K. 332 First Movement Analysis Essay

To assign the first movement of Beethoven’s Ninth Symphony the sonata form would truly be a subjective judgment. I will first explain how this movement fits thesonata form; then I will discuss how it diverges from this form in rather fascinating ways.

Wolfgang Amadeus Mozart had endless ideas for writing piano sonatas and like his other works, his sonata style has evolved dramatically over the years. His early works have been constantly compared with other well-known composers at the time. For example, it has been suggested that Haydn’s F Major Sonata, Hob. XVI: 23 as a model for Mozart’s K. 280 in the same key.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

The 2nd movement of the Mozart k310 Piano Sonata resembles standard sonata form in many ways. It opens with a first theme in F (same as key signature). The theme is four bars long; two bars of antecedant, two bars of consequent. Mozart then starts the first theme again with a 32nd note run pick-up instead of the 16th note arpeggio pick-up in the the begginning of the piece so we are prepared for variation in the second statement of the first theme. He then continues the theme with variation until the consequent phrase which is completely different from the first consequent phrase. This new consequent has not only faster rythmic movement but also compressed harmonic rythym. This tension

Composing works derived from styles already in existence, he created an extremely unique and unprecedented genre of works. Thus Mozart became a trailblazer of the classical age. Music from this period consists largely of a lighter and clearer texture than the preceding Baroque music and is less intricate. One trademark especially evident in Mozart’s contribution to the classical period is the use of homophony. Examples of the homophonic effect are displayed in his piano concerto No. 23 and sonata No 16 in C. In these, the distinct pattern of an indubitable melody can be distinctly and easily recognized above the adjunct chordal accompaniment. Although Mozart contributed primarily to the growth of the classical era, he was also influenced by the works of Handel and Bach. Both were prominent composers of the baroque era. In some of his later works, Mozart indulged more in the incorporation of the previous baroque

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

a)The "Beethoven Concerto"s and Op. 37's Placement in the Genre and as a continuation of Mozart's Style

     Wolfgang Amadeus Mozart’s style unlike anyone else. Mozart was a master of counterpoint, fugue, and the other traditional compositional points of his day. He is also considered the best melody writer the world has ever known. Wolfgang perfected the grand forms of symphony, opera string quartet, and concerto made the classical period. “Mozart’s music is characterized by lucid ease and distinction of style....”2 Wolfgang wrote over 600 works which consisted of 21 stage and opera works, 15 masses, over 50 symphonies, 25 piano concertos, 12 violin concertos,27 concert arias, 17 piano sonatas, 26 string quartets, and many more. His operas range from comic baubles to tragic pieces. In his Requiem it illustrates the supreme vocal sounds in any of his work.

When he returned to the piece in 1791, Mozart decided to change the key and the instrumentation of the piece. The key was changed from G major to A major and the instrument of choice was the basset clarinet in A. Stadler designed the basset clarinet. Compared to the current clarinet, the basset clarinet had a range that was 2 whole tones lower than a normal clarinet. Francoeur’s Diapason general gives tonal qualities of various clarinets and describes the G clarinet’s sound as “sweet, sad, and lugubrious” (Lawson, pg. 29). When describing the tonal quality of the A clarinet, it I said to have “a very sweet sound, [that it] much less somber than the G and with a great range” (Lawson, pg.

28 No. 15 was written during the second period. This movement (III) is in ternary form (ABA). This first A section (A1) is in binary form and consists of 70 total measures in the key of D major. It is made up of two 32-bar sections that are divided into eight 4-bar phrases, a 4-bar extension at measures 45-48, and a 2-bar cadence at the end of the section. The second A section (A2) is made up of nine 4-bar phrases. A1 consists of a repeating theme that follows the chord progression I, ii6, V7, 1 in measures 5-8 and then goes to V6, vi6, V7/V, V I in measures 13-17 and the repeats these same progressions in measures 18-32 except measure 32 ends on the V chord instead of the 1 chord. A2 continues in D with a different and less melodic theme in measures 33-49 before repeating to the main theme in measures 50-70. This section crescendos and grows in

The cello and organ provide the basso continuo, following the figured bass. The modulation in bar 10 to A major ends in a V7 - I, providing strength to the piece. This differs from Sonata pian’e forte which is in the Dorian mode with lots of root position chords (bar 1 and 2) and suspensions (bar 3). The melody is mostly stepwise and the tierce de Picarrdie in bar 4 gives a sense of balanced phrasing. This is felt again in bar 8, due to the consonant 4th. The modal harmony in bar 13 creates an imperfect cadence to mark the end of the A1 section. An interesting phrygian cadence (IVb - V) is used in bar 16 leads into a short circle of 5ths (bar 17) and then a perfect cadence in F major with a 4-3 suspension (bar 20). This ‘busy-ness’ before cadences was not uncommon, due to the very expressive works that were composed in this era.

Thesis: Wolfgang Mozart’s Symphony No. 40 in G minor has been admired and analyzed numerous times. Although it has been criticized by many, I believe deeply interpreting this piece will aid in a better understanding of the music during the Classical

Even though the two pieces were composed in different centuries – Mozart’s piece in the 18th century and Strauss’ piece in the 20th century – some of the musical elements that they share transcend both time periods. The characteristics of music in the classical period had to do with the new view of human psychology. Mozart was one to introduce contrasting moods within movements or even within a theme. He was able to infuse strong contrasts of moods within the style of his music (Burkholder, Grout, & Palisca 475). In Figaro, Mozart includes an overture which is a piece in sonata form despite its lack of a development section. In Act I cavatina, “Se vuol ballare”, Mozart whimsically makes changes to the character of his music so as to correspond to Figaro’s machinations (Hambrik n.p). By doing so, he musically

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is