Example of 4 movement form per Sonata de Chiesa (S-F-S-F). First two movements convey a quasi-French overture design, slow non-thematic, largely harmonic (suspensions/appogiaturas) mvmt. followed by a fast fugal mvmt. The third mvmt. show the parallel thirds common to the form. The last mvmt. has the typical baroque walking bass line. Many elements typical of the Baroque and early galant style.

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The third suite has a heavier orchestration than nos. 1 and 2 with added timpani and trumpets along with the normal cast of oboes, strings, and continuo. The oboes are rarely independent and Bach doubles them on the string parts - typical baroque style often has the winds double the strings. The overture has a concertante style with violins presenting two episodes and is loosely modeled after the French overture. Bach's contribution to the overture lies in his synthesis of Italian and French styles. The infamous Air on G string follows in binary form and is truly a gem of the period. The counterpoint derives from the harmonic background while Bach creates a very expressive work with layers of tension and release. Two gavottes, played as pair, follow. The orchestration is changed a bit as the timpani lays out and the trumpets interject in an interesting fashion. They form an example of nested binary forms (Gavotte is rounded) inside an overall ternary design. The second has thematic ties to the first as it is based on the first's motive in retrograde. The structural importance of this tonal design must be emphasized. Notice the developmental nature of the second section of the trio that points toward the development section in sonata form. A texturally thicker bourée follows in standard binary form and a lively, though asymmetrical gigues closes the work (The Oxford Bach Companion Malcolm Boyd, pp.336-7).

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The important point here is the use of contrast provided by sectional treatment - a scheme that is common in modern concerti. The concerto sectional design stood fast in the face of rococo style homophony. Sections of a movement are divided up between soloist and ripieno. Mutliple sections permit multiple themes - that can occur in any order. Vivaldi demands much more solo virtuosity than is found in Corelli's trio sonatas. This means the soloist's lines are often too difficult for the ripieno section to repeat literally - as often happened with Corelli. The overall structure is a three movement form (F-S-F). The first and last movements adhere to the sectional design while the second movement is more lyrical (ariaesque?). The concertato/trio sonata style of two treble instruments and continuo appears in the last mvmt.

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This work is a mature French overture in two large sections. The first is slow and stately with dotted rhythms while the second is a fugal allegro. The melody lacks periodic design and streams in an unending baroque fashion without clear cadences - but, being late in the baroque, it is still more melodically focused than earlier French overtures. The main feature that carries forward into the classic style is that of a slow introduction to the allegro section.

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The first important concert symphony composer. His work presents more of a departure from vocal influences (sinfonia/overture) and borrows from the concerto, trio sonata, and solo sonata. This, like many of his other symphonies, is a 3 movement work (sinfonia), scored for strings with some preclassical/transitional aspects (measured tremolo; string obligato - a tactic for sustaining harmony).
Mvmt. 1 Allegro - Basically a sinfonia without the beginning dramatic flourish: 1) Loose multisection binary w/o repeats, 2) poor theme definition, and, 3) rococo style/rhythm (light/quick).
Mvmt. 2 Andante Piano - Like earlier opera derived slow movements with more harmonic than melodic interest - but it looks ahead because the melodic content has more substance than earlier slow movements.
Mvmt. 3 Presto - An extended binary dance form with better defined themes.

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The Italian opera overture (sinfonia) and keyboard sonatas developed a fast-slow-fast structure by c.1700. The movements were often Allegro - short lyrical Andante - and a dance based finale (minuet or gigue)

The Symphony in F is scored for strings (quasi string quartet) in three movements: 1) Presto, 2) Andante, and 3) Allegro assai.

The Presto is a binary form with a full recapitulation and closing section dominant sections. No secondary theme, but rather a sequence of transitions that prepare the V/V leading to the dominant closing section. The second half stays in tonic with a the closing area moving to IV. for tonic return.

Mvmt. 1 Presto - Classical foreshadowings: A clear sonata form w/o repeats, intro also ends the piece (Brahms later does this), rhythmic first theme and lyric second, exteneded crescendos (mm.20-22), Mannheim roll (longer cresc.mm.27-30), measured tremolo, string obligato, second theme in the dominant, well defined themes, winds gain more independence - less doubling, more harmonic sustain, reinforcing accents, presents B theme, etc. Sinfonia legacies: lack of counterpoint in development (restates and sequences theme in the nature of a development), bass maintains galant style walking rhythm.

Mvmt. 2 Andante non Adagio - This movement recalls earlier styles: trio sonata three voice texture for strings alone, clear binary form, and theme groups that fail to materialize.

Mvmt. 3 Minuet - Stamitz uses the dance suite minuet - trio form (no development here - but will happen with Haydn, then Mozart) that features the winds in the trio (it was/is common to feature a small group in the trio), winds double strings, (earlier style). Many late baroque/rococo characteristics.

Mvmt. 4 Prestissimo - A clear sonata form with thematic sequencing in lieu of contrapuntal development. Earlier traits include winds doubling strings and simple themes.

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General Concepts - Though Haydn is the father of the mature classical symphony, this work combines elements of the past by synthesizing the French overture/sinfonia, concerto, and divertimento. Concertato (concerto) textures dominate each movement complete with his signature woodwind concertino passages. The overriding concerto principle and WW features are a bit unusal.

Mvmt 1 Adagio, Allegro - Rococo legacies: introduction a la the French overture per slow, stately, dotted rhythms that segue to an allegro. He gives the winds the main theme which recalls the concerto or divertimento. The development is a bit scant by mature Haydn standards but is more intricate than early symphonists. Classical foreshadowings: clear form and clear themes with motivic unity. The wind emphasis is unique (points to chamber music influences). Violins have measured tremolo and sustain harmony with repeated figures.

Mvmt 2 Adagio, Andante, Adagio - Haydn reduces the texture to solo violin and cello (a signature trait of his - per the concerto) in the andante. It is scored for strings alone as the soloists and ripieno trade the theme with soloists adding coloratura.

Mvmt 3 Minuet - The concerto principle continues and the woodwinds are again featured.

Mvmt 4 Finale Allegro - Looks ahead by using a duple allegro in lieu of a dance or rondo. The concerto principle continues for woodwinds and violin.

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Mvmt 1 Allegro molto - sectional themes (concept reaches back past Vivaldi) instead of his mature definitive tunes. Unusual motto opening. Though young he employs secondary and closing themes, measured tremolo, winds double some but also reinforce accents and harmonies. The form is an irregular sonata due to the lack of development.

Mvmt 2 Andante - The harmonic focus of this second mvmt recalls the preclassic sinfonia style as his melodies are undefined without motivic structure. His more mature use of WWs continues. Older style binary form.

Mvmt 3 Presto - The triple meter presto is true to sinfonia finale dance traditions. The well defined tunes and short phrases hail from the galant style while the increased chromaticism in the melody points to a future Mozart signature trait.

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Mvmt 1 Allegro Molto - Sonata form with motivic design that becomes motivic unity (a Haydn trait that Mozart incorporated late). Dissonance and chromaticism are Mozartian traits that permeate this movement - both meldoically and harmonically (scholars have investigated the m2 motion that frequents this work). Mozart foreshadows romantic trends with his chromatic harmonic progressions and melodic lines. The main theme begins on an appoggiatura. The development weaves extended tonal regions with fugal treatment, counterpoint, and a countermelody in 1/8th notes in the violins. Orchestral maturity appears as the verbaitum doubling of the strings by the winds ceases. They now have solo features, introduce ideas, and sustain harmonies. Strings add color with octave voicings. Clarinets were added later by revising the oboe parts. Consider the change from early classical orchestration: winds doubled strings verbatium, bassoon doubled bass line, horns were often unison, less use of trumpets, viola doubled the bass with cello, clarinets were rare if used at all, largely a three voice texture (Trio sonata/Suite).

Mvmt 2 Andante - Sonata form. Counterpoint continues via imitation; Mozart gives a Haydnesque dymanic surprise early with a forte Eb-7 chord amid an otherwise quite moment along with a false start at measure 69. Chromatic progressions and lines recall the first movement. The winds are featured more, a triat not uncommon since second movements were understated in general. Mozart uses the wind and string choirs antiphonally to develop material (a later romantic trait that equalizes the traditional preference for strings). The winds provide much of the harmonic support.

Mvmt 3 Minuetto Allegretto - The minuet form was restrictive and hard to develop motivically. Mozart avoids the problem by writting out the repeat of the A section and uses it as a development section. The trio retrieves rococo/ early classical ideas with its reduced texture and subdued voicings.

Mvmt 4 Allegro Assai - Mozarts creates cyclical unity by retrieving the motivic design and dissonance activity. The Mannhiem rocket theme technique propels the opening to another appoggiatura. Another 1/8th note countermelody appears. Minor seconds reappear. Tonal ambiguity in the development per the first movement. A series of diminished sevenths (mm. 125-134) looks ahead to Beethoven. Orchestration resembles that of the first movement.

Summary - Mozart's early Italian, string focused style with little counterpoint has now evolved past Haydn's London symphonies and looks ahead to Beethoven with its dissonance and chromaticism. Symphony No. 40 foreshadows thr romantic use of dissonance and chromaticism both harmonically and melodically. Mozart uses the minor second and motivic design throughout the work which provides cyclical motivic unity via 1/2 step resolution. The immediate development of thematic material is Haydnesque (late) and also looks ahead to Romantics. The ability to unify works around one or two motives is the hallmark of late Beethoven. Orchestrally, the winds are almost equal with the strings. The symphony's overall pacing recalls galant tempos.

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Mvmt 1 Adaio, Allegro - Typical slow intro to a fast allegro (legacy of the Fr. overture) complete with pervasive dotted motive. Dissonant appoggiatura figure recalls Mozart's Sym. No. 40 (1788). Motivic unity with two motives that comprise the main theme. Restates main theme in dominant as second theme. The main theme is reconfigured as the closing theme. (Meaning tight motivic construction per the repeated note theme.) Haydn uses an 1/8th note countermelody in the development. The orchestration is less independent than Mozart's. Haydn uses more unisons and winds are not as promenient.

Mvmt 2 Andante - Three section variation form - quasi rondo sounding, or quasi rounded binary.

Mvmt 3 Menuetto (Allegro) - Like Mozart did in No.40, Haydn adds developmental procedures to the minuet and trio via their second sections. An 1/8th note countermelody develops the trio's B section. Like other 3rd movements, the forces are reduced for understatement.

Mvmt 4 Allegro spiritoso - Sonata form. Haydn gives a false second theme start: since his second theme are often a restatement of main theme, he begins that and then follows with a true second theme. The coda works more like a second development (looking toward Beethoven again. ).

Summary - The work is not as progressive orchestrally as Mozart's No. 40. This may be due to Haydn's desire for the symphonies to be popular in England and thus tapered dissonance, orchestration, and chromaticism for that reason. He was profit minded. The changes in form mark his desire to avoid typical designs. By developing themes immediately after stating them, Haydn, like Mozart, looks ahead to Beethoven. They both bring developmental activity to the forefront by substituting second themes with it - as often seen in the minuets.

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• Overview - This work, more than any other before it, sets the precendent for future symphonic works. It expands upon the innovations of the Eroica and points the way to Brahms and Berlioz. Its motivic unity, both rhythmic and melodic, reaches far beyond any similar structures by Haydn or Mozart. The recurrence of this motive gives the work cyclical unity across movements and helps propel the sense of one large structure. It introduces new ideas, forms a transition between sections and creates a deep sense of cohesion. Beethoven extends the codas, employs developmental expositions, elevates the development of the scherzo, and expands the classical concept of variation to include elements of sonata form. Beethoven's use of WW almost put them on equal footing with the strings, though the latter still introduces all of the primary themes.
• Mvmt 1 Allegro con brio - The rhythmic motive is introduced. It will later have six melodic variations. Theme groups occur as mulitple second (B, C) and closing themes (D, E) occur (see Stedman, p.77). The development employs antiphonal treatments of the motives by echoing instrumental choirs.
• Mvmt 2 Andante con moto - A variation form with binary/develpmental first theme treatment. Beethoven later develops the theme orchestrally and dynamically. Cyclical unity occurs as the viola recalls a variant of the rhythmic motive. Mediant modulations from c minor to Ab major occur.
• Mvmt 3 Scherzo (Allegro vivace) - Restatements of the A1 and A2 themes are developmental/variated. The A1 theme is derived from the rhythmic motive in mvmt 1. The trio forms a fugal development of the B theme. The return (da capo) is varied and developed - not a verbatium repetition. A long transition based on the scherzo's second theme forms the seque into mvmt 4.
• Mvmt 4 - Textural emphasis (thicker/louder) occurs with the addition of piccolo, 3 trombones (furneral connotations), and contrabassoon - his first symphonic use of these instruments. Multiple themes with the second theme (B) serving as the closing theme. The transitional/concluding scherzo theme is retrieved in the development and serves again as a bridge to the expositionary material (recap.). The coda is almost as long as everything that came before it with an added presto section and a lengthy cadential extension.

• Overview - The 7th symphony is unified by a single motive that permeates each movement than the 5th symphony's motive. Beethoven imbues this work with more affect than those before it. His use of variation form continues in the second movement. The scherzo continues its developmental trends while the finale combines the best of classic (dance nature) preromantic (development/length) attributes. Even more striking is that his innovations are cast in a form with three dance style movements (I, III, and IV - very classical). The orchestration continues his featuring of the WWs and his contrasting choir concept (strings - WWs). The brass is not as prominent as in the 5th symphony. He continues to give the strings more independence; the viola has its own part (not bass doubling) and the cello separates from the bass in the score at key points. Less octave doubling overall. The timpani is used like the brass was in early symphonies: accents, harmonic reinforcement, and cadential emphasis. Timpani rolls help build dynamic climaxes. Its use to emphasize the rhythmic nature of thematic motives - including one melodic solo (mm.315-319) - is new and forward looking.
• Mvmt 1 Poco sostenuto, Vivace - Sonata form with extended introduction. Comparing this introduction to that of the 1st symphony shows his maturing style (it would also be a good paper topic). This intro has two main themes which are in turn developed. His innovation transitional strategy previously discussed reappears: extracting a motive, developing it and fashioning it as a segue. Or, foreshadowing the coming theme by extracting a motive from it to form its own seque (finale). Here the seque seamlessly connects the intro and the exposition. Both themes of the exposition can be subdivided and each component can be traced back to the unifying motive. Look at page 84 and see how the vivace theme (unifying motive) forms the basis of the others themes. Consider when the derivative is rhythmic, melodic, or both. He again weaves a countermelody that accompanies the B theme (here B2), the bass motive, and the final contrapuntal section of the exposition. The development is saturated with counterpoint. The rhythmic motive periodically blasts into the texture. The motive is treated fugally and imitatively. Beethoven switches the main theme's orchestration in the recap to full orchestra versus its first appearance with WWs. The coda immediatley modulates but developmental procedures continue as he places pedal point in the winds and a variation of the pedal in the violins over a two measure ground bass figure. The harmony is simply tonic-dominant for the most of the section (consider again how Mozart's chromaticism and harmonies were ahead of the time).
• Mvmt 2 Allegretto - This movement again combine variation form with another form, now song form with a trio. The five part sectional form weaves the countermelody of variation 1, borrowed from the main theme, into the variations that follow. The main point here is to consider how Beethoven consistently juxtaposes a rhythmic motivic idea (theme) against a subsequent lyrical counter melody.
• Mvmt 3 Presto - Beethoven borrows Haydn's knack for false reprise in this five part form as he alludes to a return that turns out to be another development. Each statment of the theme is followed by a lengthy development per his desire to continually expand and develop the scherzo.
• Mvmt 4 Allegro con brio - Sonata form (Haydnesque) Beethoven keeps the light dance nature of the finale true to early classical traditions. He does this with less development, thus less counterpoint and more theme motives (more singable). The motivic unity of the first movement gives way to sectional successions of motives, largely unrelated, in the finale. The main theme is derived from the Irish folk song "Nora Creina" (see D on p.87). Beethoven earned some extra money by composing accompaniments for Irish folk tunes for George Thomson (publisher). Beethoven foreshadows the second theme group by fashioning a transition from that group's theme. The closing section turns harmonic, per Haydn, and loses its melodic focus. The development recalls Haydn and Mozart as it begins with a verbaitum restatment of the beginning theme spread over several modulations (tonal contrast). There is little counterpoint in this Haydneque development (even the exposition uses repeat signs). The coda returns to Beethoven's true form. It has more counterpoint the development and retrieves the first theme.

• Overview - The 8th symphony marks the final culmination of classically derived Beethoven symphonies. It continues the trends found in symphonies 1, 2, and 4 and presents a union of Beethoven's past and progressive tendencies. The vestiges of the past include shorter overall lengths, clear forms and formal elements, less expressiveness, a three part traditional and more lyrical minuet (instead of his development rich scherzo), measured tremolo in mvmts. I and II (violins), and a quicker second movement (sonatina). The trends carried forward from symphonies 3, 5, and 7 include developmental codas in mvmts. 1 and 4, the use of counterpoint in developments and codas, imitation in the second movement, and an orchestral style similar to symphony no. 7 featuring contrasting choirs of WWs (with horns) and strings.
• Mvmt 1 Allegro vivace e con brio - No introduction. Tutti statement and development of the principal theme's two sections. The third permeates this movement. Motivic extracts form transitions (retreivals and foreshadowings). The development features fugal treatment of the 1st theme (mm. 144-179) with stretto (mm. 167-179). The recap omits some development and restates the themes. The coda begins with a modulation and then develops the first themes. A 16 bar cadential extension features antiphony between the wind and string choirs as they echo the final chord and then retrieve the first tune.
• Mvmt 2 Allegretto scherzando - The sonatina style (binary form) of the second mvmt points to the past per Haydn. The winds were traditionally featured in this typically understated movement, but not here as Beethoven features the strings on the first two themes. The form breaks down into three melody groups with transitions. The second section features some thematic variation (substitutes for development) of the themes and the coda simply truncates the first theme.
• Mvmt 3 Tempo di Menuetto - Beethoven retreives the classic minuet in lieu of the more developmental scherzo for the third movement - but not totally devoid of developement. It is similar to the 1st symphony's minuet. This work is more lyrical and less rhythmic (often mutally exclusive traits). Both second sections are lightly developmental - without dense counterpoint. Motivic extraction provides the closing theme. The scoring reverts to the past as winds are featured in the trio (divertimento and early symphony).
• Mvmt 4 Allegro vivace - Compared to the other movements, this is a complex form - a sonata-rondo with tight motivic construction, contrapuntal development, and lengthy codas (Beethoven's progressive side returns). Beethoven surprises everyone with a melodic interruption in measure 17 that lasts a full measure (C# in F major). The development begins in tonic (like many preclassical works) and features fugato treatment of the A2 theme and dense contrapuntal treatment. Before the recap, the theme is presented in A major and the strange C# is then harmonized, foreshadowing the full explanation to come in the coda. The recap restates the exposition including the C#. The coda begins with modulations that eventually prepare the C# as the dominant in F# minor before continuing to rework the other themes. A new theme is introduced as the coda combines elements of recap and development. A 64 measure closing formula, the longest he ever used, winds toward the ending comprised of 6 consecutive authentic cadences and 14 repetitions of the final chord.

• Overview - This work is important for its lyricism and is accordingly one of the top five most performed works. It is a total departure from his early works. It is also important as the WWs become the primary purveyors of thematic material - a true innovation. Schubert's expressive orchestral scoring shows alot of parity between the choirs - though brass is still used for accent and harmonic support. He also scores the cello and bass separately at times in each movement. The formal innovation is significant. Schubert's first theme is lyrical as opposed to rhythmic. In fact, all of his themes are lyrical: 3 themes in the exposition including a lyrical rerending in the development. The permeating lyricism of the romantic period and the arrival of a lyrically based sonata form is seen in this work by Schubert.
• Mvmt I Allegro moderato - Again, he innovates the sonata form first theme by making it lyrical as opposed to a 'rhythmic attention getter.' The traditionally rhythmic nature of first movement allegro A themes had been in place since the sinfonia. The A theme divides into two sections. The first (strings) introduces the second (main - WWs) which then serves, along with the B theme, as the main objects of the development. The exposition features three lyrical themes. The recap omits the introductory segment. The development is extensive but lyical since the main theme is varied, treated canonically, and set with a countermelody. The whole design hints at cyclical thematic treatment. The introductory material permeates the recap and the coda and the second theme idea recurs in the closing section.
• Mvmt II Andante con moto - This sonatina form hints at a development section at the end of the exposition by canonically treating the B theme. Its minor - major contrasts (C# minor - Db major) in the second theme form a particularly appealing moment (Longyear, 72)

• Overview: Mendelssohn's Italian symphony, like his other symphonic works, points to the continuation of earlier classical Viennese traditions. It is his most popular symphony. He is conservative and nostalgic in regards to form, chromaticism, and tonal scheme. The Saltarello finale recalls the renaissance in name and sectional treatment and baroque/classical dance character. His contrapuntal skills were exceptional for the time and mark his connection to Bach and Baroque style/forms in general. His symphonies contain a fair amount of developmental counterpoint during a time when those practices were neglected in lieu of lyrical melody and other expressive procedures. His scoring utilizes late 18th century forces and strategies including a more traditional role for the WWs. His more progressive traits include motivic connections between the first and final movements (cyclical - like Beethoven's Sym. No.7) and a waltz style mvmt III.
• Mvmt I Allegro vivace - This sonata form features octave string scoring (Schubertian) for the main theme. A new theme appears in the development (Mozart/Beethoven) and treated fugally for 42 bars and reaches four voices at times (baroque influence). The principle theme motive (2 bars) are then weaved into the fabric and eventually take precendence as the fugue acitivty dissapates. The fugue's main theme is then presented by the full orchestra for 21 bars (274-295) until a ground bass passage seques to the recap. (consider the numerous baroque elements).
• Mvmt II Andante con moto - Slow movement in sonatina form, walking baroque bass line countermelody, WW focus and presentation, and four voice counterpoint at times (so many preclassical/baroque nuances). His cross-sectional treatment of the themes (WWs and strings - with WWs dominant) look to the future along with his octave doubling of the themes.
• Mvmt III Con moto moderato - Folk style influences (romantic trait) that point to the waltz. It looks like a traditional minuet form but sounds continuous due to extensive development of the theme.
• Mvmt IV Saltarello - Binary form (the original renaissance structure presented dance themes in successive contrasting sections with repeats). The recurring A theme followed by different themes for each section give the work a rondo feel, but the contiuous development of the theme works against that notion. A triplet figure provides motivic unity for the first half. The fugal and antiphonal activity, along with other traits already mentioned show Mendelssohn's penchant for the past.

• Program later removed by Schumann but modern performances still include the subtitles from the poem.]
• Large brass section 4 hrns., 2 tpts., and 3 trbs reminescent of Beethoven. The first mvmt is motivically unified per Beethoven. The second presents lyric melody in the romantic style with meldoic chromaticism: long appoggiaturas and suspendions. The scherzo has two trios and one is in duple.
• I disagree with Stedman's statement about Schumann not being able to handle an orchestra (p.122). Remember Schoenberg's statement and also consider that Stedman picked the first symphony - who's first symhpony (so far - Berlioz is coming) has been the apogee of their career? The fourth would have been a better choice for several reasons. He seems to consistently pick "the most popular" symphony by any given composer - popularity and art do not always coincide (read Ives's commentaries to get the face blushing details on this topic).
• Schumann's lose handling of form, omitting sections, combining sections, adding second trios (some in duple), and so forth point to coming trends in the romantic period when form becomes very nebulous indeed and metrical character is often altered.
• Mvmt 1 Andante un poco maestoso, Allegro molto vivace:
  • Motto intro theme (horns) unifies and permeates the mvmt. The main theme is introduced, immediately developed and then extended.
  • Development is more tonal than developmental - features a countermelody in 1/16ths that acoompanies the motto motive (repeated and sequenced - it unifies the dev.).
  • Recap is truncated by leaving out the second half of the main theme, much of the motivic extensions, and the closing theme section.
  • Coda - a lyric theme is introduced (438) and works in contrast to the recurring motto theme.
  • Somewhat classical scoring. Some measured tremolo
• Mvmt 2 Larghetto:
  • Aria form (ABA)
  • Melodic dissonances (appoggiaturas and suspensions) present the lyric, romantic period style melody.
  • Theme restated in V in the B section and new motivic theme is introduced (C).
  • A section is repeated with reduced orchestration.
  • Scherzo theme is foreshadowed in the closing section.
  • Various orchestral doublings provide a distinct romantic color.
• Mvmt 3 Molto vivace
  • Scherzo has five part form with two trios (first is duple), transition, and coda. (S-T1-S-T2-Tr.-S-C)
  • Several sections are abbreviated.
• Mvmt 4 Allegro animato e grazioso
  • The differences in titles point to the continuation of the serious 1st mvmt nature and the dancelike finale.
  • Sonata form - Exp. has 3 segment main theme and a secondary theme.
  • Dev. juxtaposes the main and secondary themes contrapuntally and sequentially (m.117)
  • Recap omits first tune (1st section of main theme).
  • Coda features variation of the opening theme.
  • 4 part WW presentation of A3 theme with string pizz on strong beat melody notes is unique and colorful. Some measured tremolo.

Program synopsis: (read p.126 for a more detailed account). Each mvmt is an opium induced vision between the young musician (presumably Berlioz) and his beloved. The idée fix represents the young lady as explained in the program by Berlioz.

• mvmt 1 - shows the depths of their love.
• mvmt 2 - shows her at the ball.
• mvmt 3 - he retreats to the country only to see her again.
• mvmt 4 - he dreams he kills her and hangs for it.
• mvmt 5 - the witches commemorate his death at the witches sabbath. Cantus firmus treatment is used as the Dies Irae chant provides a historical musical connection. Click here for more on Dies Irae.

Each mvmt has a different orchestral combination of the largest forces to date: pic., 2 fl., 2 ob., Eng. hrn., 2 cl., 4 bass., 4 hrns., 2 cor., 2 tpt., 3 trb., 2 tubas, 4 timp., aux. percussion, bells, harps, and strings. The work uses traditional forms except for the finale which is sectional. As a skilled contrpuntalist, Berlioz often juxtaposes themes against themselves to create the movement's climax. Having the timpani then the basses play four note chords is innovative.

Mvmt 1 Reveries and Passions: Largo, Allegro agitato e appassionato assai. (Copy Yudkin's description)

• The intro moves into the exposition. Berlioz focuses on strings and winds. The 1/16th note feel recalls the galant style - but its not used as a unifying device here. The development extends the second theme. The recap returns the main theme in V and Berlioz omits part of the expositionary material. The coda introduces a new theme, a countermelody for the idée fixe, before concluding with a plagal cadence.

Mvmt 2 A Ball: Allegro non troppo (Waltz)

• The strings, along with two harps, carry the waltz. WWs and horns provide accent support with the WWs occasionally carrying the theme. He spread each beat of the um-pah-pah rhythm between strings (1), harps (2), and WWs (3) at times.

Mvmt 3 In the Country: Adagio.

• He places the oboe off stage for echo an presentation of the opening imitative passage. Chordal timpani strikes evoke gradually more distant thunder (4 then 3 then 2 note events). An innovative use of timpani. The idée fixe is woven throughout the countermelody material.

Mvmt 4 March to the Gallows: Allegretto non tropo.

• Timpani concluded III and intros IV with another minor sonority. Four note pizz chords in the contrbass (divisi) point to another unusual orchestration - this time dark and somber. The coda supplies a new theme and the idée fixe reappears just before the last chord.

Mvmt 5 Witch Sabbath: Larghetto, Allegro.

• The intro sets the mood for the finale. After the idée fixe is parodied four bassons and two tubas introduce the Dies Irae melody as the theme of the second section. The I-V bells make an errie pulse that forms a ground motive. The witches dance marks the third section which is rendered fugally. The dance tune and the Dies Irae combine in the final section. The con legno (on the wood of the bow) accompaniment in m.444 combined with the WW tremolo is an unusual effect.

• Overview: Faust is probably Liszt's greatest work. The third movement is the prime example of thematic transformation. He often delays or ornaments expected harmonic resolution through chromaticism. The lack of tonal structure is compensated by motivic/thematic recall, chromatic line motion, and orchestral recall. The natural alignment, via programmatic intent, of theme, dynamic, meter, tempo, character, and orchestral pallet, sets up a type of sectional organization that allows Liszt to create shades of recall. The listener begins to associate with these events and that provides the large scale structural design.
• The program for Faust is based on the life the Benedictine monk Georgius Faust. The embellished story describes how Faust trades his soul to the devil (Mephistopheles) in exchange for supernatural powers. Each main character, Faust, Mephestopheles, and Gretchen (heroine/victim) is set as an individual movement. The later appended chorus works as a coda to third mvmt.
• Mvmt I Faust: Lento assai, Allegro impetuoso. Themes were not assigned a specific program by Liszt. Those assignments were decided by Humphrey Searle after extensive research into the program and orchestration. See p.135 for the subtitles. The French overture legacy of slow introduction followed by an Allegro is noteworthy. Augmented triads, thus all 12 tones, comprise the first theme. Five themes form the main focus along with some developmental activity immediately following some of their entrances (see diagram, p. 136). The recap omits the D theme and combines themes A and C (combining themes reaches back to Beethoven, Schumann, and Berlioz).
• Mvmt II Gretchen: Andante soave - Aria form, subdued character, and lighter textures point to earlier trends. Numerous solos and chamber textures. The recall of a Faust themes (D) provides cyclical structure and narrative recall. The intermingling of the Faust and Gretchen theme, marked dolce amoroso, carries intimate narrative overtones. The coda presents a continued sense of growing repose.
• Mvmt III Mephistopheles: Allegro vivace, ironico. This movement provides the best study of Liszt's thematic transformation. It combines careful thematic transformation and loose sonata form. The corruption of Faust by Mephistopheles and his redemption through Gretchen's love forms the narrative. Liszt presents this by juxtaposing the themes for Faust (3 themes) and Gretchen. The devil fails to show up thematically. All the themes are parodied and transformed except Gretchen's (unwavering love) and the first Faust theme. The corruption of the other themes, and their subsequent restatement, protrays Faust's own corruption and subsequent salvation. The setting and reworking of the Faust themes form the prime example of thematic transformation. Moments of intensity are created by thematic interruptions as themes compete for visibility in the dialogue.The fugal moment of parody mirrors a similar instance in Berlioz's Symphonie Fantasique finale. The later revision seques into the chorus by way of a German +6 chord.
• Mvmt IV Choral finale or coda: The program's text for this section hails from Goethe's Chorus Mysticus (Faust: end of second part). This coda forms a point of release with its simpler setting and orchestration. The Gr.+6 chord returns at the end and is resolved by the tenor soloist as the lyric "leads us on high." Feminine symbolism occurs as Liszt sets the text "the eternal flame" to Gretchen's theme.

Overview: As an abstract symphonist rejecting programmatic trends, Brahms presents an alternative style to that of Berlioz, Liszt, and Wagner. Many Beethoveneque traits appear in first symphony: dense counterpoint, lyrical but motivically sectional themes, Mozartian chromaticism (melodic, linear, and harmonic), and the use of classical and baroque forms (no. 4, IV); his progressive contibutions include - lyrical romantic melodies, occasional WW theme introduction, intricate rhythm schemes (multiple meters, alternating meters, 2 against 3, syncopation, and displaced accents), tonal ambiguity (various keys of E), continuous phrasing (overlapping or elided), and plagal relationships. In general, Short motives with phrase continuation marks the theme.

• Mvmt 1 Un poco sostenuto, Allegro - Standard Sonata form with introduction. Four motives from the intro form the Allegro themes. Tonic pedal under melody against descending 3rds (countermelody) in the WWs. Violin tune is metrically displaced. The development features thematic exploration. The intro returns to setup the recap. The recap, as often happens, omits the developmental regions that originally followed each theme's introduction. The intro returns in the coda in miniature. (See notation on pp. 152-153 for motivic relationships and regenerative treatments).
• Mvmt 2 Andante sostenuto - Aria form. Four short motives combine to form a long lyrical melody. Most of the counterpoint happens in the final section of the first A. The B presents a long ornate subordinate theme. The final section further develops the A theme. The A2 and A3 segments close the tune.
• Mvmt 3 Un poco Allegretto e gracioso - Scherzo form. WW theme presentations (recalls early traditions, but in the trio). The trio material returns in the coda.
• Mvmt 4 Adagio; Piu Andante; Allegro non troppo, ma con brio - Like the first movement, the finale themes derive from the introductory material. The intro, like before, also returns amid the movement. The recap and development combine (lightening the character of the finale is long standing legacy from the past) but the material is varied motivically and orchestrally. An augmented 6th chord prepares the final closing formula. He juxtaposes a plagal harmonic cadence with a melodic leading tone cadence (contrpuntal).
• Orchestral textures are not functional in the manner of Berlioz or Lizst. They act more developmental per Beethoven. Brahms generally keeps the three choirs separate but does voice some melodic lines across sections. (The term cross sectional voicing is often associated with Duke Ellington - who would also combine instruments from different sections for melodic presentation.

• Overview: His contrasting tone colors (orchestration) over repeated material mark his style of development (extension) that rarely includes counterpoint. His abundance of tunes, scales, repetition, sequence, color, numerous sections, folk themes, variation, Russian festival finales, waltz, and overlapping expressive climaxes form a uniquely romantic style.
• Mvmt 1 Andante sostenuto, Moderato con anima (In movimento di Valse)
  • Self titles "Fate" motto theme permeates the extended intro and forms the basis for the main theme which focuses on the sixth scale degree (Db) and is comprised of 4 groups of 1/8th notes (2,2,2,3). The emotional climax incorporates chromatic lines as counter melodies (mm. 70-72 and 74-76). A short transititon works to quietly introduce the lyrical second theme. A waltz forms the closing section in simple trio sonata style (3rds, w/bass). A new theme apprears at the close of the exposition based on the tonic triad (ƒƒƒ). The motto theme seques to the development (cyclical). The development features the main theme, motto theme, and a new theme (D) posed in sequential climaxes. The recap appears at the climax (ƒƒƒ m.284). The recap is truncated (trans. material omitted). The motto theme signals the coda (m.335). A new theme (E) is introduced and diminuted as the movement heads accelerating towards the conclusion. The opening appoggiatura returns per the opening retrieving the Db from the beginning (compare mm. 23 and 412, see motto theme on bottom of p. 165). The diagram on p. 166 shows how often the motto recurs in the cyclic design of this movement. Tchaikovsky weaves several moods and layered climaxes together forming an unending wave of romantic expression.
• Mvmt 2 Andantino in modo di canzona
  • A folk style melody in song form.
  • Theme's latter half is sequenced for climax.
  • Main theme's return is varied; now has countermelodies.
  • March section forms the middle area.
  • Recap returns first section.
  • Coda/development leads to soft ending.
• Mvmt 3 Scherzo (Pizzacato ostinato), Allegro
  • Pervasive pizz style 1/8th note texture. WWs and Brass form the middle section. The pizz section returns and the closing material features antiphonal activity (median tonalities) between choirs of the pizz motive.
• Mvmt 4 Allegro con fuoco
  • This is a sectional form. Exposition with 3 theme design (A1,A2,B). A2 derives from Russian folk melody. The folk melody is set, after a cadence, in a series of strophic variations for the second section. The final section recalls the 1st movements motto theme (cyclic unity) and moves to a coda treating the folk theme (second section). This work, in the Russian Festival finale style, is one of Tchaikovsky's most important developmental structures. It divides into two larger sections (I and II), both with exposition and development sections, and the coda serves up recap material.
    
• This work's main appeal is its orchestration and tuneful melodies. Tchaikovsky uses successive orchestral groupings for successive phrases. He forms a developmental practice (contrast/extension) based on orchestral scoring (scoring raised to a developmental strategy). The concertato (alternating choirs) strategy becomes one of his principal devices for presenting sequenced material and sustaining the listener's interest.

• Overview: Revised several times (5). Bruckner is one of the last abstract (absolute) 19th century symphonists. He, like Brahms, extends the style of Beethoven. The parallels seen in his fourth symphony include: extended length and continuous development (all 4 mvmts). His romantic lyricism balances the counterpoint. The sonority is brass focused. The finale recalls the first mvmt theme (his later works recall many themes in the finale).
• Mvmt 1 Ruhig Bewegt:
  • Vague string tremolo.
  • Urthema presented by horn.
  • Crab style (retrograde counterpoint) for A2 (see p.178) with Bruckner duplet / triplet polyrhythmic design.
  • Typical Gesangsperiode second theme.
  • Small development.
  • Retrieves secondary themes for closing material.
• Mvmt 2 Andante:
  • Most are 5 part forms that combine developmental and non-developmental forms. This one is one of the two true sonata forms. (Points to the expansionist trend to turn forms without developments into ones with developments). Primary and secondary themes with extended development. Recap covers the exposition and coda retrieves first tune.
• Mvmt 3 Bewegt (Scherzo)
  • Like movment II, extends non-developmental works with added developments - per Beethoven, and earlier in the minuets with Haydn and Mozart. Bruckner adds development to approximate sonata form. The returning material is varied pointing to continuous development. The folk like trio resembles earlier (Schubert) styles.
• Mvmt 4 Bewegt, doch nicht zu schnell
• Recalls first movement for opening material. Tremolo and Urthema (WWs). Tutti primary theme with polyrhythm (2/3). Mvmt I's main tune appears in the exposition (cyclic) and development - which divides into several parts, each devoted to previous thematic ideas.