Essay about Analysis of Beethoven Symphony 3 and Mozart Symphony 40

3307 Words Apr 17th, 2013 14 Pages
Beethoven Symphony No. 3 and Mozart Symphony 40 Forms

Sonata form is one of the more popular forms of music that is found in a variety of different works including symphonies, concertos, and sonatas. Sonata form features three distinct sections: the exposition, development, and recapitulation. Mozart was one of the early composers of this form of music. I will examine the clear distinctions between each section and how he does not stray from the typical form. In later years the form would change to become more fluent and focused on the growth and expansion of the piece. This progression of change was led by the works of Beethoven and the changes can be clearly seen in his grandiose works. By comparing the first movement of Symphony
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The recapitulation is much like the exposition, except it does not modulate. All of these sections can be seen in the Mozart and Beethoven movements that are being analyzed and relatively easy to identify. In the Mozart symphony, sections defined by strong cadences. An easy example would be at the end of the exposition where there is a PAC in ms. 99. Following that is a rest and then an appearance of F-sharp minor. This is the beginning of the development. The end of the development ends with a huge forte with a pedal tone and a cadence at ms. 160. The wind section quietly brings the section to a close as the strings reintroduce the primary theme back in the original key of G minor. These large sections are not likely to be mistaken. Beethoven too has clearly defined the large sections of the sonata form. His exposition begins after two opening chords with the theme in the cello section. The exposition closes with full orchestral chords in a perfect authentic cadence around ms. 144-148 and after a short link/transition the development begins at ms. 166. The development closes with huge orchestral chords. The big pictures for Mozart and Beethoven line up, but a closer and deeper look reveal that the small sections are quite different. Mozart's smaller sections continue to remain clearly defined, but Beethoven tends to blur it all together. In a typical exposition, we expect to find
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