GCSE Music Revision 2014Area of Study 1:

Mozart Symphony No.40In G minor

Mov 1

Background: The Classical Era The Classical era (c.1750 – 1830) Movement away from the flamboyant and ornate, highly decorative

Baroque era Classical architecture reflected influences of the Greeks and Romans Music from the era echoes the clear cut and balanced architecture Emphasis placed on graceful and regular phrasing bringing a new

simplicity to musical composition Main composition forms were the Classical Symphony, String Quartet,

Concerto and Sonata The period was dominated by the Vienesse composers (Vienna). These

were: Mozart, Haydn & Beethoven

The Symphony One of the most important large scale genres invented during the

Classical era The word symphony comes from the Italian word for “sounding

together” The classical orchestra featured four families of instruments Early Classical symphony forms had 3 movements, however as the form

developed a minuet and trio (from the baroque era) was added between the 2nd and 4th movement:

Mov 1 Fast tempo Usually

written in sonata form

Mov 2 Slow tempo Various forms

includin theme & variations

Mov 3 Minuet & Trio

Mov 4 Fast tempo Written in either

rondo or sonata form

Symphony No.40 in G Minor Written in the key of G Minor Melancholy feel (sadness) Written in sonata form:

The score includes parts for the recently (at the time!) invented clarinets No orchestration for trumpets or drums (unusual in comparison to

modern symphony orchestras)

Exposition – Main themes or melodies are presented

Development – develop ideas from the exposition

Recapitulation – final section which balances with the opening

Bars 1 - 20

1st subject: Repeated idea which becomes an important motif throughout the rest of the

movement. Bars 16 – 20 strong wood wind chords Strings play D octaves which form a dominant pedal

Bars 20 - 44

Linking Passage First subject repeated but altered (bars 24 – 27) Oboes & bassoons provide “harmonic filling” Bar 27 – 28 perfect cadence in Bb Major Bars 30 – 33 descending sequences in the violins Bar 28 – forte for full orchestra in the relative major of Bb Major

Bars 44 - 72

2nd Subject: This theme is in the relative major (Bb major) Graceful use of semi tones Bar 44 - Falling figures represent sadness Bar 58 – a series of sequences extend the subject Bar 58 – 66 – Ab Major tonality, the music crescendos and ascends chromatically

Bars 73 - 100

Codetta This section is based on the first 3 notes of thee 1st subject Melodies cycled between different instruments (e.g. clarinet to bassoon) Bar 73 – Violins have the opening theme in minims – augmentation Bar 88 – 100 homophonic texture Repeat of the 1st subject which maintains balance and familiarity for the listener

Exposition Bars 1 - 100

Bars 101 - 114

Music of the whole development is based entirely on the opening of the first subject

Melody is doubled in octaves by the violins Bars 107 – 114 descending chromatic chords in bassoons

Bars 115 - 138

Music resolves to the key of E Minor Upper strings play a new quaver counter melody Woodwind provides harmonic support Bar 118 – modulation to A minor Barr 120 – modulation to D minor Bar 122 – modulation to G minor Bar 124 – modulation to C Major Constant explorations of new/different keys

Bars 139 - 164

Texture is reduces Use of dominant and tonic pedals in different parts Bar 153 – 160 – strong forte passage

Developm

ent Bars 101 - 164

Bars 164 - 184

First subject in the key of G minor (a repeat of bars 1 – 20)

Bars 184 - 227

Linking passage This section takes the music from the tonic to the dominant key Development of motif ideas heard previously

227 - 260

Second subject stated in the tonic key of G minor The melody is shared between the woodwind and strings (as in the exposition) Bar 245 – 251 – rising one-bar sequences Bar 252 – 254 – perfect cadence Bar 254 – 260 – rising form of the theme hard at bars 66 – 72 in the exposition,

but now in G minor

Recapitulation Bars 164 - 299