated by the string and woodwind parts have swapped 58-66 Theme extended by one bar sequences Harmony dominant 7th chord in Ab major Bass moves up chromatically 66-72 New 6 bar idea played by strings Ends with perfect cadence.

Exposition – codetta 73-88 Idea passed from clarinet to bassoon. Bars What is happening 73-88 Idea passed from clarinet to bassoon. Violins played augmentation of 1st 2 notes of theme 88-100 Last few bars based on one long perfect cadence Homophonic texture Last chord pivots piece back to the beginning or move onto the development

Development Based on the opening 3 notes of 1st subject Bars What is happening 101-114 Single Gm chord, woodwind choral and scale descent to F#m. 1st four bars of 1st subject played 3 in times in octaves. Each time it is head at a lower pitch. Descending chromatic chords. 114-138 Modulations occur going downwards in the circle of 5ths. (Em, Am, Dm, Gm, C, F, Bb) by bar 128. Last 4 bars, repeat A in bass line form a dominant pedal note (we’re in Dminor at this point)

Development Bars What is happening 139-164 Texture reduced to 3 opening notes of 1st subject and dialogue between the woodwind and strings Different pedal notes are played by Bassoon and then Horn and then Bassoon just before the recapitulation. Last 8 bars is a strong Loud section with 3 opening notes dialoguing between upper and lower strings.

Recapitulation– 1st subject Bars What is happening 164- 184 Exact replica of the Exposition section

Recapitulation – Bridge Is 51 bars longer than in the Exposition section. Bars What is happening 184-227 As the bridge is not modulating to the relative major, Mozart develops the theme more. Ist subject theme modulates quickly to Eb major. Theme is split between upper and lower strings. Counter melody in bass parts (constant quavers) 198 – violas, cellos, basses have melody. Last 5 bars dominant pedal note of D as we have remained in G minor

Recapitulation – 2nd subject Bars What is happening 227-260 Second subject heard in G minor Texture has been reduced 241- modulates to Eb major briefly 245- riding one bar sequences and chromatic bass line 254- melody same as in exposition for the end of the section but in g minor instead.

Recapitulation – coda Bars What is happening 260-276 3 note motif passed between clarinet and bassoon and augmented violins 2 note motif. (similar to exposition) 276-293 Starts off with a scalic run Suddenly interrupted by quiet chords in woodwind 293-299 Final tutti homophonic section. Extended perfect cadence in g minor. Last 6 bars same as last 6 bars in Exposition but in G minor