Structure of a Typical Classical Symphony 4 Movements

THE SYMPHONY

Structure (Form)

A symphony is a composition for Orchestra in 3 movements (early Classical) or 4 movements (established Classical onwards). It emphasizes the tone colour and dynamics of the Classical Orchestra.

Structure of a Typical Classical Symphony – 4 movements

1st Movement (Allegro / Fast) – vigorous, dramatic and fast movement

Þ  Sonata Form

Þ  Tonic Key

Þ  sometimes a slow introduction leads to the opening fast movement

Þ  vigorous, dramatic, and fast with exciting development of motives

2nd Movement (Adagio / Slow) – lyrical and slow movement

Þ  Sonata Form OR Binary Form (AB) OR Ternary Form (ABA) OR Theme and Variations Form

Þ  NOT in the Tonic Key (often in Dominant, Sub-Dominant or Relative Major / Minor)

Þ  this slow and lyrical (song-like) movement is a strong contrast to the first movement

3rd Movement (Allegretto / Fast or Moderate) – dance-like movement

Þ  Tonic Key

Þ  Haydn and Mozart – Usually Minuet and Trio / Beethoven liked fast energetic Scherzo and Trio

4th Movement (Presto or Allegro / Very Fast or Fast) – brilliant or heroic fast movement

Þ  Sonata Form OR Rondo Form OR Sonata-Rondo Form OR Theme and Variations Form

Þ  Tonic Key

Þ  lively and fast or very fast, but lighter in mood than the first movement

Þ  Beethoven’s last movements were more triumphant and heroic

Þ  Seen as the climax of the symphony

Generally

Þ  In a Classical Symphony each movement is self-contained with its own set of themes

Þ  A theme in one movement is rarely used in another (notable exception: Beethoven 5th symphony)

Þ  It is unified partly by the use of the same key in 3 of its movements

Absolute / Abstract Music

Absolute or Abstract music is self-fulfilling. It does not attempt to convey a story, scene, poem or sounds from nature. For example, in Beethoven’s 1st Symphony the musical ideas are solely important.

Programme Music

This is purely instrumental music (without words) which is based on an extra-musical stimulus. Programme Music is particularly prevalent in the 19th Century (Romantic Period) because of the strong bonds between the various art forms as well as because of a fascination with nature (by which many programme works are inspired).

Generally Programme Music is broken up into the following four broad categories:

·  Descriptive Music – musical sounds describe an object or subject (e.g. The Swan by Saint-Saëns)

·  Narrative Music – Tells a story by means of music (e.g. “Dance Macabre” by Saint-Saëns)

·  Imitative Music – Sounds of living creatures or inanimate objects are imitated by means of the music (e.g. “Flight of the Bumble Bee” by Rimsky-Korsakov)

·  Non-Definitive Music – This is grouped as Programme Music due to the fact that it normally has a title. The interpretation of the title, however, is often completely dependent on the individual listener, as no specific programmatic content is present. All music which does not specifically fall into the first three categories is usually categorised as Non-Definitive Music (e.g. “Prelude to the afternoon sleep of a faun” by Debussy)

Programme Symphony

·  A symphony which has a programme. (Combine definition of Symphony and Programme Music).

·  The whole work usually has a subtitle and sometimes each movement has a subtitle as well.

Basic development of the Symphony

The symphony developed in the Classical Period and was influenced by earlier genres:

1.  Italian sinfonia (overture from the Baroque period) in 3 parts which suggested the fast-slow-fast plan of movements.

2.  The Baroque suite: this provided the concept of independent movements within a large work. It also provided the minuet which was used as the 3rd movement in standard symphonies.

3.  Ternary form played an important role in the development of Sonata Form - the form on which the first movement of most symphonies was based.

During the mid-18th Century the orchestra and symphony underwent significant development in many parts of Europe. The most prominent centres were Mannheim, Vienna and Berlin. Stamitz was the founder of the Mannheim orchestra which was renowned for its virtuosity and dynamic range. During this time the harpsichord was discarded in symphonies and ensembles.

The Mannheim School refers to both the orchestral techniques pioneered by the court orchestra of Mannheim in the latter half of the 18th century (a relatively large orchestra for the time) as well as the group of composers who wrote such music for the orchestra of Mannheim and others. The innovations of the Mannheim school influenced many composers such as Haydn, Mozart and Beethoven.

The composition of the standard classical orchestra was established by the Mannheim school.

Strings: Violin 1, Violin II, Viola, Violoncello, Double bass

Woodwinds: 2 Flutes, 2 Oboes, 2 Bassoons

Brass: 2 Horns

Percussion: 2 Timpani

Performance Techniques

·  String Tremolos

·  Independent treatment of the woodwind instruments

·  Sudden sfz

·  Opening arpeggios (Mannheim Rocket)

·  Full orchestral sudden crescendo (Mannheim Crescendo) and decrescendo

·  Emphasis on first note of descending pairs of slurred notes (Mannheim Sigh)

·  Imitation of birds chirping in solo passages (Mannheim Birds)

·  Grand Pause where the playing stops for a moment, resulting in total silence, usually to begin again vigorously

Generally the main factor during the Classical Period was a stress on melody. Because of this, a different accompaniment was required and so therefore the basso continuo disappeared (harpsichord & bass instrument). There were no contrapuntal (polyphonic) textures. Harmony was generally based on primary and secondary triads. Instruments were now used for their tone colours, not only their range.

Orchestration during the Classical Period

Orchestration is the art of using instruments in a composition according to their individual properties and the composer’s concept of the sound he wants to create. (Note: Instrumentation refers to which instruments are used in a work; orchestration refers to how they are used.)

General Orchestration in the Classical Period

1.  Strings are the backbone of the orchestra and were given the most important melodic parts.

2.  Woodwinds also took melodic parts. As each instrument has its own timbre they were used sparingly.

3.  Brass: French horns were normally used to sustain harmonies. Trumpets and trombones were introduced later and were used to reinforce climaxes with big sounds, but could be used for soft or solo passages.

4.  Percussion: contributed to the rhythm and special effects.

5.  The orchestras of Haydn and Mozart used instruments for their timbre and colour. Colour was used to highlight form and structure.

6.  Thematic development was all important. (As opposed to in the Romantic period where sound and colour took over.)