Mozart: Symphony No. 40 in G Minor, K. 550, First Movement

Mozart: Symphony No. 40 in G minor, K. 550, First Movement Mozart’s Symphony No. 40 in G minor is written in four movements. It is scored for one flute, pairs of oboes, clarinets, bassoons, horns, and the usual string section. The clarinets were added by Mozart in a second scoring. First Movement: Allegro molto; Sonata Form This symphony is perhaps the most “romantic” of all Mozart’s symphonies. Nevertheless it is strictly Classical in its form and development. The drama of the entire symphony is somehow latent in the three-note motive at the beginning of the exposition. Both the pitch and the rhythm of the motive are significant. The change in pitch-the interval between the first two notes- is very small. There is just the half step fall from Eb to D. The rhythm also contributes to the sense of an abrupt fall. The short-short-long rhythm of two eighth notes followed by a quarter note combines with the tonal pattern to give a sense of a rapid fall onto the third note. In all its simplicity, this motive is the basis for the first theme and for much of the movement that follows. The first theme is played by the violins above a soft, chordal accompaniment played by the lower strings. The accompaniment establishes the tonic key of G minor, while the theme itself hovers around the dominant and subdominant, never once coming to rest on the tonic. This accounts in part for the sense of mysterious agitation evoked by the music at the opening of the movement. The beginning of the theme is then repeated, leading without pause into the bridge. The modulation is completed, with a new short motive and scale passages. After a brief pause, the calmer, flowing second theme appears in the key of Bb major, the relative major of G minor. The theme begins with a descending chromatic phrase played by the violins. It is answered by a woodwind phrase that draws the melodic line down even farther. The rhythmic motion in this theme is slower than it was in the first, helping to give the music a more lyrical feeling. The theme is repeated by flute, clarinet, and violins, almost as if in conversation. In an extension of this repetition, tension builds with a crescendo that leads to the closing section. The closing section of the exposition begins with the clarinet playing the opening motive. The motive is passed back and forth between clarinet and bassoon, and then played forte by the first violins. The exposition ends with the first motive, followed by a strong, clear cadence. Mozart indicated that the exposition should be repeated. In the development, the opening motive and the first theme undergo substantial transformation. After a feeling of suspense has been established in the opening chords, the first theme is repeated in descending sequence by the high strings. Repetitions of the theme are altered in a number of other ways. The theme is, for example, played in the low register of the basses. At one point, the theme is reduced to insistent, obsessive repetitions of the opening motive. In some of the alterations, the rhythm of the opening motive is retained while the tonal pattern is varied, sometimes inverted-that is turned upside down. Toward the end of the development, the theme is passed imitatively between the strings and the woodwinds as tension builds. The section ends with a descending line played by flute and clarinets, a transition that returns beautifully to the home key of G minor. The recapitulation begins with the first theme in the home key. This section differs from the exposition in two important ways. The bridge is extended, and the second theme is played in the tonic key of G minor rather than in the relative major-Bb major. Because the second theme is now heard in the minor instead of the major key of the exposition, it takes on a new and more tragic character. The movement ends with a closing section built on the familiar first theme. Timbre: Orchestra of moderate size; string section, one flute and pairs of oboes, clarinets, bassoons, and horns. Melody: First theme, and especially its three-note motive, dominates much of the movement; second theme conjunct, chromatic, and more lyrical Rhythm: Duple meter, tempo Allegro molto (very fast) Harmony: Mainly minor mode; begins in G minor, modulates most significantly to Bb major, ends in G minor Form: Sonata form Questions 1. The opening motive of this movement contains how many notes? a. Five b. Two c. Three 2. Which of the two themes of this movement is more lyrical? a. First b. Second 3. The second theme is primarily: a. Conjunct b. Disjunct 4. The tempo of this movement is: a. Allegro b. Largo c. Adagio 5. The second theme is in what mode? a. Major b. Minor Matching 6. Timbre_____ A. Sonata Form 7. Melody_____ B. Duple meter; tempo Allegro molto 8. Rhythm_____ C. Orchestra of moderate size 9. Harmony_____ D. Mainly minor mode 10. Form_____ E. First theme: three-note motive dominates; Second theme: conjunct, chromatic, and more lyrical .

Load more