Description
full sentences
Unformatted Attachment Preview
MUA 1930. Assignment, the Classical Period (II).
You do not need to submit anything to icollege this week! However, do listen to the pieces
below carefully and follow the listening guides, as there will be questions about them in the
upcoming exam.
LISTENING: two first movements of two symphonies, one by Mozart (Symphony no. 40) and the other
by Beethoven (Symphony no. 5). Both these pieces reveal the genius of their composers: neither Mozart
nor Beethoven need a whole lot of musical materials to “build” a whole movement.
Mozart is able to develop the movement from a basic rhythm of three notes: ta-ta-TA, or short-shortLONG (you hear that in the violins at the very beginning. Then, it will keep recurring all over the
movement, whether in the exposition, development, recapitulation, or coda. Sometimes it’s the violins
who play it, sometimes a low-pitch instrument like the double bass or the bassoon, etc. It’s always
present. This is how Mozart applies LOGIC (a distinctive classical trait) to his music.
The case of Beethoven is very similar. His rhythmic cell (in music we call it “motive”) is made of four
notes: ta-ta-ta-TA, or short-short-short-LONG. This will recur throughout the movement, almost at all
times.
A good way to enjoy the performance of these two works is looking for the appearances of their
respective musical motives.
Your assignment today consists of listening to these two examples, following the listening guide.
You don’t need to submit anything. Listening and following the sections of the first movement of a
Symphony is challenging. Please, listen carefully and attentively. Also, please read what the textbook
says about the two pieces; it will benefit you. Mozart’s Symphony no. 40 is discussed on Chapter 9, and
Beethoven’s Symphony no. 5 is discussed on chapter 10.
Mozart, First movement of Symphony no. 40
EXPOSITION: 0’6” thru 2’03” Repetition of exposition: 02’04” thru 04’01”
Theme 1: 0’06”
Modulation starts around 0’33” and ends at the onset of theme 2
Theme 2: 0’57”
DEVELOPMENT: 04’02” thru 05’19”
RECAPITULATION: 05’20” thru 07’34”
CODA: 07’35” till the end. NOTE: it is very difficult to pinpoint the exact moment the “tail” (Coda)
starts. This is my interpretation of it, but I’m sure some people might disagree!
Beethoven, First movement of Symphony no. 5
EXPOSITION: 0’04” thru 1’26”. Repetition of exposition: 01’27 thru 2’53”
Them 1: 0’04”
Modulation starts around 0’30”
Theme 2: 0’50”
DEVELOPMENT: 2’54” thru 4’14”
RECAPITULATION: 4’15” thru 5’50”
CODA: 5’50” till the end. In the case of Beethoven, the start of the codas is very difficult to locate
because they tend to be long and bombastic, very loud, etc. Probably it has to do with his “heroic” style:
there is so much drama in the Expo, Development and Recap that the Coda must be really powerful in
order to dispel the preceding drama.
Purchase answer to see full
attachment
