The Origins Of The Classical Symphony And The Classical Orchestra

The Origins Of The Classical Symphony And The Classical OrchestraClaire Michelle Walsh aim 1 History Project 2Listen and follow Mozarts Symphony No.40 in G shaver K550. Describe the character and form of each causal agent. Go on to write down the instruments utilize and formulate why this is considered a classical orchestra.You will need to research the origins of the classical symphony and the classical orchestra. The skepticism is really asking for an analysis of the symphony but to concentrate on the large scale forms. provided you will have to show how movements fit the forms and this will also include a certain totality of harmonic and motivic analysisThe orchestra that had taken shape during the interdictoque period began to expand and become more balanced. During the primaeval eighteenth century the four part string ensemble became established which has remained mainly un substituted. The harpsichord was treated aside by the end of the eighteenth century due to l arger scale of the orchestra and the invention of the softly.By the end of the eighteenth century the standard large orchestra consisted of cardinal flutes, twain hautboys, two clarinets, two bassoons, two or four horns, two trumpets, timpani and a full string ingredient.The Symphony originally in trinity movements became four movements, incorporating a minuet and trio. The movement structure was the same as instrumental sonata form.Movement sensation is usually at a fairly fast speed usually in sonata form in contrast to the second movement which was play at a s land tempo, with a singing credit line line. This was often in ternary, variation or sonata form. A minuet and trio in ABA form was the basis of the trio movement, concluding in the final movement which was either in rondo, sonata or variation form.Mozart wrote forty whiz symphonys during his life. Symphony No. 40 in G minor is unpackionally well known and has been used widely in television and film. An early cri tic of Mozarts music, Otto Jahn called it a symphony of pain and lamentation(scribd.com/ commercialism/7742485). Whereas other critic, Kramer stated that it was nothing but joy and animation (scribd.com/doc/7742485). These two quotes argon of the constitutional in describing its mood and character. It is the second of his last three symphonies, which were composed between June and August in 1788. The bleed is said to have been written without a commission and was written at the height of his expressionist physical body. The instrumentality is written as we would find in the standard eighteenth century classical orchestra atomic number 53 flute, two oboes, 2 clarinets, two bassoons, two horns. The string section consisted of two origin and two second fiddle players, two violas, one cello and one string bass. The instrumentation does not include any pleximetry or weighty brass. What we are expecting to harken includes an extra flute, two trumpets and timpani as ensnare in a typical Johann Stamitz composition. It was he who The horns are used for effect to emphasize the crescendos and sforzando. The work is in four movements, in the usual arrangement (fast movement, slow movement, minuet, fast movement) for a classical-style symphony Molto allegro Andante Menuetto Trio Allegro assai E real movement but the third is in sonata form, the minuet and trio are in the usual ternary form.Molto Allegro The first movement of the Symphony No. 40 in G Minor by W.A. Mozart is written in Sonata form. The piece begins with perhaps the most identifiable openings of any of his symphonies. The movement in cut common time, in the key of G Minor, commences with the first substructure in run one, played by the first and second violins, played piano in the pappa key. Bar 14 sees the woodwind section enter for the first time, still piano. The first combat-ready change happens in bill 16 with a forte woodwind entry the violins hence repeat the first subject, piano in bar twenty. The key then modulates in bar 28, to the relative Major of B-Flat for a bridge passage, it is her that we hear a forte dynamic for the first time which leads to the 2nd ancestor. In bar 43 Mozart uses a silent bar across the social unit orchestra, having created the tension this is then dissipated.The 2nd al-Qaida begins in bar 44 until bar 72, the clarinet and bassoon performing a piano song initially which is then passed to the strings. This melody is a more lyrical feminine passage that is very chromatic throughout. This codetta commences at bar 77 in the overriding key and is based around the first 3 notes of the first theme and is played by the clarinet and then imitated by the bassoon. This four bar phrase concludes with the strings playing a variation of the phrase concluding with a strong IV I cadence. This is then recurrent with the oboe and bassoon taking the lead and again concluded with the strings. Commencing at bar 88 there is descending wave run s throughout the orchestra leading to uprising crotchets. In bar 100 there is a repeat hold up to the beginning.Bars 72- 75 The Development begins in bar 101 with the key now in F-Sharp Minor, modulating in bar 115 to the key of E Minor. It is at this point we hobo hear the melody in the Bassoon and the Bass line with contrapuntal writing in the upper woodwind. The harmony now expands and changes key very two bars, through A, D and G minor, C major for one bar followed by one bar of F Major, until reaching Bb Major. The violins then play the 1st theme in a locomote sequence, whilst the lower strings introduce a counter melody. The movement builds with use of a pedal A in the Bass line, expecting the review article the Bass line creates a stretto which is then climaxed with a forte in bar 152. Here all part are all competing to get their idea heard. The sudden dynamic change in bar 160 releases the tension with the commencement of the Recapitulation in bar 164.The Recapitulatio n jeopardize in the tonic key begins with the upper strings which are joined by the lower strings in comparison to the beginning of the movement, this is then joined in bar 168 by the bassoon playing a new countermelody . The 2nd theme is then reintroduced. Mozart uses suspensions commencing at bar 199 to create tension, to further this he uses imitation at the half between the upper and lower strings. Further tension is heard in the bass line at bar 218 with minims alternating between Bb and A. In bar 226 there is another silent bar throughout the orchestra. Bar 228 sees the reintroduction of second subject still in the tonic key. It is during this we hear in bar 247 new ideas played in the First Violin culminating in Diminished and dominant seventh chords.Bar 260 sees the lapse of the first theme passed between all the woodwind parts and subsequently a chromatically rising syncopated passage throughout the orchestra, the dynamic drops to a sudden piano the first theme is once a gain heard in the first and second violins. In bar 293 the undivided orchestra plays a rousing forte for the last seven bars.AndanteThe second movement is a lyrical work in 6/8, in E flat major. The orchestration is the same except that the horns are now in E flat. It commences with the violas playing a quaver motif, a bar later on this is taken up by the second violin. A bar later the first violin plays this in imitation. This passage is one of the main themes in this movement.Bars 1-8. Theme A A demisemi-quaver motif then begins in bar 16, which acts as a bridging passage to theme B. This rhythm plays an important role for the movement of this whole movement. Theme B at bar 20 is played by the first violin and answered by the flute, the texture is very thin and simple.At bar 27 there is a three way communion between the woodwind ending in the first violin ending the conversation at bar 35. A smooth theme is introduced in bar 37, which is briefly interrupted at bar 43 by a bar o f semi-quavers, but soon returns to its previous texture ahead the section is repeated. The development section of the 2nd movement begins, with the earlier demisemi-quaver motif, which is enforforced by the bass, playing a rising chromatic figure for bar 56- 62.The recapitulation commences in bar 74. We hear small segment from two themes played until a final theme is heard in bar 108.Menuetto This third movement is in Minuet and Trio form and commences in the key of G Minor. Unlike a traditional dance Mozart uses the whole orchestra which remains full throughout. He uses a hemiola, a 2/4 feel in a 3/4 time signature, with a rising melody line. The movement opens with a strong melody played by the strings and the woodwind, consisting of two, three bar phrases followed by two, and four bar phrases, which is then repeated back to the beginning. The second section in B flat Major it is a variation of the first, played contrapuntally. The trio modulates to G major where he has thinn ed the texture for the first section. The second section sees the return of the Horns bringing a contrasting texture to the end of the trio. Finale Allegro assai The final movement, Allegro Assai, begins almost like a Baroque Concerto Grosso, with contrasting piano string and forte tutti passages alternating every two bars. An important quaver motif, heard in bar 3 dissolve be heard repeatedly throughout the movement, for example the bridge passage at bar 32.Bars 1-15 Theme B is introduced in bar 71 in the key of B flat Major. It is more thinly scored with a transport feel. The melody is played by the first violin, being handed to the clarinet at bar 85, who plays a bracing with the bassoon. Bar 101 sees the coda played forte and continues until bar 124 with growing intensity where it is repeated back to the beginning. Bars 125 134 includes a bridging passage that is very different to anything we have heard earlier, this leads into the development phase of the movement.Bars 12 5-141 A piano theme is then heard, which is passed around the woodwind and first violin parts with lower string accompaniment. This acts as a bridging passage before we hear a fugal section commencing at bar 152 in the strings which modulates through many different keys. Bars 205 -206 are in the first place silent before the beginning of the recapitulation in the key of G Minor. Theme B can be heard again in bar 247 before a closing section which can found at bar 277. This consists of a forte passage with running quavers in the violins, which is dramatically dropped to a piano four bar passage at bar 286. The symphony concludes with a burst of thrust at bar 290 whilst the running quavers are a constant until the last three separate chords from the whole orchestra.