stamitz 2
Fast ⅜
Virtuosic parts; fast rhythms
Mannheim ‘sigh’ used in more joyful fashion
Sequences, dissonance and ornamentation
Sonata form or a compact rounded binary form
mozart 25
Sonata form
Energetic theme by strings
Unison opening
Contrasting dynamics
haydn 104
Sonata form but change of length of sections in Recapitulation and Coda
Monothematic
Folk and dance feel; Croatian folk theme
Re-orchestration and big changes of mood between S2A and S2B
Beethoven 5
Sonata form in C major - triumph vs. C minor opening
First appearance for trombones!
Movement 3 Scherzo main theme returns
Movement 1 rhythmic first subject returns too
Surprising coda: accelerando
Mendelssohn 4
Sonata form but without repeat of Exposition and false Recapitulation / two Developments
Saltarello with 3rd theme as a Tarantella
S1A of movement 1 returns in minor
Farrenc 3
Typical sonata form
Octave unison opening in strings
2nd subject by oboe with pizzicato string accompaniment
Exposition repeat removed
Development: Woodwind rubato moments and octave unison aggressive string triadic writing separated by dramatic pauses
Smetana Vltava
Ab major but not sonata form, more programmatic and free
Similar to opening - flutes and a lack of ‘bass’
Harp appears
Dvorak 9
Follows typical sonata form structure overall
Allegro con fuoco - written in sonata form with changes;
Previous movement themes return but begins with the development section theme
The second theme is a broad and lyrical theme to contrast with the weighty and aggressive opening theme.
In the development section, Dvorak combines the main themes from the 2nd, 3rd and 4th movements - ‘cyclical writing’
The recapitulation is short, allowing for a lengthy coda working through all the keys used throughout the symphony itself with the opening chords of movement 2 returning in grand fashion.
