Musical Analysis: Visiting the Great Composers, 5th Edition

Musical Analysis

Visiting the Great Composers

6th Edition

Frans Absil

INCOMPLETE DEMO VERSIONOrder the full version E-book from the webstore.

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

c

œœ# œ

œœ# œ

œœ# œ

œœ œ

y

∑

∑

œœ

œœ œœ#

œœ œœ

œœ

∑

∑

∑

Œ

˙n

Œ

f

˙˙b

Œ

f

˙

˙

Œ

f

˙

œ œ

˙n

œ œ˙˙

.

.

˙

˙

n

.

.

˙

˙b

.

.˙

˙

.

.˙

˙b

∑

∑

.˙b

.˙

Eb713/#

11

œ

œ

œ

œ

œ

œœœbœnœ œœ

∑

Œ ˙b

y y y y y

Œ

f

˙

æ

œ

˙

˙˙˙

n

n

∑

œ

œ

n œ

œ

œ

œ

œ

œ

.

.

œ

œ

œœn

œœ œœ

œœ

.

.œœ

˙˙

f

œ# œ œ œ.œ

f

œ œ œ œ.œ

a 2

œ# œ œ œ.œ

˙

˙˙

˙

˙

œ œ

˙

˙˙

˙

˙

˙

˙

˙

˙

˙

˙

œ œ

|

Eb713/#

11

œœnn

œœ œœn œœ

.

.œœ

Œ œb

Y

æ

œ

æ

œ

æ

œn œ œ œ.œ

Suspended cymbal

f

˙

æ

ColophonThis musical analysis book contains compositions from the classicalsymphonic and chamber music repertoire. It includes many master-works by the great composers from the tonal music period.

This document has been created using the public domain LATEX com-puter typesetting program. The navigation links (printed in blue) inthe Adobe Acrobat Reader file (the pdf-file) were created using thehyperref package from the LATEX distribution.

FREE DEMO VERSION (PERSONAL USE ONLY):This incomplete demo version e-book is offered free of charge. Orderand buy the full version of this music analysis E-book from the web-shop. See the website for payment instructions.

Current edition:Sixth Edition, 2017, Vs. 6.1.

Musical Analysis: Visiting the Great Composers, 6th Edition, Frans Absilc©2005-2017 F.G.J. Absil, the Netherlands.

URL Website: www.fransabsil.nl

All rights reserved. No part of this publication may be reproduced or transmitted in any form or byany means, electronic or mechanical, including photocopying, recording, or any information storageand retrieval system, without prior permission in writing from the Author.

ii INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

Contents

Colophon ii

List of Figures xvi

Preface xxi

1 Introduction 11.1 What you will find in this book . . . . . . . . . . . . . . . . . . . . . . . . . . . 11.2 How the musical analysis diagrams were created . . . . . . . . . . . . . . . . . 11.3 How to read the analysis diagrams . . . . . . . . . . . . . . . . . . . . . . . . . 3

1.3.1 Notation in the analysis tables . . . . . . . . . . . . . . . . . . . . . . . 41.3.2 Absolute chord notation in the harmonic analysis . . . . . . . . . . . . 111.3.3 Two template musical forms . . . . . . . . . . . . . . . . . . . . . . . . 121.3.4 Key relationship diagram . . . . . . . . . . . . . . . . . . . . . . . . . . 15

1.4 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

2 Johann Sebastian Bach 192.1 Vierstimmige Choralgesange . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

2.1.1 Nrs. 154-163 Herzlich tut mich verlangen . . . . . . . . . . . . . . . . . . 192.2 Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 . . . . . . . . . . . . . . 19

2.2.1 Movement 2. Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252.3 Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . . . . . . . . . . . . . . . . 27

2.3.1 Movement 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272.3.2 Movement 2 Aria. Duetto Wir eilen . . . . . . . . . . . . . . . . . . . . 27

2.4 Brandenburg Concerto No. 4, BWV 1049 . . . . . . . . . . . . . . . . . . . . . . 322.4.1 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322.4.2 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

2.5 Orchestral Suite No. 3, BWV 1068 . . . . . . . . . . . . . . . . . . . . . . . . . . 342.5.1 Mvt. 1 Ouverture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342.5.2 Mvt. 2 Air . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342.5.3 Mvt. 3 Gavotte 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382.5.4 Mvt. 4 Gavotte 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382.5.5 Mvt. 5 Bourree . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402.5.6 Mvt. 6 Gigue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

iii

CONTENTS

3 Joseph Haydn 433.1 String Quartet Op. 76, No. 1 in G Major . . . . . . . . . . . . . . . . . . . . . . 43

3.1.1 Mvt. 1 Allegro con spirito . . . . . . . . . . . . . . . . . . . . . . . . . . 433.1.2 Mvt. 2 Adagio sostenuto . . . . . . . . . . . . . . . . . . . . . . . . . . 433.1.3 Mvt. 3 Menuetto presto - Trio . . . . . . . . . . . . . . . . . . . . . . . . 483.1.4 Mvt. 4 Allegro ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 483.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 51

3.2 String Quartet Op. 76, No. 2 in D Minor Quinten . . . . . . . . . . . . . . . . . 513.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523.2.2 Mvt. 2 Andante o piu tosto allegretto . . . . . . . . . . . . . . . . . . . 523.2.3 Mvt. 3 Menuetto allegro ma non troppo - Trio . . . . . . . . . . . . . . 563.2.4 Mvt. 4 Vivace assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 563.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 58

3.3 String Quartet Op. 76, No. 3 in C Major Kaiser . . . . . . . . . . . . . . . . . . . 603.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603.3.2 Mvt. 2 Poco adagio; cantabile . . . . . . . . . . . . . . . . . . . . . . . . 603.3.3 Mvt. 3 Menuett allegro - Trio . . . . . . . . . . . . . . . . . . . . . . . . 653.3.4 Mvt. 4 Finale. Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 653.3.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 68

4 Wolfgang Amadeus Mozart 714.1 Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

4.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714.1.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 744.1.3 Mvt. 3 Allegro assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 764.1.4 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 76

4.2 String Quartet in C Major No. 19 KV 465 . . . . . . . . . . . . . . . . . . . . . . 764.2.1 Mvt. 1 Adagio - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . 764.2.2 Mvt. 2 Andante cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . 804.2.3 Mvt. 3 Menuetto Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 854.2.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 854.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 88

4.3 String Quartet in B[ Major No. 22 KV 589 . . . . . . . . . . . . . . . . . . . . . 904.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904.3.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904.3.3 Mvt. 3 Menuetto moderato . . . . . . . . . . . . . . . . . . . . . . . . . 944.3.4 Mvt. 4 Allegro assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944.3.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 97

4.4 String Quintet in C Major KV 515 . . . . . . . . . . . . . . . . . . . . . . . . . . 994.4.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 994.4.2 Mvt. 2 Menuetto Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . 994.4.3 Mvt. 3 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1044.4.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1044.4.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 108

4.5 String Quintet in G Minor KV 516 . . . . . . . . . . . . . . . . . . . . . . . . . . 1084.5.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1104.5.2 Mvt. 2 Minuetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

iv INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

4.5.3 Mvt. 3 Adagio ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 1154.5.4 Mvt. 4 Adagio - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . 1154.5.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 119

4.6 Clarinet Quintet in A Major KV 581 . . . . . . . . . . . . . . . . . . . . . . . . . 1214.6.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1214.6.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1214.6.3 Mvt. 3 Menuetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1254.6.4 Mvt. 4 Allegretto con Variationi . . . . . . . . . . . . . . . . . . . . . . 1254.6.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 128

4.7 Symphony No. 38 Prague KV 504 . . . . . . . . . . . . . . . . . . . . . . . . . . 1284.7.1 Mvt. 1 Adagio - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . 1284.7.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1294.7.3 Mvt. 3 Finale presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1344.7.4 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 134

4.8 Symphony No. 39 KV 543 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384.8.1 Mvt. 1 Adagio - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . 1384.8.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 1404.8.3 Mvt. 3 Menuetto Allegro - Trio . . . . . . . . . . . . . . . . . . . . . . . 1424.8.4 Mvt. 4 Finale Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1434.8.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 145

4.9 Symphony No. 40 KV 550 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1464.9.1 Mvt. 1 Allegro molto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1464.9.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1474.9.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . . . . . . . . . . . . . . . . 1524.9.4 Mvt. 4 Allegro assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1524.9.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 155

4.10 Symphony No. 41 in C Major Jupiter KV 551 . . . . . . . . . . . . . . . . . . . . 1554.10.1 Mvt. 1 Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1564.10.2 Mvt. 2 Andante cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . 1574.10.3 Mvt. 3 Menuetto allegretto - Trio . . . . . . . . . . . . . . . . . . . . . . 1634.10.4 Mvt. 4 Molto allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1634.10.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 166

4.11 Opera The Magic Flute KV 620 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1684.11.1 Ouverture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1684.11.2 No. 1 Introduction ‘Zu Hulfe’ . . . . . . . . . . . . . . . . . . . . . . . . 1734.11.3 No. 2 Arie ‘Der Vogelfanger’ . . . . . . . . . . . . . . . . . . . . . . . . . 1784.11.4 No. 3 Arie ‘Dies Bildnis ist bezaubernd schon’ . . . . . . . . . . . . . . . . 1784.11.5 No. 4 Arie ‘O zittre nicht’ . . . . . . . . . . . . . . . . . . . . . . . . . . 1804.11.6 No. 5 Quintett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1804.11.7 No. 6 Terzett ‘Du feines Taubchen nur herein!’ . . . . . . . . . . . . . . . 1834.11.8 No. 7 Duett ‘Bei Mannern, welche Liebe fuhlen’ . . . . . . . . . . . . . . . 1834.11.9 No. 8 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1864.11.10 No. 9 March of the Priests . . . . . . . . . . . . . . . . . . . . . . . . . . 1944.11.11 No. 10 Aria ‘O Isis und Osiris’ with Choir . . . . . . . . . . . . . . . . . 1984.11.12 No. 11 Duet ‘Bewahret euch vor Weibertucken’ . . . . . . . . . . . . . . . 1984.11.13 No. 12 Quintet ‘Wie? wie? wie?’ . . . . . . . . . . . . . . . . . . . . . . 2004.11.14 No. 13 Aria ‘Alles fuhlt der Liebe Freuden’ . . . . . . . . . . . . . . . . . 200

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY v

CONTENTS

4.11.15 No. 14 Aria ‘Der Holle Rache’ . . . . . . . . . . . . . . . . . . . . . . . . 2044.11.16 No. 15 Aria ‘In diesen heil’gen Hallen’ . . . . . . . . . . . . . . . . . . . . 2044.11.17 No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’ . . . . . . . . . . . . 2084.11.18 No. 17 Arie ‘Ach, ich fuhl’s, es ist verschwunden’ . . . . . . . . . . . . . . 2084.11.19 No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’ . . . . . . . . . . . . . 2104.11.20 No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’ . . . . . . . . . . . . 2104.11.21 No. 20 Aria ‘Ein Madchen oder Weibchen’ . . . . . . . . . . . . . . . . . . 2124.11.22 No. 21 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2134.11.23 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 215

5 Ludwig van Beethoven 2175.1 Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

5.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2175.1.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2175.1.3 Mvt. 3 Menuetto and Trio, Allegretto . . . . . . . . . . . . . . . . . . . 2215.1.4 Mvt. 4 Prestissimo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2215.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 223

5.2 Sonata Op. 13 in C Minor Pathetique . . . . . . . . . . . . . . . . . . . . . . . . 2235.2.1 Mvt. 1 Grave - Allegro di molto e con brio . . . . . . . . . . . . . . . . 2235.2.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . 2275.2.3 Mvt. 3 Rondo Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2295.2.4 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 229

5.3 Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia . . . . . . . . . . . . . . . . 2335.3.1 Mvt. 1 Adagio sostenuto . . . . . . . . . . . . . . . . . . . . . . . . . . 2335.3.2 Mvt. 2 Adagio cantabile . . . . . . . . . . . . . . . . . . . . . . . . . . . 2335.3.3 Mvt. 3 Presto agitato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2365.3.4 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 236

5.4 String Quartet in B[ Major, Op. 130 . . . . . . . . . . . . . . . . . . . . . . . . . 2405.4.1 Mvt. 1 Adagio ma non troppo – Allegro . . . . . . . . . . . . . . . . . . 2405.4.2 Mvt. 2 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2415.4.3 Mvt. 3 Andante con moto ma non troppo . . . . . . . . . . . . . . . . . 2475.4.4 Mvt. 4 Alla danza tedesca, Allegro assai . . . . . . . . . . . . . . . . . 2475.4.5 Mvt. 5 Cavatina, Adagio molto espressivo . . . . . . . . . . . . . . . . 2515.4.6 Mvt. 6 Finale Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2515.4.7 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 254

5.5 Symphony No. 5 in C Minor, Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . 2545.5.1 Mvt. 1 Allegro con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . 2545.5.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 2555.5.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2595.5.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2595.5.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 263

5.6 Symphony No. 6 in F Major Pastorale, Op. 68 . . . . . . . . . . . . . . . . . . . 2655.6.1 Mvt. 1 Allegro ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 2655.6.2 Mvt. 2 Andante molto moto . . . . . . . . . . . . . . . . . . . . . . . . 2655.6.3 Mvt. 3 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2695.6.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2695.6.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 273

vi INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

5.7 Symphony No. 7 in A Major Op. 92 . . . . . . . . . . . . . . . . . . . . . . . . . 2755.7.1 Mvt. 1 Allegro ma non troppo - Vivace . . . . . . . . . . . . . . . . . . 2755.7.2 Mvt. 2 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2785.7.3 Mvt. 3 Presto - Assai meno presto . . . . . . . . . . . . . . . . . . . . . 2805.7.4 Mvt. 4 Allegro con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . 2805.7.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 285

5.8 Symphony No. 8 in F Major, Op. 93 . . . . . . . . . . . . . . . . . . . . . . . . . 2875.8.1 Mvt. 1 Allegro vivace e con brio . . . . . . . . . . . . . . . . . . . . . . 2875.8.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 287

6 Franz Schubert 2916.1 Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . . . . . . . . . . . . 291

6.1.1 Mvt. 1 Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 2916.1.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 2926.1.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 297

6.2 String Quartet No. 14 in D Minor Death and the Maiden, D810 . . . . . . . . . . 2976.2.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2976.2.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 2996.2.3 Mvt. 3 Scherzo - Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3066.2.4 Mvt. 4 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3076.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 310

6.3 Song cycle Die Winterreise, Op. 89, D911 . . . . . . . . . . . . . . . . . . . . . . 3126.3.1 Song Gute Nacht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3126.3.2 Song Die Wetterfahne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3126.3.3 Song Gefror’ne Thranen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3196.3.4 Song Erstarrung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3216.3.5 Song Der Lindenbaum . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3236.3.6 Song Wasserfluth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3256.3.7 Song Auf dem Flusse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3276.3.8 Song Ruckblick . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3276.3.9 Song Irrlicht . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3306.3.10 Song Rast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3326.3.11 Song Fruhlingstraum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3346.3.12 Song Einsamkeit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3366.3.13 Song Die Post . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3386.3.14 Song Der greise Kopf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3386.3.15 Song Die Krahe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3416.3.16 Song Letzte Hoffnung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3436.3.17 Song Im Dorfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3456.3.18 Song Der sturmische Morgen . . . . . . . . . . . . . . . . . . . . . . . . . 3476.3.19 Song Tauschung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3496.3.20 Song Der Wegweiser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3496.3.21 Song Das Wirthshaus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3516.3.22 Song Muth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3536.3.23 Song Die Nebensonnen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3556.3.24 Song Der Leiermann . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

6.4 Symphony No. 9 Große, D944 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY vii

CONTENTS

6.4.1 Mvt. 1 Andante - Allegro, ma non troppo . . . . . . . . . . . . . . . . . 3586.4.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 3616.4.3 Mvt. 3 Scherzo. Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . 3646.4.4 Mvt. 4 Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3716.4.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 373

6.5 String Quintet in C Major Op. 163, D956 . . . . . . . . . . . . . . . . . . . . . . 3756.5.1 Mvt. 1 Allegro ma non troppo . . . . . . . . . . . . . . . . . . . . . . . 3756.5.2 Mvt. 2 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3796.5.3 Mvt. 3 Scherzo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3816.5.4 Mvt. 4 Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3816.5.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 385

7 Hector Berlioz 3877.1 Symphonie Fantastique Op. 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

7.1.1 Mvt. 1 Reveries. Passions . . . . . . . . . . . . . . . . . . . . . . . . . . 3877.1.2 Mvt. 2 Un Bal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3917.1.3 Mvt. 3 Scene aux champs . . . . . . . . . . . . . . . . . . . . . . . . . . 3957.1.4 Mvt. 4 Marche au Supplice . . . . . . . . . . . . . . . . . . . . . . . . . 3977.1.5 Mvt. 5 Songe d’une nuit du Sabbat . . . . . . . . . . . . . . . . . . . . 3977.1.6 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 402

8 Felix Mendelssohn-Bartholdy 4058.1 A Midsummer Nights’ Dream Overture Op. 21 . . . . . . . . . . . . . . . . . . . 4058.2 The Hebrides Overture Op. 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4068.3 Symphony No. 3 in A Major ‘Scottish’ Op. 56 . . . . . . . . . . . . . . . . . . . 412

8.3.1 Mvt. 1 Introduction Andante con moto - Allegro un poco agitato . . . 4128.3.2 Mvt. 2 Vivace non troppo . . . . . . . . . . . . . . . . . . . . . . . . . . 4158.3.3 Mvt. 3 Adagio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4158.3.4 Mvt. 4 Allegro vivacissimo. Allegro maestoso assai . . . . . . . . . . . 4208.3.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 422

8.4 Symphony No. 4 in A Major ‘Italian’ Op. 90 . . . . . . . . . . . . . . . . . . . . 4238.4.1 Mvt. 1 Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4238.4.2 Mvt. 2 Andante con moto . . . . . . . . . . . . . . . . . . . . . . . . . . 4248.4.3 Mvt. 3 Con moto moderato . . . . . . . . . . . . . . . . . . . . . . . . . 4308.4.4 Mvt. 4 Saltarello presto . . . . . . . . . . . . . . . . . . . . . . . . . . . 4308.4.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 435

9 Robert Schumann 4379.1 Symphony No. 1 in B[ Major, Fruhling, Op. 38 . . . . . . . . . . . . . . . . . . . 437

9.1.1 Mvt. 1 Andante - Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . 4379.1.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4419.1.3 Mvt. 3 Scherzo - Trio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4449.1.4 Mvt. 4 Allegro animato e grazioso . . . . . . . . . . . . . . . . . . . . . 4449.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 448

9.2 Symphony No. 2 in C Major, Op 61 . . . . . . . . . . . . . . . . . . . . . . . . . 4509.2.1 Mvt. 1 Sostenuto assai - Allegro ma non troppo . . . . . . . . . . . . . 4509.2.2 Mvt. 2 Scherzo. Allegro vivace . . . . . . . . . . . . . . . . . . . . . . . 455

viii INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

9.2.3 Mvt. 3 Adagio espressivo . . . . . . . . . . . . . . . . . . . . . . . . . . 4579.2.4 Mvt. 4 Allegro molto vivace . . . . . . . . . . . . . . . . . . . . . . . . 4579.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 461

9.3 Symphony No. 3 in E[ Major Rheinische, Op. 97 . . . . . . . . . . . . . . . . . . 4619.3.1 Mvt. 1 Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4619.3.2 Mvt. 2 Scherzo, sehr maßig . . . . . . . . . . . . . . . . . . . . . . . . . 4649.3.3 Mvt. 3 Nicht schnell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4709.3.4 Mvt. 4 Feierlich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4709.3.5 Mvt. 5 Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4749.3.6 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 474

9.4 Symphony No. 4 in D Minor, Op. 120 . . . . . . . . . . . . . . . . . . . . . . . . 4799.4.1 Mvt. 1 Ziemlich langsam - Lebhaft . . . . . . . . . . . . . . . . . . . . . 4799.4.2 Mvt. 2 Romanze - Ziemlich langsam . . . . . . . . . . . . . . . . . . . . 4819.4.3 Mvt. 3 Scherzo - Lebhaft - Trio . . . . . . . . . . . . . . . . . . . . . . . 4839.4.4 Mvt. 4 Langsam - Lebhaft . . . . . . . . . . . . . . . . . . . . . . . . . . 4859.4.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 485

10 Johannes Brahms 49110.1 String Sextet Op. 36 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 491

10.1.1 Mvt. 2 Scherzo, Allegro non troppo . . . . . . . . . . . . . . . . . . . . 49110.2 German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

10.2.1 Mvt. 1 Selig sind, die da Leid tragen . . . . . . . . . . . . . . . . . . . . . 49510.2.2 Mvt. 2 Denn alles Fleisch es ist wie Gras . . . . . . . . . . . . . . . . . . . 49510.2.3 Mvt. 3 Herr, lehre doch mich . . . . . . . . . . . . . . . . . . . . . . . . . 499

10.3 String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49910.3.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49910.3.2 Mvt. 2 Romanze poco adagio . . . . . . . . . . . . . . . . . . . . . . . . 50310.3.3 Mvt. 3 Allegretto molto moderato e comodo . . . . . . . . . . . . . . . 50810.3.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50810.3.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 512

10.4 String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51410.4.1 Mvt. 4 Finale, Allegro non assai . . . . . . . . . . . . . . . . . . . . . . 51410.4.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 514

10.5 Symphony No. 3 in F Major, Op. 90 . . . . . . . . . . . . . . . . . . . . . . . . . 51910.5.1 Mvt. 1 Allegro con brio . . . . . . . . . . . . . . . . . . . . . . . . . . . 51910.5.2 Mvt. 2 Andante . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52310.5.3 Mvt. 3 Poco Allegretto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52510.5.4 Mvt. 4 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52510.5.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 530

10.6 Symphony No. 4 in E Minor, Op. 98 . . . . . . . . . . . . . . . . . . . . . . . . 53210.6.1 Mvt. 1 Allegro non troppo . . . . . . . . . . . . . . . . . . . . . . . . . 53210.6.2 Mvt. 2 Andante moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 53810.6.3 Mvt. 3 Allegro giocoso . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54010.6.4 Mvt. 4 Allegro energico e passionato . . . . . . . . . . . . . . . . . . . 54010.6.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 545

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY ix

CONTENTS

11 Peter Ilyich Tchaikovsky 54711.1 Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . . . . . . . . . . . 547

11.1.1 Mvt. 1 Andante sostenuto - Moderato con anima . . . . . . . . . . . . 54711.1.2 Mvt. 2 Andantino in modo di canzona . . . . . . . . . . . . . . . . . . 55011.1.3 Mvt. 3 Scherzo, Pizzicato ostinato, allegro . . . . . . . . . . . . . . . . 55011.1.4 Mvt. 4 Finale - Allegro con fuoco . . . . . . . . . . . . . . . . . . . . . . 55511.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 557

11.2 Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . . . . . . . . . . . . . . . 55711.2.1 Mvt. 3 Valse, Allegro moderato . . . . . . . . . . . . . . . . . . . . . . . 55711.2.2 Mvt. 4 Finale, Andante maestoso – Allegro vivace . . . . . . . . . . . . 56111.2.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 561

11.3 Symphony No. 6 in B Minor Pathetique, Op. 74 . . . . . . . . . . . . . . . . . . 56611.3.1 Mvt. 4 Finale, Adagio lamentoso . . . . . . . . . . . . . . . . . . . . . . 56611.3.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 568

11.4 Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56811.4.1 Mvt. 1, Ouverture miniature . . . . . . . . . . . . . . . . . . . . . . . . 56811.4.2 Mvt. 2a, Danses caracteristiques, Marche . . . . . . . . . . . . . . . . . 56811.4.3 Mvt. 2b, Danses caracteristiques, Danse de la Fee-Dragee . . . . . . . . . 57311.4.4 Mvt. 2c, Danses caracteristiques, Danse russe Trepak . . . . . . . . . . . 57311.4.5 Mvt. 2d, Danses caracteristiques, Danse Arabe . . . . . . . . . . . . . . 57511.4.6 Mvt. 2e, Danses caracteristiques, Danse Chinoise . . . . . . . . . . . . . 57511.4.7 Mvt. 2f, Danses caracteristiques, Danse des Mirlitons . . . . . . . . . . . 57811.4.8 Mvt. 3, Valse des Fleurs Tempo di Valse . . . . . . . . . . . . . . . . . . 57811.4.9 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 581

12 Edvard Grieg 58312.1 Peer Gynt Suite No. 1 Op. 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 583

12.1.1 Mvt. 1 ’Morning Mood’ Allegretto pastorale . . . . . . . . . . . . . . . . 58312.1.2 Mvt. 2 ’Aase’s Death’ Andante doloroso . . . . . . . . . . . . . . . . . . 58612.1.3 Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka . . . . . . . . . . . . . . . . 58612.1.4 Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato . 58912.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 589

12.2 Peer Gynt Suite No. 2 Op. 55 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59112.2.1 Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso . . 59112.2.2 Mvt. 2 ’Arabian dance’ Allegretto vivace . . . . . . . . . . . . . . . . . . 59412.2.3 Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato . . . . . . . . . . . . 59412.2.4 Mvt. 4 ’Solveig’s Song’ Andante . . . . . . . . . . . . . . . . . . . . . . . 59812.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 598

13 Gabriel Faure 60113.1 Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601

13.1.1 Mvt. 1 Introıt et Kyrie . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60113.1.2 Mvt. 2 Offertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60513.1.3 Mvt. 3 Sanctus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60713.1.4 Mvt. 4 Pie Jesu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60713.1.5 Mvt. 5 Agnus Dei . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61013.1.6 Mvt. 6 Libera Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 610

x INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

13.1.7 Mvt. 7 In Paradisum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61413.1.8 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 614

13.2 Pelleas et Melisande, Suite Op. 80 . . . . . . . . . . . . . . . . . . . . . . . . . . . 61613.2.1 Mvt. 1 Prelude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61613.2.2 Mvt. 2 Fileuse, Andantino quasi allegretto . . . . . . . . . . . . . . . . . 61813.2.3 Mvt. 3 Sicilienne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62013.2.4 Mvt. 4 La Mort de Melisande . . . . . . . . . . . . . . . . . . . . . . . . . 62013.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 624

13.3 Masques et Bergamasques, Suite Op. 112 . . . . . . . . . . . . . . . . . . . . . . . 62613.3.1 Mvt. 1 Ouverture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62613.3.2 Mvt. 2 Menuet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62613.3.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 630

14 Giacomo Puccini 63314.1 Opera Madama Butterfly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633

14.1.1 Overture, Atto Primo (#1–4) Collina presso Nagasaki . . . . . . . . . . . 63314.1.2 Atto Primo, (#5–7) E soffitto e pareti . . . . . . . . . . . . . . . . . . . . . 63514.1.3 Atto Primo, (#8–13) Questa e la cameriera . . . . . . . . . . . . . . . . . . 63714.1.4 Atto Primo, (#14–20) Qui verran: l’Ufficiale del registro . . . . . . . . . . 63714.1.5 Atto Primo (#21–26) Dovunque al mondo . . . . . . . . . . . . . . . . . . 64114.1.6 Atto Primo (#27–28) Una ghirlanda di fiori fresci . . . . . . . . . . . . . . 64114.1.7 Atto Primo (#37–41) Ecco. – Ah! Quanto cielo! . . . . . . . . . . . . . . . 64414.1.8 Atto Primo (#42–61) Gran ventura . . . . . . . . . . . . . . . . . . . . . 64414.1.9 Atto Primo (#61–64) Dov’e? Eccolo la! . . . . . . . . . . . . . . . . . . . 64714.1.10 Atto Primo (#100–110) Cio-cio-san! . . . . . . . . . . . . . . . . . . . . . 64714.1.11 Atto Primo (#111-115) Bimba, bimba, non piangere . . . . . . . . . . . . . 65014.1.12 Atto Primo (#116–136) Viene la sera . . . . . . . . . . . . . . . . . . . . . 65014.1.13 Atto Secondo, Parte Prima (#12–16) Un bel dı . . . . . . . . . . . . . . . 65314.1.14 Atto Secondo, Parte Prima (#90) Humming Chorus . . . . . . . . . . . . 65314.1.15 Atto Secondo, Parte Seconda (#5–12) Oh eh! Oh eh! . . . . . . . . . . . 657

15 Gustav Mahler 65915.1 Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 659

15.1.1 Wenn mein Schatz Hochzeit macht . . . . . . . . . . . . . . . . . . . . . . 65915.1.2 Gieng heut’ Morgens uber’s Feld . . . . . . . . . . . . . . . . . . . . . . . 65915.1.3 Ich hab’ ein gluhend Messer . . . . . . . . . . . . . . . . . . . . . . . . . . 66315.1.4 Die zwei blauen Augen . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66315.1.5 Key relationship diagram . . . . . . . . . . . . . . . . . . . . . . . . . . 666

15.2 Symphony No. 3 in D Minor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66615.2.1 Mvt. 2 Tempo di Menuetto. Grazioso . . . . . . . . . . . . . . . . . . . 66815.2.2 Mvt. 3 Comodo. Scherzando. Ohne Hast . . . . . . . . . . . . . . . . . 67015.2.3 Mvt. 4 “O Mensch! Gib Acht!” . . . . . . . . . . . . . . . . . . . . . . . . 67715.2.4 Mvt. 5 Lustig im Tempo und keck im Ausdruck . . . . . . . . . . . . . 68115.2.5 Mvt. 6 Langsam. Ruhevoll. Empfunden . . . . . . . . . . . . . . . . . 68115.2.6 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 686

15.3 Symphony No. 4 in G Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68815.3.1 Mvt. 3 Poco adagio Ruhevoll . . . . . . . . . . . . . . . . . . . . . . . . 688

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY xi

CONTENTS

15.3.2 Mvt. 4 Sehr behaglich . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68815.3.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 693

15.4 Symphony No. 5 in C] Minor - D Major . . . . . . . . . . . . . . . . . . . . . . 69315.4.1 Mvt. 4 Adagietto Sehr Langsam . . . . . . . . . . . . . . . . . . . . . . . 69315.4.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 694

15.5 Symphony No. 6 in A Minor Tragic . . . . . . . . . . . . . . . . . . . . . . . . . 69715.5.1 Mvt. 3 Andante moderato . . . . . . . . . . . . . . . . . . . . . . . . . . 69715.5.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 697

16 Claude Debussy 70116.1 Deux Arabesques (1888) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 701

16.1.1 I Andantino con moto . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70116.1.2 II Allegretto scherzando . . . . . . . . . . . . . . . . . . . . . . . . . . . 70116.1.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 705

16.2 String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70716.2.1 Mvt. 2 Assez vif et bien rytme . . . . . . . . . . . . . . . . . . . . . . . 70716.2.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 707

16.3 Prelude a l’apres-midi d’un faune . . . . . . . . . . . . . . . . . . . . . . . . . . 71016.4 Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

16.4.1 No. 1 Nuages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71416.4.2 No. 2 Fetes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71616.4.3 No. 3 Sirenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71616.4.4 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 721

17 Richard Strauss 72317.1 Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . . . . . . . . . . . . . . 723

17.1.1 Episode: Introduction and Don Juan 1 . . . . . . . . . . . . . . . . . . . 72417.1.2 Episode: Rejection 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72517.1.3 Episode: Countess and Rejection 2 . . . . . . . . . . . . . . . . . . . . . . 72517.1.4 Episode: Don Juan 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72917.1.5 Episode: Anna and Rejection 3 . . . . . . . . . . . . . . . . . . . . . . . 72917.1.6 Episode: Don Juan 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72917.1.7 Episode: Carnival . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73217.1.8 Episode: Memories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73417.1.9 Episode: Don Juan 4 and Don Juan 5 . . . . . . . . . . . . . . . . . . . . 73417.1.10 Episode: Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73617.1.11 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 736

17.2 Symphonic poem Tod und Verklarung, Op. 24 . . . . . . . . . . . . . . . . . . . 73817.2.1 Part 1: Sick man lying on his cot . . . . . . . . . . . . . . . . . . . . . . 73817.2.2 Part 2: The battle between life and death . . . . . . . . . . . . . . . . . 73817.2.3 Part 3: Feverish delirium of life past . . . . . . . . . . . . . . . . . . . . 74117.2.4 Part 4: Transfiguration . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74117.2.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 746

17.3 Symphonic poem Till Eulenspiegel, Op. 28 . . . . . . . . . . . . . . . . . . . . . 74617.3.1 Introduction and exposition . . . . . . . . . . . . . . . . . . . . . . . . 74717.3.2 Episode: Market Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74917.3.3 Episode: Love Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 751

xii INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

17.3.4 Episode: Theology Professors Scene . . . . . . . . . . . . . . . . . . . . . 75117.3.5 Episode: Happy Streetsong . . . . . . . . . . . . . . . . . . . . . . . . . . 75417.3.6 Recapitulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75417.3.7 Episode: Grandness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75417.3.8 Episode: The Court Scene . . . . . . . . . . . . . . . . . . . . . . . . . . 75617.3.9 Epilog . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75617.3.10 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 759

17.4 Eine Alpensinfonie, Op. 64 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 761

18 Jean Sibelius 76518.1 En Saga, Op. 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76518.2 The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76718.3 Finlandia, Op. 26 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77018.4 Valse Triste, Op. 44 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 772

19 Maurice Ravel 77519.1 Pavane pour une infante defunte . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77519.2 String Quartet in F Major . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 779

19.2.1 Mvt. 2 Assez vif - tres rythme . . . . . . . . . . . . . . . . . . . . . . . 77919.2.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 781

19.3 Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78119.3.1 Mvt. 4, Alborada del Gracioso, Assez vif . . . . . . . . . . . . . . . . . . . 78119.3.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 782

19.4 Rapsodie Espagnole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78619.4.1 Mvt. 1 Prelude a la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78619.4.2 Mvt. 2 Malaguena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78619.4.3 Mvt. 3 Habanera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79019.4.4 Mvt. 4 Feria . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79019.4.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 792

19.5 Gaspard de la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79419.5.1 Le gibet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 794

19.6 Ma mere l’oye . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79419.6.1 Mvt 1 Pavane de la Belle au bois dormant . . . . . . . . . . . . . . . . . . 79419.6.2 Mvt 2 Petit Poucet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79419.6.3 Mvt 3 Laideronnette, Imperatrice des Pagodes . . . . . . . . . . . . . . . . 79819.6.4 Mvt 4 Les entretiens de la Belle et de la Bete . . . . . . . . . . . . . . . . . 79819.6.5 Mvt 5 Le jardin feerique . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80219.6.6 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 802

19.7 Daphnis et Chloe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80419.7.1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80419.7.2 Danse Religieuse . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80419.7.3 Nymphs dance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80619.7.4 Danse Guerriere . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80619.7.5 Lever du jour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80919.7.6 Pantomime . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80919.7.7 Danse Generale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 812

19.8 Opera L’Enfant et les Sortileges . . . . . . . . . . . . . . . . . . . . . . . . . . . 816

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY xiii

CONTENTS

19.8.1 Opening scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81619.8.2 Scene L’Enfant: ‘Ca m’est egal!’ . . . . . . . . . . . . . . . . . . . . . . 81619.8.3 Scene Le Fauteuil et La Bergere . . . . . . . . . . . . . . . . . . . . . . 81819.8.4 Scene L’Horloge Comtoise . . . . . . . . . . . . . . . . . . . . . . . . . 81819.8.5 Scene La Theiere et La Tasse . . . . . . . . . . . . . . . . . . . . . . . . 82019.8.6 Scene Le Feu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82019.8.7 Scene Les Pastoures et Les Patres . . . . . . . . . . . . . . . . . . . . . 82319.8.8 Scene L’Enfant et La Princesse . . . . . . . . . . . . . . . . . . . . . . . 82319.8.9 Scene L’Enfant: ‘Toi, le coeur de la rose’ . . . . . . . . . . . . . . . . . . 825

19.9 Piano Concerto in G . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82519.9.1 Mvt. 1 Allegramente . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82519.9.2 Mvt. 2 Adagio assai . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83019.9.3 Mvt. 3 Presto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 834

20 Sergei Prokofiev 83720.1 Classical Symphony (No. 1), Op. 25 . . . . . . . . . . . . . . . . . . . . . . . . . 837

20.1.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83720.1.2 Mvt. 2 Larghetto . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84020.1.3 Mvt. 3 Gavotte . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84220.1.4 Mvt. 4 Finale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84220.1.5 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 845

20.2 Peter and the Wolf Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84720.2.1 Introducing the characters . . . . . . . . . . . . . . . . . . . . . . . . . 84720.2.2 The story develops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85120.2.3 Catching the wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85320.2.4 Triumphal procession - March . . . . . . . . . . . . . . . . . . . . . . . 85320.2.5 Conclusion - Coda . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 855

21 Dmitri Shostakovich 85721.1 String Quartet No. 1 in C Major, Op. 49 . . . . . . . . . . . . . . . . . . . . . . 857

21.1.1 Mvt. 1, Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85821.1.2 Mvt. 2, Moderato . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85821.1.3 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 861

21.2 String Quartet No. 2 in A Major, Op. 68 . . . . . . . . . . . . . . . . . . . . . . 86321.2.1 Mvt. 2 Moderato con moto . . . . . . . . . . . . . . . . . . . . . . . . . 863

21.3 String Quartet No. 3 in F Major, Op. 73 . . . . . . . . . . . . . . . . . . . . . . . 86321.3.1 Mvt. 2, Moderato con moto . . . . . . . . . . . . . . . . . . . . . . . . . 86321.3.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 866

21.4 Symphony No. 1 in F Minor, Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . 86621.4.1 Mvt. 3 Lento . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86621.4.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 869

21.5 Symphony No. 9 in E[ Major, Op. 70 . . . . . . . . . . . . . . . . . . . . . . . . 87121.5.1 Mvt. 1 Allegro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87121.5.2 Key relationship overview . . . . . . . . . . . . . . . . . . . . . . . . . 873

Bibliography 875

xiv INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

CONTENTS

Index 880

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY xv

CONTENTS

xvi INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

List of Figures

1.1 History timeline with classical music periods and composers . . . . . . . . . 21.2 The sonata form in diagram . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131.3 Sentence and period melody structure . . . . . . . . . . . . . . . . . . . . . . . 141.4 The ternary song form in diagram . . . . . . . . . . . . . . . . . . . . . . . . . 151.5 Key relationship overview diagram . . . . . . . . . . . . . . . . . . . . . . . . 16

2.1 Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 . . . . . . . . . . 192.2 Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78 . . . . . . . . . . . . . . 272.3 Bach, Brandenburg Concerto No. 4, BWV 1049 . . . . . . . . . . . . . . . . . . 322.4 Bach, Orchestral Suite No. 3 in D Major, BWV 1068 . . . . . . . . . . . . . . . 34

3.1 Haydn, String Quartet Op. 76, No. 1 in G Major . . . . . . . . . . . . . . . . . 463.2 Haydn, String Quartet Op. 76, No. 1, key relationship overview . . . . . . . . 513.3 Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten . . . . . . . . . . . . 523.4 Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser . . . . . . . . . . . . . . 60

4.1 Mozart, Sonata in F Major KV 332 . . . . . . . . . . . . . . . . . . . . . . . . . 714.2 Mozart, Sonata in F Major KV 332, key relationship diagram . . . . . . . . . . 764.3 Mozart, String Quartet in C Major No. 19 KV 465 . . . . . . . . . . . . . . . . 794.4 Mozart, String Quartet in B[ Major No. 22 KV 589 . . . . . . . . . . . . . . . . 904.5 Mozart, String Quintet in C Major KV 515 . . . . . . . . . . . . . . . . . . . . . 994.6 Mozart, String Quintet in C Major KV 515, key relationship diagram . . . . . 1084.7 Mozart, String Quintet in G Minor KV 516 . . . . . . . . . . . . . . . . . . . . 1094.8 Mozart, Clarinet Quintet in A Major KV 581 . . . . . . . . . . . . . . . . . . . 1214.9 Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram . . . . 1284.10 Mozart, Symphony No. 38 Prague KV 504 . . . . . . . . . . . . . . . . . . . . . 1294.11 Mozart, Symphony No. 39 in E[ Major KV 543 . . . . . . . . . . . . . . . . . . 1384.12 Mozart, Symphony No. 39, key relationship diagram . . . . . . . . . . . . . . 1454.13 Mozart, Symphony No. 40 in G Minor KV 550 . . . . . . . . . . . . . . . . . . 1464.14 Mozart, Symphony No. 40, key relationship diagram . . . . . . . . . . . . . . 1554.15 Mozart, Symphony No. 41 in C Major KV 551 . . . . . . . . . . . . . . . . . . 1564.16 Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1 . . . . . . . . . 1694.17 Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1 & 2 (Cont’d) . . 1704.18 Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 2 (Cont’d) . . . . 1714.19 Mozart, The Magic Flute KV 620, key relationship diagram . . . . . . . . . . . 215

5.1 Beethoven, Sonata Op. 2, No. 1 in F Minor . . . . . . . . . . . . . . . . . . . . 219

xvii

LIST OF FIGURES

5.2 Beethoven, Sonata Op. 2, No. 1, key relationship diagram . . . . . . . . . . . 2235.3 Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathetique . . . . . . . . . 2275.4 Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia . . . . . . . . 2335.5 Beethoven, String Quartet in B[ Major Op. 130 . . . . . . . . . . . . . . . . . . 2405.6 Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram . . . 2545.7 Beethoven, Symphony No. 5 in C Minor . . . . . . . . . . . . . . . . . . . . . . 2555.8 Beethoven, Symphony No. 6 in F Major Pastorale . . . . . . . . . . . . . . . . . 2655.9 Beethoven, Symphony No. 7 in A Major . . . . . . . . . . . . . . . . . . . . . . 2765.10 Beethoven, Symphony No. 8 in F Major, Op. 93 . . . . . . . . . . . . . . . . . . 287

6.1 Schubert, Symphony No. 8 Unvollendete, D759 . . . . . . . . . . . . . . . . . . 2916.2 Schubert, Symphony No. 8 Unvollendete, key relationship diagram . . . . . . 2976.3 Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810 . . . . 2986.4 Schubert, Die Winterreise, Op. 89, D911 . . . . . . . . . . . . . . . . . . . . . . . 3136.5 Schubert, Die Winterreise, Op. 89, D911 (cont’d) . . . . . . . . . . . . . . . . . . 3146.6 Schubert, Die Winterreise, Op. 89, D911 (cont’d) . . . . . . . . . . . . . . . . . . 3156.7 Schubert, Symphony No. 9 Große, D759 . . . . . . . . . . . . . . . . . . . . . . 3596.8 Schubert, Symphony No. 9 Große, key relationship diagram . . . . . . . . . . 3746.9 Schubert, String Quintet in C Major Op. 163, D956 . . . . . . . . . . . . . . . . 375

7.1 Berlioz, Symphonie Fantastique Op. 14 . . . . . . . . . . . . . . . . . . . . . . 3887.2 Berlioz, Symphonie Fantastique Op. 14, key relationship diagram . . . . . . . 402

8.1 Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21 . . . . . . . . . . 4058.2 Mendelssohn, Overture Op. 21, key relationship diagram . . . . . . . . . . . . 4068.3 Mendelssohn, Symphony No. 3 in A Major ‘Scottish’ Op. 56 . . . . . . . . . . 4138.4 Mendelssohn, Symphony No. 3 ‘Scottish’, key relationship diagram . . . . . . 4228.5 Mendelssohn, Symphony No. 4 in A Major ‘Italian’ Op. 90 . . . . . . . . . . . 423

9.1 Schumann, Symphony No. 1 in B[ Major Fruhling, Op. 38 . . . . . . . . . . . . 4389.2 Schumann, Symphony No. 2 in C Major, Op. 61 . . . . . . . . . . . . . . . . . 4509.3 Schumann, Symphony No. 2, key relationship diagram . . . . . . . . . . . . . 4629.4 Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97 . . . . . . . . . . . 4639.5 Schumann, Symphony No. 4 in D Minor, Op. 120 . . . . . . . . . . . . . . . . 479

10.1 Brahms, String Sextet Op. 36 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . . 49110.2 Brahms, German Requiem Op. 45 . . . . . . . . . . . . . . . . . . . . . . . . . 49510.3 Brahms, String Quartet Op. 51 No. 1 . . . . . . . . . . . . . . . . . . . . . . . . 49910.4 Brahms, String Quartet Op. 51 No. 2 . . . . . . . . . . . . . . . . . . . . . . . . 51410.5 Brahms, Symphony No. 3 in F Major, Op. 90 . . . . . . . . . . . . . . . . . . . 51910.6 Brahms, Symphony No. 4 in E Minor, Op. 98 . . . . . . . . . . . . . . . . . . . 53210.7 Brahms, Symphony No. 4, key relationship diagram . . . . . . . . . . . . . . . 545

11.1 Tchaikovsky, Symphony No. 4 in F Minor, Op. 36 . . . . . . . . . . . . . . . . 54811.2 Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram . . . . . 55811.3 Tchaikovsky, Symphony No. 5 in E Minor, Op. 64 . . . . . . . . . . . . . . . . 55911.4 Tchaikovsky, Symphony No. 6 in B Minor Pathetique, Op. 74 . . . . . . . . . 56611.5 Tchaikovsky, Symphony No. 6, key relationship diagram . . . . . . . . . . . . 568

xviii INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

LIST OF FIGURES

11.6 Tchaikovsky, Nutcracker Suite, Op. 71a . . . . . . . . . . . . . . . . . . . . . . 569

12.1 Peer Gynt Suite No. 1 Op. 46 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58412.2 Peer Gynt Suite No. 1 Op. 46, key relationship diagram . . . . . . . . . . . . . 59112.3 Peer Gynt Suite No. 2 Op. 55 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59212.4 Peer Gynt Suite No. 2 Op. 55, key relationship diagram . . . . . . . . . . . . . 598

13.1 Faure, Requiem in D Minor, Op. 48 . . . . . . . . . . . . . . . . . . . . . . . . . 60213.2 Faure, Pelleas et Melisande, Suite Op. 80 . . . . . . . . . . . . . . . . . . . . . . 61613.3 Faure, Masques et Bergamasques, Suite Op. 112 . . . . . . . . . . . . . . . . . . . 626

15.1 Mahler, Lieder eines fahrenden Gesellen . . . . . . . . . . . . . . . . . . . . . . . . 66115.2 Mahler, Lieder eines fahrenden Gesellen, key relationship diagram . . . . . . . . 66615.3 Mahler, Symphony No. 3 in D Minor . . . . . . . . . . . . . . . . . . . . . . . . 66715.4 Mahler, Symphony No. 4 in G Major . . . . . . . . . . . . . . . . . . . . . . . . 68815.5 Mahler, Symphony No. 4, key relationship diagram . . . . . . . . . . . . . . . 69315.6 Mahler, Symphony No. 5 in C] Minor - D Major . . . . . . . . . . . . . . . . . 69315.7 Mahler, Symphony No. 6 in A Minor Tragic . . . . . . . . . . . . . . . . . . . . 69715.8 Mahler, Symphony No. 6, key relationship diagram . . . . . . . . . . . . . . . 700

16.1 Debussy, Deux Arabesques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70116.2 Debussy, String Quartet Op. 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . 70716.3 Debussy, String Quartet Op. 10, key relationship diagram . . . . . . . . . . . 70716.4 Debussy, Trois nocturnes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 714

17.1 Strauss, Symphonic poem Don Juan, Op. 20 . . . . . . . . . . . . . . . . . . . . 72317.2 Strauss, Symphonic poem Tod und Verklarung, Op. 24 . . . . . . . . . . . . . . 73817.3 Strauss, Tod und Verklarung, Op. 24, key relationship diagram . . . . . . . . . 74617.4 Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28 . . . . . . . 747

18.1 Sibelius, The Swan of Tuonela, Op. 22 . . . . . . . . . . . . . . . . . . . . . . . . 76718.2 Sibelius, Finlandia, Op. 26, key relationship diagram . . . . . . . . . . . . . . . 772

19.1 Ravel, Pavane pour une infante defunte . . . . . . . . . . . . . . . . . . . . . . . . 77519.2 Ravel, String Quartet in F Major . . . . . . . . . . . . . . . . . . . . . . . . . . 77919.3 Ravel, String Quartet, key relationship diagram . . . . . . . . . . . . . . . . . 78119.4 Ravel, Miroirs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78119.5 Ravel, Rapsodie Espagnole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78619.6 Ravel, Gaspard de la nuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79419.7 Ravel, Ma mere l’oye, 5 Pieces Enfantines . . . . . . . . . . . . . . . . . . . . . . 79619.8 Ravel, Concerto pour Piano et Orchestre . . . . . . . . . . . . . . . . . . . . . 826

20.1 Prokofiev, Classical Symphony, Op. 25 . . . . . . . . . . . . . . . . . . . . . . . 84020.2 Prokofiev, Peter and the Wolf Op. 67 . . . . . . . . . . . . . . . . . . . . . . . . . 847

21.1 Shostakovich, String Quartet No. 1 in C Major, Op. 49 . . . . . . . . . . . . . . 85721.2 Shostakovich, String Quartet No. 2 in A Major, Op. 6 . . . . . . . . . . . . . . 86321.3 Shostakovich, String Quartet No. 3 in F Major, Op. 73 . . . . . . . . . . . . . . 86321.4 Shostakovich, String Quartet No. 3, key relationship diagram . . . . . . . . . 866

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY xix

LIST OF FIGURES

21.5 Shostakovich, Symphony No. 1 in F Minor, Op. 10 . . . . . . . . . . . . . . . . 86621.6 Shostakovich, Symphony No. 9 in E[ Major, Op. 70 . . . . . . . . . . . . . . . 87121.7 Shostakovich, Symphony No. 9, key relationship diagram . . . . . . . . . . . 873

xx INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

Preface

This is the Sixth Edition of the e-book Musical Analysis: Visiting the Great Composers. Thisexpanded edition is intended for conductors, composers, musicians, musicologists, musicstudents and lovers.

A book with analysis diagrams and descriptions

This book with detailed musical analysis of tonal music masterpieces now has a history, sincethe First Edition was published on the internet somewhat more a decade ago. That editioncontained a limited set of tables with harmonic, formal and melodic analysis and was aboutone tenth the size of the current edition. The document proved most valuable as a tool formusic students and beginning composers.

In later editions, more composer chapters and masterpieces were added to the collection.The document doubled in size and so did the number of monthly hits on the website. Theintroduction of the Fourth Edition in 2013 saw a number of changes. The size once againdoubled to somewhat over 500 pages, and two different versions were introduced: an in-complete free of charge demo version, and an expanded, full edition for online sale. Allchapters now opened with a minimum set of composer biographical data. Formal analysisoverview diagrams were added, showing the essential movement data (form, key, meter,number of measures) and the relative proportion of the sections in a composition.

Also more detailed information was added to the analysis tables: instrumentation, shapeof melody, outer and inner voice movement, types of harmonic structures, counterpoint set-tings, and diatonic scale or mode types. This required a concise notation systems, describedin the introductory chapter. When the Fourth Edition appeared in November 2013, the freeversion monthly number of hits steadily rose to an avarage of more than 5,000. In 2015 theFifth Edition appeared with additional content, in particular in the chapters that were dis-proportionally short. More complete multi-movement compositions were included, yieldinga total of around 735 pages, with more than 260 movements from a collection of more than80 compositions.

For the current Sixth Edition that process was continued, with two composers and manymore masterpieces added. In total, the book now covers 20 famous composers. Again, morecomplete multi-movement compositions were included, leading to a total of more than 1,000pages, with 341 movements from a collection of more than 90 compositions.

To try and be complete in the classical music domain obviously is an illusion. However,the set of musical analyses in this e-book is a carefully selected cross-section of the classicalrepertoire and the tonal music period, composed between roughly 1700 and 1950. Thereexists no comparable bundled set of detailed diagrams and tables; therefore it is a unique

c©2005-2017 F.G.J. Absil, http://www.fransabsil.nl

Preface

document for those seriously interested in classical music and motivated to delve into de-tailed aspects. The current edition holds 167 overview figures and 745 tables with detailedanalysis.

This book refrains from using musical notation. The reasons are twofold: first, withscore excerpts the file size would increase unacceptably. Secondly, although most of themusic discussed herein is now in the public domain, all possible copyright violations havebeen avoided. The careful indication of measure numbers in the tables makes transfer of theanalysis aspects back into the score an easy job and a learning experience at the same time.Hopefully you will enjoy reading and benefit from the book contents. Using the book willsave you many hours of tedious score analysis and may serve as a comparative source foryour own interpretation of these compositions.

Document update history

This e-book is regularly updated. New composer chapters are created, new content andanalysis diagrams are added, notation is improved and errors corrected. Reader feedbackis taken into account in the editing process. Major updates to the current edition will beannounced on the website. Here is the document history:

Vs. 1.0 (Jul 2005): First draft published on the internet.

Vs. 2.0 (Oct 2007): Many score analysis examples added. Typing errors corrected.

Vs. 2.4 (Sep 2009): Movement from Shostakovich symphony added.

Vs. 2.5 (Sep 2012): Several movements from Mahler symphonies added. Typing errors cor-rected. References added.

Vs. 3.1 (Nov 2012): Additional pieces and movements in many chapters. New chapters cre-ated for Beethoven, Faure, Sibelius and Puccini. Errors corrected and notation up-dated. Number of pages: 260. Published on the internet (full and demo version).

Vs. 3.2 (May 2013): Additions to the Bach, Beethoven, Schubert and Mendelssohn chapter.Essential instrumentation markings added more consistently. Error corrections.

Vs. 3.3 (Aug 2013): Extensions to the introductory chapter. Existing analysis diagrams in theSchumann chapter now in greater detail, new symphony movements added. Graphicscreated (biographical data and formal analysis overviews). Error corrections and moreconsistent notation.

Vs. 4.1 (Nov 2013): Haydn chapter with three string quartets created. Additional move-ments and more detailed analysis diagrams in the Bach, Mozart, Beethoven, Schubert,Mendelssohn, Schumann, Tchaikovksy, Debussy and Ravel chapters. More extendeddescriptions and graphical overview diagrams, instrumentation indicated in the tables.Number of pages: 510. Published as Fourth Edition on the internet.

Vs. 5.1 (Jan 2015): There are new compositions included in the Mahler, Sibelius and Strausschapters. Additional movements in the Mozart, Schubert, Brahms, Faure, Puccini,Mahler and Prokofiev chapters. Introduction of the key relationship diagrams. Pub-lished as Fifth Edition on the internet (full and demo version).

Vs. 6.1 (Oct 2017): New composer chapters created for Berlioz and Grieg. There are newcompositions included in the Mozart, Beethoven, Schubert, Mendelssohn-Bartholdy

xxii INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

Preface

and Debussy chapters. Movements added to and multi-movement completed in theMozart, Schubert, Schumann, Tchaikovsky, Faure, and Ravel chapters. Updates tothe Introduction chapters. Index keywords revised and expanded. Errors corrected.Published as Sixth Edition on the internet (full and demo version).

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY xxiii

Preface

xxiv INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

Chapter 1

Introduction

1.1 What you will find in this book

This e-book presents a number of diagrams, representing the musical analysis of composi-tions from the classical music repertoire. The diagrams are in the form of graphs and tablesand they cover a set of masterpieces from the tonal music period, i.e., starting with the Baroqueand ending with Impressionism and the late Romantic composers. A limited set of later works(early to mid 20th century) is also included. During this era harmonies were based on chordstructures in thirds, and chord progressions were determined by specific root cycles and caden-tial formulas. Composers combined chord structures and harmonic progressions to controltension and release, dissonance and consonance in their music. This tonal harmony systemis also labeled as functional harmony or common practice (the latter term is more strictly appliedto music written between the years 1750 and 1900, approximately).

The analysis diagrams cover a period of almost three centuries, as illustrated in Fig. 1.1.The diagrams include symphony movements, opera pieces, chamber music works, songsand solo instrumental pieces. To be complete is impossible; however, this book will presenta representative cross-section of the vast repertoire from that period.

Each chapter contains works from one specific composer (see the overview in Fig. 1.1).1

Chapters are ordered chronologically, according to composer date of birth. General infor-mation about the compositions was taken from the printed scores (see the bibliographylist at the end), or from [61, 72]. Terminology and analysis examples were adapted from[55, 49, 50, 51].

1.2 How the musical analysis diagrams were created

Over the years I have analysed many orchestral and chamber music scores, in order to tryand understand the following aspects in the works by the great masters:

• musical form: the structure of a musical piece, its subdivision into sections and theirproportionality (length);

1The subsequent chapters have more detailed composer dates and working places. Health warning: from thelimited data set in this e-book the statistics show that the city of Vienna (Wien) is a most dangerous place forcomposers to stay. They live shorter and usually die there. So here’s a brief warning to musicians with careerambitions: if you can, avoid the place! On the other hand, there is also Sacher Torte.


CHAPTER 1. INTRODUCTION

1600 1700 1800 1900 2000

Year

1600 1700 1800 1900 2000

J.S. Bach (1685-1750)d d J. Haydn (1732-1809)d dW.A. Mozart (1756-1791)d d L. van Beethoven (1770-1827)d d F. Schubert (1797-1828)d d H. Berlioz (1803-1869)d dF. Mendelssohn Bartholdy (1809-1847)d d R. Schumann (1810-1856)d d J. Brahms (1833-1897)d dP.I. Tchaikovksy (1840-1893)d d(1843-1907) E. Grieg d d(1845-1924) G. Faure d d(1858-1924) G. Puccini d d(1860-1911) G. Mahler d d(1862-1918) C. Debussy d d(1864-1949) R. Strauss d d(1865-1957) J. Sibelius d d(1875-1937)M. Ravel d d(1891-1953) S. Prokofiev d d(1906-1975) D. Shostakovich d d

1600 1700 1800 1900 2000Year

Baroque Romantic Modern

Classical Late Rom.

Impress.

– ‘Common Practice’ –

Figure 1.1: History timeline with classical music periods (bottom) and composers coveredchronologically in the chapters of this e-book (top).

2 INCOMPLETE DEMO VERSION - PERSONAL USE ONLY

1.3. HOW TO READ THE ANALYSIS DIAGRAMS

• the relations between the keys (or tonal centres) within a movement;

• the harmonic progressions: chord sequences imply varying chord dissonance and chordroot movement. Harmonic tension in a progression may be the result of verticallystacked chordal functions (e.g., chorale style) or a byproduct of independent voicemovement (as in counterpoint settings);

• the use of melodic material (varying from a short motif to a long and varied musicalsentence). Multiple statements of melodic material will occur, either as simple repeats,slightly varied or thoroughly developed;

• the instrumentation. Orchestral balance, achieving tension curves through dynamics(soft-loud), clever use of instrumental ranges (middle tessitura or extremes), these allcontribute to the effect of a musical composition;

• the detailed voice leading within a part; a part may move predominantly in upwardand downward steps, or in leaps. There may be high points through an apex pitch,supporting a musical climax. Upper and bass part voice leading are essential elementsin musical compositions.

This analysis yielded a set of annotated scores in my music library. In addition, I createdcoloured diagrams on graph paper, with a more or less proportional representation of themusical form and harmony, melody and other aspects indicated.2

At some point in time I decided to convert these diagrams into digital form on the com-puter and make them available on the internet through my website.3 That was the origin ofthis e-book. I chose to transform the diagrams into tables, obviously losing some of the in-formation (such as specific colours for melodic material, the exact duration of pedal points,and voice leading) on the way. However, I thought they might still be useful as a referencesource for musical analysis.

1.3 How to read the analysis diagrams

The analysis diagrams for a complete musical composition or for the individual movementsfrom a longer work are presented in more or less standardised tables, with as much detailas possible. In many cases there is also a graphical overview of the total piece, showing thelarger scale structure and the relative proportions of the sections within a movement. Inthis section of the book the notation in the tables is explained; for reasons of limited spacein the table columns there are many abbreviations and special symbols. Then there willbe two model graphical representations of common musical forms, helping the reader inunderstanding the analysis notation.

2On my YouTube channel I put a short video, introducing this Sixth Edition of the book. In the screen back-ground there are fragments of annotated score pages and sections of these original coloured sheets with a con-densed analysis.

3Find the website homepage at URL www.fransabsil.nl. Look in the Document Library tab to find the freedemo version of this Musical Analysis E-book as PDF file.

INCOMPLETE DEMO VERSION - PERSONAL USE ONLY 3


1.3.1 Notation in the analysis tables

See Table 1.1 to 1.4 for an explanation of the symbols, labels and abbreviations used in theanalysis diagrams. Table 1.5 shows a list of instrumentation and orchestration abbreviationsused in the diagrams.

When reading the tables one should take into account:

• The exact start and ending of melodic material is not indicated.

• The harmonic progressions sometimes are reduced to the main chords that support thestructure (the functional harmony). When a detailed harmonic progression is cut shortin the tables, this is marked as S1−→S2, e.g., C −Em7/B −E[9

7 /G]−Am−F]◦7 −G7

is summarized as C−→G7.4

• A harmonic sequence (more or less exact repeat of a short fragment) is frequently in-dicated by the notation Seq(3×2m;R7), occasionally abbreviated as Seq(3×R7). Thisis a sequence of six measures in total, consisting of a two-measure pattern used threetimes. Each repeat is at an upward tonal step (R7). This notation is based on the tonalpositive and negative root cycle system:5

– R3: root moving a third downward, R−3: root moving a third upward;

– R5: root moving a fifth downward, R−5: root moving a fifth upward;

– R7: root moving a second upward, R−7: root moving a second downward.

• Pedal point, i.e., extended sustained or repeated notes over multiple measures. Pedalpoint on the pitch c in any part of a score, but most likely in either bass or upper partis indicated in general as P (c). A tonic pedal point, such as the pitch c in the key ofC major is marked as P T (c).6 The dominant pedal point, such as the pitch g in thesame key likewise as PD(g). A double pedal point, with tonic and dominant heldsimultaneously is marked as P (e[ − b[) (in the key of E[ minor). When the pedal isindicated between brackets, e.g., (P (c)), it is continued from the previous line.

During the Classical, Late Romantic and Impressionist periods (after approximately theyear 1875) a couple of new musical elements appeared, and these require special markingsin the analysis tables:

• Use of the major chord on the lowered 2nd, i.e., the supertonic degree of the diatonicscale [II ; this is called the Neapolitan chord and most frequently it is voiced as a firstinversion chord, the Neapolitan 6th N6 with the 3rd in the bass. There may be extendedphrases and cadences in the Neapolitan key, i.e., the major scale on this lowered super-tonic degree.

4This chord notation system with pitch names for the roots is used more frequently in jazz and popular music.Reasons for using it in this e-book are given in Section 1.3.2.

5The root cycle system is a notion in the Schillinger System of Musical Composition [53]. This approach is mostuseful for both musical composition and analysis, as it teaches the student to identify and apply (de-)stabilisingchord progressions and cadences in tonal and more modern styles. You may want to watch the video episodeson my YouTube channel, where I explain and demonstrate the nomenclature and terminology in the SchillingerHarmony Systems.

6Note that capitals are used for chord roots and scales, lowercase characters for pitch names.



Table 1.1: Notation: symbols and labels in the analysis diagrams.

Label Meaning

m measure number(112 m.) total number of measures in the movementM Melodic material (motif, theme, melody)M0 Motif, used as introductionM1 First main themeM1’ Varied first theme(M1) Vague reference to a themeM1.1 First theme from the first theme group (sonata form)M1a First (a) phrase or motif from the first theme;

used in melodic analysis, in order to label subphrases anddistinguish period (abab) from sentence (aab) melodic forms

M2 Second group theme, contrasting theme in sonata formI(M1.1) Melodic inversion of M1.1Mc, CM Countermelody (subordinate melody in counterpoint setting)Mt Transitory melody of motifMx Melody x with specific character, e.g., Ma: ascending motif,

MB : Butterfly theme, Md: dance melody, Ms: scalar motif5 Gradual introduction of the melodic material below... Melodic material from the previous line is continued⊥ Melodic material from the previous line ends hereR Key or tonal centreH Harmonic progression− . . .− Extended constant harmony (typically over multiple measures),

e.g., an extended dominant 7th chord G7 − . . .− C<(Dm7 −G7) Harmonic riff (repeated set of harmonies)S6

4 Second inversion of triad chord (with root in the bass, e.g.,C6

4 = C/G), used in cadences such as I(m)64 − V7 − I(m)

(C − F −G7)/C Pedal point (here C is the pedal note)〈B[m|G〉 Bitonal chord structure, e.g., B[m over G (two stacked triads)〈Fm|D|Am〉 Polychord structure, e.g., Fm over D over Am

(three stacked triads)[Bm/C]R Triad with independent root, e.g., Bm triad with C in the bass〈B[7|D/G〉R Polychord with independent root, e.g., B[7 chord over D triad

with G in the bass



Table 1.2: Notation and abbreviations in the analysis diagrams: comments (last column). Inthe detailed analysis tables the abbreviations are frequently used without period.

Label Meaning

d− Deceptive cadence (e.g., G

d− Am)

−→ Intermediate harmonies (between two structurally more significant chords)2nd Dev. Secondary development (sonata form)[

34

]Meter

[A], [1] Rehearsal mark in the printed scoreA, B, A, B Sections in a longer form (printed in boldface in the tables)A’ Varied section in a longer form (also notated as A1, A1)Ac. Acoustic diatonic scale (with augmented fourth and minor seventh degree)Aeol. Aeolian (scale, diatonic mode)Alt. Altered scale (with dominant 7th, ]9 = [10, ]11, [13)appogg. Appoggiatura (stressed dissonance, also abbreviated as app.)arp. Arpeggioasc. Ascendingaug. Melodic augmentation (longer durations), also abbreviated as augm.(a), (b) Phrase from a musical sentence (e.g., M1=a+a+b)bg. Instrumental backgroundcad. Cadences, cadential phrasech. Chordchr. Chromaticclim. Climax (dynamic or musical texture)c.m. Contrary motion (upper and bass part either opening or closing)contr. ContrastingC&R Call-and-ResponseCSubj. Countersubject (subsidiary theme in a fugue)ctp. Counterpoint, i.e., independent (pitch and rhythm) voice movement in

various forms such as imitation, canon or fugueD Dominant axis material (themes in the dominant key)desc. DescendingDev. Development in the sonata formdiat. Diatonic (e.g., in diatonic parallel chords)dim. Melodic diminution (shorter durations), also diminuendodom. Dominant, e.g., in g-dom-ped.Dor. Dorian (scale, diatonic mode)dyn. Dynamics (soft-loud)elab. Elaborated, elaborationepis. EpisodeExp. Exposition in the sonata formex. Exact (e.g., in exact chromatic parallel chords)ext. Extension, extended (vertically in harmony or elongated in time)



Table 1.3: Notation and abbreviations in the analysis diagrams: comments (cont’d).

Label Meaning

fin. st. Final statement of a theme or melodyGr. Group (a group of related melodic material)~H‖d Diatonic parallel chords, e.g., C −Dm7 − Em7 − F∆7

~H‖i Chromatically exact parallel chords, e.g., Bm7 −B[m7 −Am7 −A[m7

i semitone step, chromatic (octave=twelve semitones)imit. Imitation (a motif or theme, repeating through different voices)improv. ImprovisationIon. Ionian (scale, diatonic mode)Lyd. Lydian (scale, diatonic mode)M Mediant axis (third above key root)mv Middle voiceMixolyd. Mixo-Lydian (scale, diatonic mode)mod. Modulation(N), (N6) Neapolitan chord, i.e., major chord on lowered second degree of scale

(frequently used in its first inversion N6)Oct.-sc. Octatonic scale (eight pitches at alternating steps of one and

two semitones), also OctSc or OctaScPB(↘) Bass part descending (PB(↗)for ascending)P iB(↗) Bass part chromatically ascending (P i

B(↘) for chromatically descending)PL(↗) Ascending lead voice (PL(↘)for descending)P iL(↗) Chromatically ascending lead voice (P i

L(↘)for descending)P im(↗) Chromatically ascending middle voice (descending: P i

m(↘))P (g) Pedal point on pitch g (more specifically: PD(g) and P T (c) for

dominant and tonic pedal point, respectively)par. Parallel (diatonic or exact parallel chords)ped. Pedal point (e.g., c-tonic-pedal)Pent. Pentatonic scalePhryg. Phrygian (scale, diatonic mode)pt. Part or section of a movementR5 Root movement (here a 5th down, see notes in the text)~Rni Series of symmetric root steps at ni (see notes in the text)Rec., Recap. Recapitulation in the sonata formRep. Repeat (melodic phrase or section of movement)retrans. Retransition (back to initial tonal key)rh. Rhythmic motifΣ(cm) Contrary motion (upper and bass part moving in opposite directions)Σ(cm<) Contrary motion opening (Σ(cm>) for closing)S6 Chord structure in first inversion (with third in the bass)



Table 1.4: Notation and abbreviations in the analysis diagrams: comments (cont’d).

Label Meaning

[S6] Series of chords in first inversion ([S65 ] for 7th chords in 1st inversion)

[S6(Rn)] Series of chords in first inversion, with root progression Rn

S64 Second inversion chord (structure with fifth in the bass, cadential formula)

[S64 ] Series of 2nd inversion chords ([S4

3 ] for 7th chords in 2nd inversion)~Sne Series of extended chord structures with function n (see notes in the text)

sc. Scale, scalar (e.g., scalar runs)SD Subdominant axis material (themes in the subdominant key)Seq. Sequence (see the explanatory notes)st., stat. Statementsubj. Main theme of a fugue, subjectsusp. Suspension (held-over dissonance in voice leading)sym. Symmetric harmonic structuressync. SyncopationT Tonic axis material (themes in the tonic key)th. Theme.ton. Tonic, e.g., in c-ton-ped.tr., trans. Transition, i.e., a musical phrase or subsection between

two major sections (e.g., between development and recapitulation)tripl. Tripletsunis. Unisonovar. Varied, variationWh.t.-sc. Whole-tone scale (also WhTSc)



Table 1.5: Notation: instrumentation and orchestration abbreviations used in the analysisdiagrams.

Label Meaning

+ Orchestral doubling, e.g., WW+Str- Sequential instrumentation, e.g., in imitation Str-WWAFl Alto Flute (flute in G)BCl Bass ClarinetBrs BrassBsn BassoonCel CelestaCh ChoirCl ClarinetDB Double Bass, Contrabass (also Cb)div Divisi (Strings divisi)ECl Clarinet in E[EHn English HornFHn French HornFl Flutegliss glissandoGlk GlockenspielHns HornsHrp HarpLH Left Hand (Piano)Ob OboePerc PercussionPi Piccolopizz Pizzicato (plucked strings)Pno PianoRH Right Hand (Piano)Str StringsTbn TromboneTimp TimpaniTpt Trumpettrem TremoloVa ViolaVc VioloncelloVi ViolinVS Soprano voice (mezzo-soprano, alto, tenor, bass)WW Woodwind



• Use of augmented sixth S]6 chords, roughly in the period 1750-1850. The origin of thesechords lies in creating chromatic voice leading into a cadential formula. This processimplies the contrary opening motion between the lead and bass part (outer voices) asin

lead: f ↗ f]↗ g . . .bass: a↘ a[↘ g . . .

IV 6 augm. 6th I64 V(7) I

chord: F/A− [3 options] C/G− G(7)− C

with three options for the intermediate augmented 6th chord. These variants are equiv-alents of the altered secondary dominant chord S7 on the supertonic degree II7. Inmusic history they have received geographic labels (chord examples are in the key ofC major):

German. This is the chord A[]6 = A[7 = D[5/[97 no 1 = {a[, c, e[, (g[= f]}). It is used in

harmonic context as F/A−A[7 − C64 −G7 − C.

French. This augmented 6th chord is A[]6/[5 = D[57 = {d, f], a[, c}, and we find it in

the cadential chord progression as F/A−D[57 /A[− C6

4 −G7 − C.

Italian. This variant contains three pitches only A[]6no 5 = D[57 no 1 = {f], a[, c}. It

occurs in a chord series such as F/A−D[57 no 1/A[− C6

4 −G7 − C.

The three options can be found in the tables with the detailed harmonic analysis. Thetypical spots for augmented 6th chords are in (re)transitions or before an extendeddominant pedal point.

• Extended chords, i.e., harmonic structures with chordal functions beyond the 7th of thechord. Before the second half of the 19th century the occurrence of a dissonant 7th,9th, 11th (equivalent to the 4th) or 13th was the result of either a suspension, i.e., heldover from the previous chord, or an appoggiatura. Proper suspension preparation anddownward stepwise resolution were essential, and such chords were used more orless in isolation. However, during the Late Romantic and Impressionist period thesedissonant chord functions started to appear as static, extended harmonies, e.g., the C9

7 ,Dm

9/117 or G[13

7 chord structures. Composers created progressions with these extendedchords; in the analysis tables they are marked as ~Sn

e , with n = 9, 11, 13 (the highestfunction in the extended chord).

• Another feature is the use of parallel harmonies, i.e., chord structures moving in paral-lel. This implies that either the chord tension (indicated by the highest chordal func-tion) remains constant as the root moves up or down a diatonic scale, or the chordstructure remains constant as the root moves in ascending or descending intervals(leaps) or semitone steps. The former is indicated by ~H‖d , and an example of such aschord progression is C∆7−Dm7−Em7−F∆7. The latter is marked as either ~H‖e (rootleaps) or ~H‖i (root in semitone steps), and an example is Em

9/117 −E[m

9/117 −Dm

9/117 .

• There is also the use of symmetric root movement. This implies that the octave is sub-divided symmetrically into units of either 2, 3, 4 or 6 semitones (these are the onlysolutions), and the constant chord structure moves along these root steps, upwardor downward. Examples of such chord progressions are Dm7 − F]m7 − B[m7, or



C[97 −A[9

7 − F][97 −E[[97 . The former root movement is labeled in the analysis tables as~R−4i , the latter as ~R3i . Symmetric root movement in the Impressionist period is verypopular with extended dominant chords.

• In the Impressionist period we also see the introduction of bitonality or, in general,polytonality. Two key centres (roots), diatonic scales or modes are active in parallel.This may yield complex non-traditional and multipart chord structures, where triadsS5, seventh chords S7 and independent bass parts (non-chordal roots) are combinedas polychords. This leads to special chord structure notation in the tables, such as thebitonal chord 〈F |B〉, i.e., two triads combined. A 7th chord over a triad in the lowerparts is notated as 〈A7|F 〉, a 7th chord in the upper layer over a non-chordal root as[Am7/B[]R, and two triads in the outer parts, with a 7th chord in the middle layeras 〈A[m|C7|Em〉. These types of harmony are also used in 20th century music; weare reaching the limits of the domain of traditional, functional and tonal harmony.These complex chord structures may be identified in the music of Ravel, Prokofiev andShostakovich.

1.3.2 Absolute chord notation in the harmonic analysis

Users of previous e-book editions occasionally ask why there is absolute chord labeling in theharmonic analysis tables and not the alternative scale degree notation. In the book you willfind chord labels such as in this cadence: C −Am7−Dm7/F −G[9

7 with pitch names for thechord roots, instead of I−vi7− ii65−V [9

7 with Roman numbers referring to the diatonic scaledegree. The former notation system is used in popular music lead sheets (songs) and jazzscores, the latter is common and traditionally used in classical music literature about theoryof harmony.

Here are some reasons for using absolute chord notation in the book:

• In classical harmony, based on intervals of thirds, there are four types of triads S5 (major,minor, diminished, augmented) and seven types of 7th chords S7. Using the 12 chromaticpitches as roots this yields a total of 12× (4 + 7) = 132 chords. Using extended chordswith chordal functions such as 9th or 11th (e.g., G[9

7 ) increases the set even further.

When using relative notation in major-minor tonal harmony based on the 7-degree di-atonic scale there are 14 chords. Frequently used alterations such as major chords on2nd, 6th and 3rd degree (intermediate dominants), minor 4th degree Fm = iv = IV m,and using other diatonic modes will increase the set size. The smaller collection ofdiatonic chords in relative notation, based on the degrees of the scale, requires trans-position relative to the local root in order to obtain the actual pitches. In contrast, theabsolute chord label is unique and immediately yields the pitches found in the score.

• The book is full of tables with these absolute chord labels in jazz style notation. Thesewill help the conductor to quickly find the appropriate concert pitch in the orchestralparts, including the transposing instruments. Knowing the voicing, i.e., the distribu-tion of the pitches over the instrumental parts, is relevant for orchestal balance, tuning,etc.7

7When analysing musical scores, I add lots of pencil annotations in the instrument parts, including labels forchordal functions such as 1, 3, 5, with arrows indicating the voice leading direction. This helps in checking chordvoicing, inversions, function doubling and voice leading in the parts.



• The analysis tables also contain a column with the local root and key. This helps inunderstanding the global harmonic structure of a piece; a graphical representation ofthese local roots is found in the key relation diagrams, see Section 1.3.4. I find the mentalmapping from the absolute chord label with the local root into the smaller functionaldiatonic set easier than the reverse. That may require a bit of reading practice, though.

• Diatonic degree chord notation may become complex in (rapid) modulations. In tonalharmony, there is a set of well-known modulation schemes, such as those based on acommon or pivot pitch between chords. These chord changes create ambiguity un-til the new key is clearly established, typically through a dominant-tonic cadence. Inbooks on tonal harmony these schemes are illustrated with score examples and typ-ically use two lines with diatonic functional chord labeling. These are pointing outthe pivot chord, e.g., Am = vi/C = ii/G, or vi|C = ii|G, and show the length of theambiguity (usually two to three chords). My book provides observations and keepsthe interpretation to a minimum; identifying the start and end of a modulation is afrequent issue in musicological studies. The book contains the chord data in tabularform; this is a great time-saver for musicians when starting the interpretation process.

• There is also a most pragmatic reason for using absolute chord labels. In the currentedition there must be 60,000-70,000 chords (a rough estimate). Adding multiple lineswith alternative interpretation in diatonic relative chord notation would more thandouble the page count. This book is meant to grow in the future by adding morecompositions and I keep an eye on its file size and page count.

1.3.3 Two template musical forms

A graphical representation of a composition will reveal its large scale structure; it shows therelative proportions of the main sections. Obviously, it is not representing the duration ofsections, since musical tempo is not taken into account in these graphs.

With the diagrams of two template musical forms we will illustrate some aspects of theformal structure at multiple levels, including many symbols defined in Table 1.1 from Sec-tion 1.3. We will do that for the two most common musical forms, the sonata form and theternary song form. These forms are discussed extensively in [55, 49, 50]. The templates shownhere contain the essential characteristics, discussed in those textbooks.

The sonata form

Figure 1.2 shows the graphical representation of the sonata form.8 In a top-down approachwe may identify four structural levels:

Section level: This is the highest structural level. The sonata form structure consists of thefollowing sections: [Introduction], Exposition, Development, [False Recapitulation],[Secondary Development], Recapitulation, and Coda.9 Some sections are optional,

8Always keep in mind that this is a template, an ideal description. Actual examples from the classical reper-toire by the great composers may frequently deviate from this model. The model was constructed afterwards asan academic approach to music.

9In the Index at the end of the book the keyword introduction section is reserved for the sonata form, all othersare labeled as introduction. The same holds for the keywords coda section and coda.



Sonata form: [Optional]� -

Intro Exposition Development FRec. 2nd Dev. Recap. Coda

Gr1 Gr2 Tr. Gr2 Tr. Gr1 Gr1 Gr2 Retr. Gr1 Gr2

M0 M1 M2.1 M2.2 M′

1 M2.1 (M0) M′

1 M′′

1 M1/2 M0 M1 M2.1M2.2 M1/0

aa′b abab aaa′ aba′ba′ bb′b′

Level: Section Group Theme/Melody Phrase/Motif6

6

@@I

@@I

Figure 1.2: The sonata form in diagram, with formal structure, notation and labeling at vari-ous levels (see description in the text).

indicated by brackets and dashed lines in the diagram. The exposition will state themain themes of the sonata movement, the development section(s) will process this the-matic material through variation and modulation. Modulations (key and root changes)may be either carefully prepared through cadences, or appear totally unexpected andin rapid succession. The development may introduce new themes or skip some of thethematic material in the exposition: in the diagram theme M2.2 does not return in thedevelopment. Transitions of any length may be found between these major sections.Further explanation is given below. Separation between sections is usually achievedby using standard closing harmonic formulas, cadences.10

Group Level: This indicates the grouping of thematic and melodic material around certainkey areas. In the sonata template there are typically two groups of thematic material(labeled as Gr1 and Gr2 in the diagram). When the sonata movement is in a majorkey the first group themes are in the tonic key (T), the second group themes in thedominant key (D). When the sonata form is in a minor key, the second group usuallyis in the relative major key (M).

Theme/Melody/Subject: At this level individual melodies or subjects can be identified. Agroup may contain one or more melodies or themes. Compositions that are based ona single theme are called monothematic. The introduction may also contain melodicmaterial, often a signal-like motif (here labeled as M0). The numbers (here subscripts)indicate the group and theme number: e.g., M2.1 is the first melody in the secondgroup, also called the secondary subject. In a group there may be multiple statementsof melodic material (exact or varied repeats; not shown in the template diagram forlack of space). Varied forms of a melody may be used and are marked by accents:e.g., M

′1 in the transition between the exposition and the development, or M

′′1 in the

false recapitulation. A vague reference to an earlier theme is indicated by putting themelody number between brackets: e.g., the reference to the introductory motif M0 inthe transition between the two groups in the development. When multiple melodiessound simultaneously, as in a counterpoint setting with a main and countersubject, orwhen they are juxtaposed in a call-and-response setting, this is indicated by the forward

10Cadences, i.e., standardised harmonic formulas close units at all sectioning levels, not only at the highestsection level. Transitions usually contain a closing cadence, leading into the next major section, as do melodies.



a a’ bSentence

a b a’ b’Period

(a) (b)

Figure 1.3: Classical music melody structure. (a) sentence, (b) period.

slash: e.g., M1/2 in the secondary development or M1/0 in the coda. Usually the num-ber before the slash is the leading theme in such a parallel melodic setting.

Phrase/Motif: A melody or theme may be subdivided into smaller melodic units, such asthe phrase or motif. A motif is marked by lowercase characters: a, b, c, . . .. In classicalmusic there are two basic families of melodic structures, shown in Figure 1.3: the sen-tence and the period, see [55]. The sentence has the form: aab (see the Group 1 theme inthe exposition), the period consists of abab phrases (as is the case for the first melody inthe 2nd group in the exposition). Another approach is a binary subdivision of a themeinto antecedent and consequent.11 The motif grouping into antecedent-consequent for asentence is (aa)− (b), and for a period (ab)− (ab).

Of course, melodies may deviate from these two basic patterns (see the second themein the 2nd group which has the form aaa). And obviously these phrases may be variedin any section of the sonata form: see M2.1 in the development. We may also encounteronly a single motif from the basic melody in the development section: see M1 in thesecond part of the development, where only the b-phrase is varied as bb′b′.

So, respecting the structural hierarchy defined above, melodic material could be labeledin a computer language style as: Exp::Gr2::M2.1::b’ (separating the 4-levels top-down bydouble colons). In the tables you will find a less sophisticated notation, that skips the sectionand group level, and will usually use neither subscripts, nor double colons. Therefore, themusical analysis tables will use labeling such as: M1, M2.1’, M1b, M2.1a. In case of notationinconsistencies, this is usually in order to prevent overfull table columns.

The sonata form occurs frequently as the opening and closing (finale) movements ofextended, multi-movement compositions, such as the symphony and string quartet.

The ternary song form

The ternary song form, also called the ternary form or ABA form, consists of two more or lesssimilar outer sections A, separated by a contrasting middle section B.12 The second A sectionis usually varied (labeled A’ or A2) and the movement frequently may close with a coda. Theternary song form is shown schematically in Fig. 1.4.

This form is subdivided into three structural levels:

Section: This highest level shows the ternary structure, with the two A sections (here labeledas A1 and A2), and the middle section B. The first Asection may be repeated. Thedashed box around the Coda section indicates that it is optional.

11The antecedent-consequent pair has some similarity to a call-and-response melody. The second half, the con-sequent, should have some reference to the opening phrase, the antecedent.

12In the analysis tables and in the descriptions, these section labels will be written with a boldface font, A,B,Cetc.



Ternary (song) form: [Optional]� -

|| : A1 : || B A2 Coda

M1 M1 M2 Tr(M2) M1 M1/2

aa′b abab bb′

Level: SectionTheme/Melody

Phrase/Motif6

@@I

@@I

Figure 1.4: The ternary song form in diagram, with formal structure, notation and labelingat various levels (see description in the text).

Theme/Melody: Now, in general there is one theme or melody per section, so we don’t needthe group structural level. In the template there is a main theme M1, that is repeated asa second statement in the opening section. However, that depends on the length of thesection, and a single statement is equally likely. Themes usually close with a cadence.The theme in the middle section, M2, is supposed to be a contrast to the other melody.The section closes with a transition, that is based on the second theme.

In the closing section, A2, after a single statement of the opening theme, both themesare combined in a simultaneous setting M1/2, although a simple repeated statement ofthe opening theme is just as likely. The coda usually contains a reference to either ofthe themes, before closing with a cadence.

Theme/Motif: In the diagram the first theme M1 is a sentence (aa′b), the contrasting middletheme M2 is a period (abab). The transition is based on a variation of the second motiffrom the middle theme.

The ternary song form is used in the middle movements of longer, multi-movement com-positions, such as the symphony or string quartet. There it is often in the form of a Menuetand Trio or a Scherzo and Trio, where both parts of the movement (so both the menuet andthe trio, or the scherzo and the trio) have a ternary structure. With a helicopter view, alsothe sonata form might be interpreted as a ternary form, with the exposition as the first A-section, the development as the contrasting middle or B-section, and the recapitulation asthe second A-section. In general, the ternary song form movement is shorter than the sonataform movement.

1.3.4 Key relationship diagram

For many of the works a key relationship diagram will be shown, according to the structuralfunctions of harmony approach presented in [54]. This is a graphical representation of howthe keys move in a (multi-movement) piece and represents the proximity or remoteness ofthe moving keys. A similar diagram is used for the interpretation of key distance in Chapter7 of [71].

The template key relationship overview diagram is shown in Fig. 1.5. It is centeredaround the main key of C major. The horizontal axis is along the circle of fifths, with sub-sequent dominants (R7i) to the right and subdominants (R7i) to the left. The vertical axisrepresents symmetry and similarity, with relative minor – submediant pairs (R3i) in up-



C[m

C[

A[m

A[

Fm

F

Dm

D

G[m

G[

E[m

E[

Cm

C

Am

A

D[m

D[

B[m

B[

Gm

G

Em

E

A[m

A[

Fm

F

Dm

D

Bm

B

E[m

E[

Cm

C

Am

A

F]m

F]

B[m

B[

Gm

G

Em

E

C]m

C]

Fm

F

Dm

D

Bm

B

G]m

G]

Cm

C

Am

A

F]m

F]

D]m

D]

Gm

G

Em

E

C]m

C]

A]m

A]

-

6

�

?

Dominant R−7i

Relative minor

Submediant R3i

“Symmetry axis”

Parallel minor

Mediant R−3i

- “Circle of 5ths”

Subdominant R7i

t

t

tt

Figure 1.5: Key relationship overview diagram

ward, and parallel minor – mediant relationships (R−3i) in downward direction. The prox-imity to the root key is given by the Euclidean distance to the main key. In the template thismeans that the four keys (or chords) {G,F,Am,Cm} are most closely related to C major,then {Em,Dm,Gm,Fm}, then {D,B[,A,E[}, etc. As we move outward from the centrethe number of accidentals increases, until we reach the enharmonically equivalent keys atthe edges of the diagram. These equivalent keys or multiple occurrences may be labeledwith bezier curves with closed circles at the endpoints. Two examples are shown in the dia-gram: the enharmonically equivalent G[ = F] in the left half and the double occurrence ofGm−Gm in the lower right quadrant.

As the piece moves through a number of keys, the number of horizontal and verticalsteps between two keys indicates the proximity. A diagonal move, e.g., from C to Gm (C ↘Gm), represents two steps. A surprise modulation in a development section of the sonataform implicates a leap in this diagram. Since keys are shown multiple times, we will takethe shortest path between two keys; e.g., from C to Dm the shortest path is left-upward (←↑,two steps), whereas→→↓ yields a distance of three steps. The enveloping rectangle aroundall the keys used in a movement is a measure for the tonal stability. Of course, a feeling oftime, the slow or rapid succession of keys, is lost in this diagram.

In modal music, the key refers to either a major diatonic mode (Lydian, Ionian, Mixoly-dian) or a minor mode (Aeolian, Dorian).

The geometry of the path through the key relationship diagram will reveal certain fea-tures of a movement in a composition. It may have a very simple shape, such as an alternat-ing path between tonic and dominant key. It may be meandering into remote key areas ina longer movement. There may be repeating key modulation patterns, there may be someform of left-right or upper-lower symmetry. Also, we may inspect the typical key patternsonata form movement: the path going into the right hand side dominant area at the begin-ning as in a exposition second group, and the typical move into the subdominat area, i.e.,the left quadrants near the coda.


1.4. FURTHER READING

1.4 Further reading

The material in this book is partly based on books on musical analysis I have read and stud-ied in detail. The other part is my own system for concisely and consistently marking andsummarising in diagrams all the scores that I have studied over the years. Therefore, mostof the symbols for labeling at the detailed level are my own definition, while at the higherstructural levels there is more agreement with existing literature.

In case, the reader would like to delve further into these source documents and text-books for musical analysis, here is a brief list of references that cover the period of tonalmusic: [13, 17, 28, 34, 49, 50, 51, 52, 53, 54, 56].13 Textbooks will demonstrate musical fea-tures with examples, short fragments of typically 4 to 16 measures long. However, none ofthese sources contains a collection of detailed harmonic analyses of classical music move-ments and compositions, comparable to the set in this e-book. That makes this publicationunique.

13See the Bibliography at the end of this book for full references.


Chapter 2

Johann Sebastian Bach

Biographical data:

1600 1700 1800 1900 2000

∗ 21-3-1685 in Eisenach† 28-7-1750 in Leipzig

Some general data and BWV numbers were taken from [73].

2.1 Vierstimmige Choralgesange

Source: [3]. Music for four-part choir.

2.1.1 Nrs. 154-163 Herzlich tut mich verlangen

This chorale melody has been set as a 4-part harmonisation multiple times: as chorale nr. 154(BWV 135), 155 (BWV 153), 156 (BWV 161), 157 (BWV 244), 158 (BWV 244), 159 (BWV 244),160 (BWV 244), 161 (BWV 246), 162 (BWV 270) and 163 (BWV 271).

See the harmonic analysis in Table 2.1 to 2.5. The end of a text phrase is indicated as Am,corresponding to a fermata in the musical score.

2.2 Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12 (c. 1724)

Source: [1]. An overview of the formal analysis is shown in Fig. 2.1.

Mvt. 2 Lento: ternary (da capo) form (Fm,[

32

], 92 m.)

A B

Figure 2.1: Bach, Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, BWV 12


CHAPTER 2. JOHANN SEBASTIAN BACH

Table 2.1: Bach, Choralgesang nrs. 154–155 Herzlich tut mich verlangen

m R H Comment

Nr. 154 BWV 135

0u Am || : Am−1 Em− F/A− Em/G−2 Dm/F − E − E/G]−3 Am− F −B∅7/D − E−4 Am : || Am−5 B∅7/D − Em− F −B◦−6 C relative major7 F − C]◦7 −Dm−Dm/F−8 A− C/E−9 G− C/E −G−

10 Am7/C −D − G− E/G]d−

11 F/A− C −Dm7/C −G/B−12 Am/C − E

Nr. 155 BWV 153

0u Am || : E7/D−1 Am/C − C]◦7 −Dm− C◦/E− PB(↗)

2 Dm/F −Gm/B[− A− Em/G− major3 D]◦7/F]−Am/E −B7/D]− E7−4 Am : || Am−5 G−G7/F −Am/E −B◦/D−6 C7/E − F − C − C/E− plagal cad.7 F − C]◦7/B[−A/C]−Dm−8 A−D7/F]− plagal cad. to major9 G− F]◦/A−G/B−

10 Am7/C −D − G− C−11 Dm− C/E −D7/F]−G− P i

B(↗)

12 E7/G]−Am− E


2.2. CANTATA NO. 12 WEINEN, KLAGEN, SORGEN, ZAGEN, BWV 12


m R H Comment

Nr. 156 BWV 161

0u Am || : Em− With added flute part1 Dm/F −G− F/A−G7/B − C−2 Dm/F − E − E−3 Am− F −B◦/D − Em7−4 A− Am : || Am7− major-minor5 B◦/D − C/E − F −B◦/D−6 C −Am7/C − C − C/E−7 F − C7 −A/C]−Dm−8 Am−Am−

9 Em−G/B −Am/C − Em− E7

d−

10 F −Dm/F − E −A7−11 Dm−Am−Dm/F −G− P i

B(↗)

12 E/G]−Am− E

Nr. 157 BWV 244

0u Bm−D || : D−1 G−D/F]−G/B −D−2 Em7/G−A− D −A]◦/C]− relative major3 Bm−Bm/F]− F]7−4 Bm : || Bm7−5 C]◦/E − EM −D/F]−G− C]◦/E−6 Bm/D − D −G− relative major7 G∆7 −D]◦7 − Em− Em/G−8 B − E7/G] major9 A− E/G]−D/F]−A/E−

10 B7/D]− E − A−D−11 Em−D/F]−A4 −A−12 D relative major




m R H Comment

Nr. 158 BWV 244

0u C]m− E || : E−1 A− E/G]−A/C]− E−2 F]m/A−B − E −B]◦/D]− relative major3 C]m− C]m/G]−G]7−4 C]m : || C]m7−5 D]◦/F]−G]m7 −A−D]◦/F]−6 C]m/D − E − E − E−7 A− E − F]m− F]m/A−8 C]− F]7/A]− major

9 B −B/D]− E/G]−Bd−

10 C]m/E − F]− B − E−11 A/C]− E/B − F]m7/A−B−12 E

Nr. 159 BWV 244

0u Dm− F || : Dm−1 B[− F/A−Gm− F−2 Gm/B[− C − F −A/C]− relative major3 Dm−Dm/F −A4 −A7−4 Dm : || Dm7−5 Gm− F/A−B[− Cm7/G−

6 Dm/F − F − F − F7

d−

7 Gm/B[−D7/F]−Gm−8 D −G7/B− major9 C − F/A− C/G−

10 Dm7/F −G− C − F−11 Gm− F/A− C7sus4 − C7−12 F relative major




m R H Comment

Nr. 160 BWV 244

0u Am || : Am−1 F − C/E −Dm− C−2 D7/F]−G− C − E/G]−3 Am−B∅7/D −Am/E − E7−4 Am : || Am7−5 B7/D]− Em− F7/E[−B◦/D F7 = B

[5/[97

6 C7/E − Fm− C − C7

d− relative major

7 Dm/F − E∅7 −A7/C]−Dm−8 A−B7/D]− plagal cad. to major9 G−G/B − C/E −G−

10 A7/C]−D − G− C−11 G7/B − C −Gm/B[−Gm7−12 E7/G]−Am− E

Nr. 161 BWV 246

0u Am || : Ed−

1 F −G− F/A− C/G−2 Dm7/F −B∅7/F − E − E−3 Am− F −B∅7/D − E7−4 Am : || Am7−5 B∅7/D − Em7 − F −B◦/D−6 F/A− C − C − C relative major7 F − C]◦7 −Dm−G]◦7/D−8 A−D7/F]− major9 G−G∆7/F]− C/E − Em7−

10 Am7/C −D − G− C−11 F/A−Am−B∅7 −G/B −Dm/A−12 E7/G]−Am− E




m R H Comment

Nr. 162 BWV 270

0u Bm || : Bm−1 G−D/F]− C]∅7/E −Bm/D−2 Em7/G− ˆF]m− F]m3 Bm−Bm/D −B/F]− F]7−4 Bm : || Bm7−5 C]∅7/E −D/F]−G− C]◦/E−

6 D7/F]−G− D −D7

d− relative major

7 Em/G−B7/D]− Em−8 B − E7/G]− major9 A− C]m−D/F]−A−

10 Bm/D − E − A−D−11 G/B −D −A/C]12 Bm/D −G]∅7/B − F]

Nr. 163 BWV 271

0u Bm || : D−1 G−D/F]− Em−D−2 Em7/G−A− D − F]/A]− relative major3 Bm−Bm/D − F]4 − F]7−4 Bm : || Bm7−5 C]∅7/E −D/F]−G− C]◦/E−6 Bm/D −D − D −D− relative major7 G−D]◦7 − Em− Em/G−8 B − E7/G]− major9 A−Bm−A/C]−

10 Bm7/D − E − A−D−11 Em−D/F]−A7 −A7/E−12 Bm/D −Bm− F ]



2.2.1 Movement 2. Lento

This section is included in the full version of the book.Order the E-book from the webstore.



[This page is intentionally left blank in the demo version of this book.]


2.3. CANTATA NO. 78 JESU, DER DU MEINE SEELE, BWV 78

2.3 Cantata No. 78 Jesu, der Du meine Seele, BWV 78 (c. 1740)


Mvt. 1: Instrumental-Choral (Gm,[

34

], 144 m.)

I1 C1 I2 C2 I3 C3 I4 C4 I5 C5 I6 C6 I7

Mvt. 2 Aria. Duetto Wir eilen: ternary (da capo) song form (B[,[

44

], 98 m.)

A V1 V2 BV3 V4 V5

Figure 2.2: Bach, Cantata No. 78 Jesu, der Du meine Seele, BWV 78

2.3.1 Movement 1

Form: chaconne (repeating chord progression, ostinato motif). Two counterpoint motives(M0, the chromatically descending ostinato motif and M1) are combined with the choralemelody Jesu, der Du meine Seele (Mc) in a four part counterpoint, full of imitation. The analy-sis is shown in Table 2.6 to 2.8.

2.3.2 Movement 2 Aria. Duetto Wir eilen




Table 2.6: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1

m M R H Comment

1 M0 Gm Gm−D/F]−Dm/F −B[∆7/F− Instrumental: intro3 ⊥ C/E − Cm/E[− F −D7− chr desc motif, P i

B(↘)

5 M0 Gm−D/F]−Dm/F −G[97 /F−

7 ⊥ C/E −A∅7/E[−Gm64 −D7−

9 M0 Gm−D −Dm−Am7 −A∅7 −D7−13 M0 Gm−D[9

7 −Dm7 − C − Cm−D7−17 M0/1 Gm−A∅7/C −D −Dm7/F −Gm7− Choir: imit19 ⊥ A−A∅7 −A∅7/G−D7/F]−21 M0/c Gm−D/F]−Dm/F− Chorale melody, line 123 ⊥ C/E − Cm/E[−Gm6

4 −D7 −Gm25 I(M1) Gm− Cm7 − C7 − Fm−D7 −Gm

29 M1 Cm−A[/C −G[97 /B −Gm/B[−

31 ⊥ Am7 − Fm/A[−G7 − Cm/G−D7−33 M0/c Gm− E[/G− F]◦7 −Dm/F −Gm7/F Chor mel, line 2

35 ⊥ E∅7 − F]◦7/E[d− Cm/E[−D[9

7 −

37 M0 Gm−D/F]−Dm/F −B[∆7/F− Instrumental: trans39 ⊥ C/E − Cm/E[−Gm6

4 −D[97 − chr desc motif, P i

B(↘)41 M0 Gm−D −Dm−43 ⊥ Am7 −A∅7 −D7/F]−45 M0 Gm− E[/B[− Cm7/B[−

46... D[9

7 /A−Dm7/A−47 ⊥ C/G− Cm/G−D7/F]−

49 M1 Gm−A∅7/C −D −Dm/F −Gm7− Choir: imit51 ⊥ A[9

7 −A∅7 −A∅7/G−D7/F]53 M1/c Gm−D/F]−Dm/F− Chor mel, line 355 ⊥ C/E − Cm7/E[−Gm6

4 −D−57 I(M1) Gm− Cm7 − C7 − Fm−D7−

60... Gm−G[9

7 − Cm−A[/C−

62... G[9

7 /B −Gm7/B[−A∅7 − Fm/A[−64 ⊥ G7 − Cm7/G−D[9

7

65 M0/c Gm− E[/G−D[97 /F]−Dm7/F− Chor mel, line 4

67 ⊥ E∅7 −D[97 /F]

d− Cm/E[−D[9

7 −

69 Gm/D −A[97 −Dm7− Instrumental: trans

71 D −G/D −Gm−D −A[97 /C]−

72 Dm−A−



Table 2.7: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (cont’d)

m M R H Comment

73 M0/3+4 Dm Dm−G7 −A7 −Am7/C −Dm7 Choir: imit

75... Em−A[9

7 /E − E∅7/D −A7/C]−

77... Dm−B[/D −A[9

7 /C]−Am7/C−79 ⊥ G7/B −Gm7/B[−A7−81 M0/c Dm−Gm7/F− Chor mel, line 5

82... C/E − Cm/E[− F7/E[−

83 ⊥ B[/D −B[m/D[− E◦7/D[− F 64 − C7−

85 M0 F F − C/E − Cm/E[− Instrum: trans87 ⊥ B[/D −B[m/D[− F 6

4 − C7−

89 M5 F −G7/B − C −D7/F]− Choir: imit, Seq

91... Gm−A∅7/C −Dm−Gm− Seq(4×1m;R−5)

93 ⊥ A[97 − F]∅7/A− Cm/G−D7/F]−

95 M0/c Gm Gm−B∆7/A−B[7/A[− Chorale mel, line 697 ⊥ E[/G− E[m/G[−B[64 − F7−

99 M0 B[ B[− F/A− Fm/A[− Instrum: trans101 ⊥ E[/G− E[m/G[−B[64 − F7−103 B[− C7/E − F −G7/B− Seq(4×1m;R−5)105 Cm−Am7/E −D7/F]−Gm−A∅7/C−

107 M0 D7sus4 −D/F]−Gm−A7 −D7/F]− Choir: imit

109... Gm−Gm7/F − Cm/E[−

111... D7sus4 −G7/D − Cm−B◦7/C−

112... Cm−G[9

7 /B − C7/B[−

113... F7sus4 −G7/D − C7sus4 − F7/A−

115 ⊥ B[− C7/G− F7sus4 −B[7 − E[−D7/C−118 M0/c Gm Gm−A∅7/G−D[9

7 /F]−Dm/F− Chorale mel, line 7

120... Gm7/F − C/E − Cm/E[−

121 ⊥ (D −D7 −Gm)/D− d-dom-ped

122 M0 (A[97 −D7 −G7 − E7 −A7)/D− Instrum: trans

124 ⊥ (D7

d− E[)/D−

125 D7 −G7 − C7 − F7 Seq(4×1m;R−5)



Table 2.8: Bach, Cantata No. 78 Jesu, der Du meine Seele, Movement 1 (cont’d)

m M R H Comment

129 M6 B[ B[− E[/G−D[97 − Choir: imit

131... Gm− Cm7/E[− Fm−B[/D − E[−A∅7/C− Seq(3×1m;R−7)

134 ⊥ G[97 − Cm− C7/E −D7/F]−

136 M0/c Gm Gm−D/F]−Dm/F −B[/F− Chor mel, line 8138 ⊥ C/E − Cm/E[−A∅7/E[−Gm6

4 −D7−

140 M0 Gm−D/F]−Dm/F −G[97 /F− Instrum: coda

142... C/E − Cm/E[−A∅7/E[−

143 ⊥ Gm64 −D7 −G (144 m.)



Table 2.9: Bach, Brandenburg Concerto No. 4, Mvt. 2 Andante

m M R H Comment

1 M1 Em Em A, echo (C&R)9 M2 B E7− echo (C&R)

M2 Am E −D − C∆7 B7− Seq(3×1m;R−7)18 M2 Em D7 −G E7 −Am E7− echo (C&R)

28 M2 Am Am D7 −G− C∆7 F]∅7 −B7 B, solo, Seq(3×2m;R−7)⊥ Em− F]7−

37 M2 Bm Bm F]7 −Bm C]−B −A Seq(3×1m;R−7)⊥ G∆7 F]7−

45 M2 Bm A7 −D B7 − Em B7− echo

55 M1 Em Em F/A− A’61 M2 B F]− E −D G∆7 Seq(3×1m;R−7)68 . . .−Am/C −B Coda (71 m.)

2.4 Brandenburg Concerto No. 4, BWV 1049 (1721)

Source: [2]. Music for orchestra (solo violin, two flutes or recorders, strings and continuo).An overview of the formal analysis is shown in Fig. 2.3.

Mvt. 2 Andante: ternary song form (Em,[

34

], 71 m.)

A B A’

Mvt. 3 Presto: tutti-soli form (G,[

22

], 244 m.)

Intro T1 S1 T2 S2 T3 S3 T4S4 T5 Coda

Figure 2.3: Bach, Brandenburg Concerto No. 4, BWV 1049

2.4.1 Mvt. 2 Andante

Form: ternary song form, ABA’. Note the call-and-response (C&R) phrases and the frequentuse of single measure sequences with stepwise descending root, Seq(3× 1m;R−7), in theepisodes. See Table 2.9 for the analysis.

2.4.2 Mvt. 3 Presto

This closing fast movement has the characteristic juxtaposition of tutti with solo instrumentsections (two recorders and violin). See Table 2.10 for the analysis.


2.4. BRANDENBURG CONCERTO NO. 4, BWV 1049

Table 2.10: Bach, Brandenburg Concerto No. 4, Mvt. 3 Presto

m M R H Comment

1 M1 G G D −G A7 −D D7 −G Fugato-Intro (4 stat)23 M1 . . . A7 −D D− Tutti 1 (2 stat)41 M1 G G D7 −G D7− Solo 1, imit47 ⊥ G Em−A7− Seq(3×2m;R−7)53 M1 D D A7 −D A7− imit57 ⊥ D E7 −A7− Seq(3×2m;R−7)

67 M1/2 D D A7 −D D7

d− Em B7 − Em Tutti 2

75 M2 E7

d− F A7

d− Bm Seq(3×2m;R5)

M1/2 G B7−87 Em Em B7 − Em B7 − Em A7− Solo 2 (violin)95 D D A7 −D7 −G7 E7− Seq(3×2m;R5)

Am Am B7 − Em105 M1 . . .−B7− imit

Em Em A7 B7 − Em B7 − E7−Am Am B7 − Em B−

127 M1 Em Em B7 − Em B7 − Em B7 − Em Tutti 3 (3 stat)138 M3 Seq(3×2m;R5), (4 stat)

Bm F]7 −Bm E7 − F]7 −Bm F]7−152 Bm E7 −Am D7 −G Em−A7− Solo 3, Seq(3×2m;R−7)159 M1’ G− C D D7 −G G7 − C G7− imit167 M1 C C D7 −G G7 − C F G7−

175 M1 C C G7 − C G7 − C G7− Tutti 4, imit (3 stat)183 C D7− Solo 4, Seq(3×2m;R−7)189 M1 G G D7 −G D7 −G D7 −G Tutti 5, imit (3 stat)197 G A7 −D7− Seq(3×2m;R−7)

207 M1/2 G GM2 A7 −D7− Seq(2×2m;R−5)

219 G G G7 − C D7− Coda225 M1 G D7 −G D7−

G A7 −D G7 − C E7 −Am−D7−237 M1 G D7 −G D −G imit (2 stat), (244 m.)



2.5 Orchestral Suite No. 3 in D Major, BWV 1068 (1731)

Source: [2]. Music for orchestra (3 trumpets, timpani, 2 oboes, strings and continuo). Anoverview of the formal analysis is shown in Fig. 2.4.

Mvt. 1 Ouverture: ternary song form, ABCA form (D,[

44

][22

], 122 m.)

A B C A’

Mvt. 2 Air: AB form (D,[

44

], 18 m.)

A B

Mvt. 3 Gavotte 1: AB form (D,[

22

], 26 m.)

A B

Mvt. 4 Gavotte 2: AB form (D,[

22

], 32 m.)

A B

Mvt. 5 Bourree: AB form (D,[

22

], 32 m.)

A B

Mvt. 6 Gigue: AB form (D,[

68

], 72 m.)

A B

Figure 2.4: Bach, Orchestral Suite No. 3 in D Major, BWV 1068

2.5.1 Mvt. 1 Ouverture

Form: ternary song form, ABCA’. This overture contrasts a maestoso A section with an elab-orate counterpoint middle section (B and C), that is based on an ascending motif (M2), laterwith addition of a quasi improvised, free melody (M3) in continuous 16th notes. The back-grounds are full of imitation (middle string voices). The trumpets provide accents, (unisono)imitation, voice crossing and occasional support for the thematic material. See Table 2.11 and2.12 for the analysis.

2.5.2 Mvt. 2 Air



2.5. ORCHESTRAL SUITE NO. 3, BWV 1068

Table 2.11: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture

m M R H Comment

1 M1 D || : (D −Bm7 − Em7 −A7)/D −D − C]◦7/E− A[

44

](ab) tutti

5 M1’ (D −G]∅7 − E7)/D −A/C]− F]m− (a): Ob+Vi

7... Bm7 − E7/G]−A−D]◦7 −Am7− (b)

9... B7/A− Em/G− F]◦7/A−B − Em7 −Am/E (b’)

11... A]◦7/E −Bm− F]7− (b’)

13... B7/D]− E − C]m7 − F]m7 −D− (c)

16... Bm7 − E7/G]−A− E7−

18... A−A7/G−D/F]−D7 −G− Em7/G− (d): Ob+Vi, Tpt accts

21... A7/C]−D −A7/G−D/F]− tutti

23 ⊥ A7/C]−D −A : ||

25 M2 || : A7 −D −D7/C −G/B − E7/D− B[

22

]4pt ctp: Ob+Str

28... A− C]∅7/E −A7/G−D −D7/C−

31 ⊥ G/B − E7 − E7/D −A− Tpt accts, cad33 M2 A7/C]−D −G∆7 − C]∅7 − F]7− episode35 M2 Bm−Bm7 −D7 −G− C]∅7− tutti37 ⊥ F]m7 −Bm7 −A7 −D

38 M2 A−A7/G−D/F]d− DB

40 ⊥ Em7 −A7/E −<(D − Em7/G−A7)− cad

42 M3 D −Bm− Em7/G−A7− C, free 16th: Vi1

43... D − E7/D −A/C]− F]m−Bm7/D − E− Str bg

44... A− C]◦/G− F]7 −Bm−D]◦7/F]−B7−

48... Em7 −A7 −D7 −G∆7−

49... C]∅7 − F]7 −Bm− Em

50.../2 F]7 −B7 − E7 −A7− tutti ctp, Seq(4×R5)

56 ⊥ D − E7 −A−D/F]− C]◦ − E− tutti, cad58 M3/2 A−A7/G−D/F]−B −B7/A− tutti climax

61... E/G]− E7 −A−D∆7

63... G]∅7 − C]7 − F]m− F]m7 −A7− Ob+Str ctp

65... D − Em7/G− C]∅7 − F]−

66 ⊥ Bm− Em7 − C]∅7/G− F]− F]7/E− Tpt accts, climax



Table 2.12: Bach, Orchestral Suite No. 3 in D Major, Mvt. 1 Ouverture (cont’d)

m M R H Comment

68 M3’ Bm Bm/D − C]∅7 − F]7/C]− Ob+Str episode

69... Bm− Em− F]−A]◦/E− (free 16th)

70... Bm− C]∅7 − F]− cad

71... Bm− F]7/A]−Bm−G− C]∅7/E − F]− Vi1, Str cad

72... Bm− C]7/B − F]m/A−D −G]∅7/B − C]7−

73... F]m− F]∅7/E −B7/D]−B7− PB(↘)

75... Em− E7/D −A/C]−A7− Σ(cm<)

77... D7 −G∆7 − C]◦ − F]m7 −Bm− Em7 −A7− Ob accts

79... (D −A7

d− Bm7 − E7 −A)/A−A7

d− tutti climax

81.../2 B7 − E7 −A7 −D7− ctp, Seq(4×R5)

87 ⊥ G G−Bm7/C]◦ −D − Em7/G−89 M3/2 A−A7 −D −D7 −G− E7− tutti climax, cad

93... A−A7 −D −D7/C −G/B − E− ctp

97... E7/D −A/C]−A7 −D −G∆7 − C]∅7 − F]7−

100... Bm−Bm7 −D7 −G− Em/G− C]∅7− tutti climax

102... F]m7 −Bm7 − Em7 −A7

d− Bm7−

103... A−A7 −A7/G−D/F]−

105 ⊥ Em−A7/E −<(D − Em/G−A7)− cad

107 M1 D D − . . .−D7 −G− C]∅7/G− A’[

44

](ab): tutti

110... D/F]−B[9

7 − Em−B7 − E/G]− E7− (a’b’): Ob+Str

115... (A−D −A7)/A

d− Bm7 −G/B − Em7−

117... A7/C]−A7 −D −D7−

119... (G− Em7 −A7)/G−G/B −A7/C]−

121 ⊥ D −G−A−D : || cad (122 m.)



Table 2.13: Bach, Orchestral Suite No. 3 in D Major, Mvt. 3 Gavotte 1

m M R H Comment

1 M.a D || : D −A7/C]−D − C]◦− A (aa’): tutti (upbeat)3 M.b D/F]− Em7/G−D6

4 −A7− Ob+Str, cad5 M.a D −A7/C]−D − E7− (aa’): tutti, 2nd stat7 M.b’ A/C]− E7 −A−D −A/C]−D/F]− Ob+Str9 ⊥ Bm7 −A6

4 − E −A : || : A7− cad

11 I(M.a) D∆7 −Bm7 − Em7 − C]◦/E − F]7d− B (aa’): Ob+Str, Σ(cm>)

13 I(M.b) G−D/F]− C]∅7/G− Em7−14 ⊥ Bm F]−Bm−Bm7/A−15 M.a E7/G]− F]7− (a): Ob+Str16 M.b’ Bm−G−A]◦7/E −Bm/D−17 ⊥ Em−Bm6

4 − F]−Bm−G−19 M.a D7/F]−B7 − Em−A7/C]− (aa’): Ob+Str21 M.b D D −Bm− C]∅7/G− E7/G]− tutti

22 ⊥ A−D −D7/F]d−

23 I(M.a) Em7− Ob+Str, Σ(cm>)24 I(M.b’) A7−25 ⊥ D − Em7/G−A−D : || tutti, cad (26 m.)

2.5.3 Mvt. 3 Gavotte 1

Form: binary, AB form. In this straightforward, monothematic dance the full orchestra re-turns. Trumpets support the a-phrase from the main theme in the opening and closing tutti.Oboes play unisono throughout. This theme returns in melodic inversion in the B section.See Table 2.13 for the analysis.

2.5.4 Mvt. 4 Gavotte 2




Table 2.14: Bach, Orchestral Suite No. 3 in D Major, Mvt. 5 Bourree

m M R H Comment

1 M.a D || : D −D∆7/C]− F]7/C]− A, Ob+Str, Tpt acct3 M.b Bm− E7/B −A/C]−D/F]−A7− tutti5 M.a’ D −Bm7/D − E/G]− E7−7 M.b’ A− F]m−Bm/D − E −A : || cad

9 M.a || : A− E7/G]−A−A7/G− B, Ob+Str, Tpt acct11 M.b D/F]− Em7 −A−D tutti13 M.c G− Em/B −Bm/D −Am/C − C −D]◦/F]− Ob+Str, [S6]

15... Em−D/A− Em/G−A]◦/C]−

17 ⊥ Bm F][97 − . . .−Bm− F]7 −Bm19 M.a’ D/F]−D7 − . . .− Ob+Str, Tpt acct

24 M.b G−A7

d− Bm−A7/C]−D − C]∅7/D−

27 ⊥ D D/F]− E7 −A7/G−D/F]−A7/E−29 M.c D −Bm− E7 −A7 −D6

4 −A7 −D : || tutti, cad (32 m.)

2.5.5 Mvt. 5 Bourree

Form: binary, AB form. The oboes play unisono lead with the first violins. The trumpetsalternate between rhythmic accents and melodic support. The lower strings imitate thebourree lead rhythm. See Table 2.14 for the analysis.

2.5.6 Mvt. 6 Gigue



Chapter 3

Joseph Haydn

Biographical data:

1600 1700 1800 1900 2000

∗ 31-3-1732 in Rohrau† 28-5-1809 in Wien

The analysis of the Haydn string quartets in this chapter has been supported by detailedexamples or global descriptions in [54, 55, 49, 72].9 Haydn served as a Classical music periodexample to many later composers, by more or less providing the templates for musical formssuch as the sonata, and longer, multi-movement forms, such as the symphony and the stringquartet. Applying analysis models to his works therefore implies comparing earlier workwith later models, and therefore occasionally yields peculiarities, that seem not to fit thetemplates.

3.1 String Quartet Op. 76, No. 1 in G Major (1796/7)

Source: [25]. This opus number contains six string quartets. The three quartets analysed inthis chapter all consist of four movements in the conventional fast-slow-dance-fast tempopattern. An overview of the formal analysis is shown in Fig. 3.1. Note the length ratio ofthe development section compared to the exposition-recapitulation pairs in the outer move-ments. These are not the extended developments, found in quartets by later composers inthe tonal music period.

3.1.1 Mvt. 1 Allegro con spirito

Form: sonata form, with short introduction. See Table 3.1 and 3.2 for the analysis. The leadinstruments are indicated in the tables, e.g., Vi1.

3.1.2 Mvt. 2 Adagio sostenuto



CHAPTER 3. JOSEPH HAYDN

Table 3.1: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito

m M R H Comment

1 G G−D7 −G Introduction, cad[

22

]3 M1.a G−Am−D

d− Em−A/C]−D− Exp, Gr 1: Vc

7 M1.a’ Am−Bm− E −Am−D −G Va

11 M1.a G−Am−D7

d− Em−A7 −D − E/G]− 2nd stat, I(M1.a) in Vc

15 M1.a’ Am−Bm− E7 −Am−D7 −G Va, I(M1.a’) in Va19 I(M1.a’) <(C/G− F]∅7 −G) trans, P T (g)

23... G]◦7 −Am− F]◦7 −G− C/G−G P T (g)

25 ⊥ G]◦7 −Am− F]◦7 −G−26 C −D7 −G−G/B − C −D7 −G33 M1.a Em− F]∅7 −B − Em−A/C]− unisono climax

36 ⊥ D −D/F]d− Em/G−G/B −D7/A− cad

38 D7/C −G/B− trans to D

40 Gm/B[− E[5/[97 /B[−A−

43 M2.1 D A7 −D/A−D −A7 −D− Gr 2: Vi1, PD(a)46 ⊥ D]◦7 − Em−A7 −D −A7− PD(a)

50 M2.2 D −D/F]d− <(Em/G−D]◦7/A)− Vi1

53 ⊥ Em/G−<(C]◦7/G−Dm/F )−56 <(Dm−Gm)/D −B[ unis arp, P T (d)

64 E[5/[97 /D − C]◦7 −A[9

7 /C]−70 D −G−D/A−A−D73 M2.3 <(A7 −D)/D − F]◦/A− Vi1, P T (d)81 D]◦7/F]− Em− C]◦7/E −D/F]− closing82 G−D/A−D − F]◦−83 D]◦7/F]− Em− C]◦7/E −D/F]− closing 8va84 G−D/A−D − F]◦−86 D −A−D −A7 −D cad

89 M1.a D D − Em/G−A7

d− Dev: Va

91 ⊥ Bm−D/F]− E7/G]−A93 M1.a Em Em− F]◦/A−B7 − Em−D]◦− Vi296 M2.2’ Em−B −B7 − Em imit: Vi1-Vi2-Vi1

102... Am7 −D7 −G∆7 − C∆7− arp: R5 Vi1

106 ⊥ F]∅7 −B7−108 M2.2’ Em−Am/E − Em− arp: Vi1

112... E7/D −Am/C − E7/G]−

115... Am−A7/G−Dm/F −A7/C]− climax

117 ⊥ Dm−G7/F − C/E −G7/B−


3.1. STRING QUARTET OP. 76, NO. 1 IN G MAJOR

Table 3.2: Haydn, String Quartet Op. 76, No. 1, Mvt. 1 Allegro con spirito (cont’d)

m M R H Comment

119 M1.a C C −Dm/F− Vi1 ctp

120... G7 −G7/F − C/E − E

[5/[97 /B[− Seq(2×2m;R7)

122 ⊥ A−A7 −D −Dm/F − F][57 /C −B125 M1.a Em Em− F∅7 −B −B7− Vi1 ctp127 M1.a Em− F]∅7 −B7− imit, Vc129 ⊥ Em−Bm/D −A/C]−D132 I(M1.a) <(G− C]∅7)/D −D7− inv, par, Vi1+Va, P (d)

140 M1.a G G−Am−Dd− Em−A7/C]−D Recap, Gr 1: Vc

144 M1.a G−G/B − Em/G− C/E− stretto imit, [S6(R3)]

145... Am/C − F]◦/A−D/F]−Bm/D− [S6(R3)]

146... S6(G− Em− . . .−Bm−G)− [S6(R3)] (cont’d)

148 ⊥ Em/G−Am−D7−149 G− Em− C −Am−G6

4 −D7− cad151 I(M1.a) <(C − F]∅7)/G inv, par, Vi1+2, P T (g)

156... G]◦7 −Am− F]◦7 −G− C/G−G−

158 ⊥ G]◦7 −Am− F]◦7 −G159 C −D7 −G−G/B− trans, cad163 C −Am/C −A/C]−

165 (D − E7 −Am−D)/Dd− imit, PD(d)

167 (Em− C −D7)/D−169 M1.a’ G−Am−D7− Vc, I(M1.a’) in Vi1171 M2.2 G−D7/F]−G−<(Am−G]◦7/D)−176 ⊥ Am/C −<(F]◦7 −Gm/B[)179 Gm (Gm− Cm−Gm− E[)/G unis arp, P T (g)

187 A[5/[97 /G− F]◦7 −D7/F]−

192 G G−Am/C −G64 −D7 −G cad

196 M2.3 <(D7 −G)/G−D7/F]− Vi1, P T (g)

202... <(G−D/F])−<(G−D7/F])− E7−

205 ⊥ <(Am− E7/G])−Am− F]◦7 −G−208 M2.3 <(D7 −G)−G7/D− Vi1 8va, P T (g)216 G]◦7/B −Am/C − F]◦7/A−G/B− closing217 Am7/C −D7 −G−G7/D−219 G]◦7/B −Am/C − C]◦7 −D−220 D]◦7 − Em−D7/F]−G−221 Am/C −D7 −G−D −G−D7 −G cad (225 m.)



Mvt. 1 Allegro con spirito: sonata form (G,[

22

], 225 m.)

Exposition Development Recapitulation

Mvt. 2 Adagio sostenuto: ternary song form (C,[

24

], 95 m.)

A B A’

Mvt. 3 Menuetto presto: menuet and trio form (G,[

34

], 74 m.)

Menuet Trio

Mvt. 4 Allegro ma non troppo: sonata form (Gm,[

22

], 200 m.)

Exposition Development Recapitulation Coda

Figure 3.1: Haydn, String Quartet Op. 76, No. 1 in G Major



3.1.3 Mvt. 3 Menuetto presto and Trio

Form: menuet and trio form. See Table 3.3 for the analysis.

3.1.4 Mvt. 4 Allegro ma non troppo




Table 3.3: Haydn, String Quartet Op. 76, No. 1, Mvt. 3 Menuetto presto and Trio

m M R H Comment

Menuetto. Presto[

34

]1 M1a G || : G−Am/C −D7 −G− Vi15 M1b A]◦ −Bm/D − F]7 −Bm−A7 −D−

8 ⊥ G−Dd− Em/G−D6

4 −A7 −D− : || :

10 M2 D/F]d− (upbeat)

11... E[/G− F/A−Gm/B[−D − C]◦7− [S6] , PD(d)

14... D −Gm− F/A− E[/G−Dm/F− parallel [S6]

16... Cm/E[− E[/G− [S6] (cont’d)

17 ⊥ Dm/F − Cm/E[−B[/D− [S6] (cont’d)18 A◦/C −<(C]◦7 −D) PD(d)23 M1a G−Am/C −D7 −G− Vi127 M1a G− E −Am−D7 −G/B− Vc31 M1c G+/B − C −B◦ −G7/B− Vi1

35... C − F]◦/A−G−D7

d− Em−

37 ⊥ Am/C −G/D −D7 −G−D −G

Trio[

34

]41 M3a || : G−D −G

45 M3a’ G− Em/G− Em7/G−A−D/F]d− Em−

49 ⊥ D/A− C]◦/E −D −G−A7 −D− : || :52 I(M3a) D7/F]−G−G7/B − C −Am/C −D7−61 M3a G−D −G65 M3b C/E −G−

69... Am/C −D −G/B −D7−

71 ⊥ G/D − F]◦/A−G−Am/C −D7 −G (74 m.)


3.2. STRING QUARTET OP. 76, NO. 2 IN D MINOR QUINTEN

3.1.5 Key relationship overview

The key relationship diagram of this first string quartet is shown in Fig. 3.2. The first andthird movement stay close to or in the main key G major. The opening movement moves onestep in the horizontal (dominant-sudominant axis) and vertical (relative and parallel minor)direction. The second, slow movement moves to the dominant (1) and the parallel minor (2)key.

The closing movement has the widest key scope. It starts in G minor, moves to the rela-tive major B[ (1) and then moves back and forth to its parallel minor (2). The developmentstarts to move further away from the main key along the vertical axis Fm − A[ − A[m (3).Then there is a remote leap A[m− A. Using the double occurrence property, this move pre-pares for the return; first A − Am (4) and then back to the (major) main key Dm − Gm − G(5).

Mvt. 1 Allegro con spirito

Cm

C

Am

Gm

G

Am

Dm

D

Am

-

1@

@@I��*��

2?

?63

Mvt. 2 Adagio

Cm

C

Gm

G-�1

?62

Mvt. 3 Menuetto

G

Mvt. 4 Allegro ma non troppo

A

G[m

G[

E[m

E[

Cm

C

E

D[m

D[

B[m

B[

Gm

G•

B

A[m

A[

Fm

F

Dm

D

F]

E[m

E[

Cm

C

Am

A

?1

?62-

3 ?

?��9t

t4

?��

56

Figure 3.2: Haydn, String Quartet Op. 76, No. 1, key relationship overview

3.2 String Quartet Op. 76, No. 2 in D Minor Quinten (1796/7)

Source: [25]. This string quartet has the standard set of four movements; opening sonataform allegro - slow movement in ternary song form - menuet and trio - closing fast move-ment. However, the treatment of these is unusual and must have been an example and inspi-ration to later composers. The use of a short main motif, as the basis for a counterpoint sonatasetting (Mvt. 1), the canon and extended pedal point in Mvt. 3 and the mixed sonata/rondoform of the last movement are rather unique. All predictable elements are present in this



quartet, but with a special twist by Haydn.An overview of the formal analysis is shown in Fig. 3.3.

Mvt. 1 Allegro: sonata form (Dm,[

44

], 154 m.)

Exposition Developm. Recap. Co

Mvt. 2 Andante o piu tosto allegretto: ternary song form (D,[

68

], 67 m.)

A B A’ C

Mvt. 3 Menuetto allegro ma non troppo: menuet and trio form (Dm,[

34

], 80 m.)

Menuet Trio

Mvt. 4 Vivace assai: sonata form (Dm,[

24

], 267 m.)

Exposition (93 m.) Developm. (54 m.)

Recapitulation (103 m.) Co

Figure 3.3: Haydn, String Quartet Op. 76, No. 2 in D Minor Quinten

3.2.1 Mvt. 1 Allegro

Form: sonata form. This quartet received its name ‘Quintenquartett’ from the opening motif(M1.a=Mq), that consists of two downward 5th leaps. This motif is used also as backgroundin the second thematic group from the exposition, and in intricate (stretto) counterpointsettings. See Table 3.4 and 3.5 for the analysis.

3.2.2 Mvt. 2 Andante o piu tosto allegretto




Table 3.4: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro

m M R H Comment

1 M1a Dm Dm− E∅7/D −A7/E− Exp, Gr 1 ‘Quinten’-

3 M1b Dm/F −Dm−A7

d− B[−A motif M1a=Mq Vi1

5 M1a Dm− E∅7/D −A7/E− 2nd stat, 8va7 M1b’ Dm/F −Dm−A−Dm/F−9 ⊥ C]◦7/E −<(B[/D −A/C])−D7/C downward [S6]

11 M1b” Gm/B[−Dm/A−A7 −Dm cad13 M2.1/q F F −Gm/B[− C7 − F Gr 2/Th 1, Vi1

15.../Mq (B[−Gm− C7)/B[− F/A− F Mq: Va-Vi1-Vc

17 ⊥/Mq G7 − C7

d− Dm−Gm− F/C − C−

20 M1a’ (C7 − F −D7)/C− trans, Vi122 (Gm− C7)/B[− F/A−23 <(C7 − F )/C−25 B[/D −Am/C − E◦/B[− F/A−

27 Gm/B[− F/C − C7

d−

28 B[/D −Am/C −G]◦/B −Am/C −D7−30 Gm− C7 − F −Gm/B[− C7−32 M2.2 Fm Fm− E◦7 − Fm− C7/E −B◦7 − C/E− 16th notes Vi134 (M1a’) Fm−D[/F − E[7/G− Mq in Vi2

36.../Mq A[ A[−D[/F − E[/G− E[7−

38... A[/E[−B[m/D[− C − C7/E−

40... Fm Fm−B[m/D[−

41... <(C − Fm)/C − C− trans, PD(c)

45... F D7/F]−Gm− C7/B[− F/A− F

47.../Mq G7 − C7

d− Dm−Gm Mq in Vc

49... F/C − C7 −<(F − C7)/F − F− climax PD(c)

53 ⊥ C7/E − F − C7/E − F

57 I(M1a) Gm D[97 −D7/A−Gm−D

d− Dev, imit Vc

59 M1a E[∆7 −D− Vi161 M1a/I Cm− F/C − F7− orig+inv: Vi1+Vi263 M2.1/q B[ B[− Cm/E[−B[ Vi1 Mq in Vi2

65.../Mq F7 −B[−G[9

7 − Cm−A[97 −Dm− Seq(3×1m;R7), Vc-Va

68.../Mq C7 − F −Gm/B[− stretto imit: Vi2-Va

69.../Mq’ Dm C]◦/E −A7 −<(Dm− C]◦)−

71 ⊥ Dm− E[5/[97 /B[−



Table 3.5: Haydn, String Quartet Op. 76, No. 2, Mvt. 1 Allegro (cont’d)

m M R H Comment

72 M1a A−Dm− E∅7/G−Am− stretto imit: Vi1-Vi2-Va+Vc74 M1a Dm−B[− Cm7/E[− F75 ⊥ Gm7/B[−A∅7/C−77 M1a B◦7/D − Cm/E[− C/E − C+/E− Vi180 M1a’ F − F+ −Dm/F −B[5

7 /F − E Mq in 4ths Vi283 M1a’ (E[9

7 −D]◦7)/E− Mq in augm 5ths, P (e)

85 I(M1a) <(E − E7/Bd− F∆7 −D]◦7/C)− Vc

89 M1a/I E− orig+inv: Vi1+Vc93 M1a C −G7/C− cresc Vi195 M2.1’ C C −G/B −Gm/B[−A7− retrans, imit: Vi1-Vi2

99 M1a Dm Dm− E∅7/G−A7/E− Recap, Gr 1, Vi1

101 M1b Dm/F −Dm−A7

d− B[−A7−

103 M1a Dm− E∅7/D −A7/E− 2nd stat 8va105 M1b’ Dm/F −Dm−A−Dm/F−

107... C]◦/E −<(B[/D −A/C])−B[/D downward [S6]

109 ⊥ A/C]−D7/C−110 M1b” Gm Gm/B[−D7/F]−Gm− C7− imit, Seq(3×1m;R7)

111... F −G7 − C −D7− imit: Vi1-Vi2

112... Gm− E

[5/[97 /B[−

113 ⊥ A7 −Dm64 −A7− PD(a)

116 Dm Dm− E◦/G−Dm/A−A7− cad118 <(Dm− C]◦)/D −<(Dm−A)− trans, PD(d)121 Dm−D7 −Gm6

4 −D7− climax122 Gm Gm−Am−G]◦/B −A7/C]− Σ(cm>)

124 Dm Dm− E◦/G−Dm64 −A7

d− cad

126 M2.1/q B[ <(B[− F7/A)− Gr 2, imit: Vi1-Va, Mq:Vi2130 M1a D7/F]−Gm−A7/G−Dm Vi1132 M1a Dm A−Dm− E7 −A− Vc134 M1a A7 −Dm−A−Dm−A7 −Dm Vc, cad

139 I(M2.2’) B[ D[97 /F]−Gm− C7/E − F− Coda, Seq(2×1m;R−7) Vi1

141 ⊥ B[/D − C]◦ −B[/D − E[5/[97 /B[− imit: Vi1-Vc

143 M2.2” (A−B[∆7 −A−G]◦ −A7)/Ad− imit, PD(a)

147 ⊥ B[−D7/A−Gm− E◦− cresc to climax149 Dm A7/C]−Dm− E◦/D −A7− cad, Σ(cm>)150 M2.2” (Dm−D7 −Gm− C]◦7)/D− Vc P T (d)152 <(Dm−A−Dm−A7)−Dm closing cad (154 m.)



Table 3.6: Haydn, String Quartet Op. 76, No. 2, Mvt. 3 Menuetto allegro ma non troppo andTrio

m M R H Comment

Menuetto. Allegro ma non troppo[

34

]1 M1 Dm || : Dm− . . .−A−G]◦/D− A, canon

5... A−G]◦ −A−Dm− C]∅7 −A7 − . . .−

9 ⊥ A/C]−A−Dm : ||12 M2 || : Dm− E∅7 −Dm/F − E◦/G− B

14... F Dm/A− C7/G− F − C7/B[−

16... F/A−Gm−A−B[−

19 ⊥ Dm <(C]◦ −Dm− C]◦/E −Dm/F )−23 M1’ Dm− . . .−A−G]◦/D− A’, canon

27... A−G]◦ −A−B[/D −A−Gm−A7−

31 ⊥ Dm− C]◦ −Dm− . . .−Dm : ||

Trio39 D || : Dm− . . .−D− A, P T (d)45 M3 Dm D − . . .−<(A7 −Dm)/D− Vi1 climax, P T (d)50 ⊥ A/C]− E7 −A : || cad53 M4 || : A− . . .−<(Dm−A−A[9

7 )/A− B, Vi1 PD(a)61 ⊥ Dm/A−A− . . .− PD(a)65 Dm− . . .−Gm/D P T (d)69 D Dm− . . .−D− A’, P T (d)73 M3’ D − . . .−<(A7 −D)/D− Vi1 climax, P T (d)78 ⊥ G−A7 −D : || cad (80 m.)

3.2.3 Mvt. 3 Menuetto allegro ma non troppo and Trio

Form: menuet and trio form, 2-part canon. The menuet is a two-part canon; violin 1 and 2 inparallel octaves are imitated by viola and cello in parallel octaves. The trio is full of tonic anddominant pedal point. Both menuet and trio are in ternary song form (ABA’). See Table 3.6for the analysis.

3.2.4 Mvt. 4 Vivace assai




3.3 String Quartet Op. 76, No. 3 in C Major Kaiser (1796/7)

Source: [25]. This quartet is known as the ‘Kaiserquartett’ (‘Emperor Quartet’), because thesecond movement is based on the song ‘Gott erhalte Franz den Kaiser’ that Haydn used forother, ceremonial occasions and therefore has untouchable royal status.

An overview of the formal analysis is shown in Fig. 3.1. Note how the length of thedevelopment section in the finale movement has increased in length significantly, comparedwith the surrounding exposition and recapitulation (which now is fairly short).1

Mvt. 1 Allegro con spirito: sonata form (C,[

44

], 121 m.)

Exposition Developm. Recap. Coda

Mvt. 2 Poco adagio - cantabile: theme and variations form (G,[

22

], 104 m.)

Theme Var. 1 Var. 2 Var. 3 Var. 4

Mvt. 3 Menuet allegro: menuet and trio form (C,[

34

], 100 m.)

Menuet Trio

Mvt. 4 Finale. Presto: sonata form (Cm,[

22

], 189 m.)

Exposition Development Recap. Coda

Figure 3.4: Haydn, String Quartet Op. 76, No. 3 in C Major Kaiser


Form: sonata form.. This movement is almost entirely monothematic; the first phrase of theopening melody (M1a, abbreviated as M1). The other melodic element is the dotted 16th -32th note runs used as countertheme (M2) in the second statement of the exposition. SeeTable 3.7 to 3.9 for the analysis.

3.3.2 Mvt. 2 Poco adagio; cantabile


1Compare this sonata closing movement with the frst quartet from the series, and note the change in devel-opment section length.


3.3. STRING QUARTET OP. 76, NO. 3 IN C MAJOR KAISER

Table 3.7: Haydn, String Quartet Op. 76, No. 3, Mvt. 1 Allegro

m M R H Comment

1 M1(a) C || : G/B − C − F −G7 − C −G/B− Exp, Gr 1, main motif: Vi12 M1b C −Am−G6

4 −D7 −G Vi13 M1 C7/E − F −B◦/D − C − C/E− Va4 Dm7/F −G7 − C cad5 M1/2 C −Dm−G− C/E− 2nd stat, par: Va+Vc6 ⊥/2 C −Dm−G− C/E− imit: Vi2/Vi17 M2 <(F − C)− imit Vc8 M2’ <(G7 − C −Dm− C)/C− trans, P T (c)

10... (G7 − C)/C

11 ⊥ <(G7 − C)−<(C −G)/G climax, P T (g)13 M1 G <(G−D7)− Gr 2 imit: Vc-Vi1-Va

14... G7/B − C − F]◦ −G−B7/D]−

15 ⊥ Em−G7/B − C − E∅7/B[−16 M1’ A[9

7 −D7/F]−G− C]◦/E −A7− ctp Vc18 M1” (D −G]◦ −D7)/D− PD(d)

19... (G− C]∅7 −D −G]◦7 −Am7 −D7)/D PD(d)

20... (G− C]◦7 −D)/D− PD(d)⊥ G/B −D7/C −G/B climax

21 <(D7/C −G/B)−D7/F]d− cad

23 M1 Em−G]◦/B −Am− ctp Vi2

24... A7/G−D/F]− C/E− ctp, suspensions... F]7/E −Bm/D −Am/C− [S6]

25 ⊥ D7/C −G/B − C]◦ −G64 −D7−

26 <(G−D7)− cresc to climax29 Gm−D7 −Gm−B[7/D− climax, mod31 E[ <(E[−B[7/D)− E[ cad33 M1 <(E[/G−B[7/F )− stretto imit: Vc-Va-Vi1

34... E[−B[7 − E[/G−B[7/F−

35... E[−B[m7 − E[7 −A[/E[−

36... E[7 −G/D −D7−

38 ⊥ G <(G−D7)−<(G−D7/F])− closing cad43 1)G−<(D7 −G)−<(D/F]−G)−

E/G]−Am−B◦ : ||2)G−<(D7 −G) repeat




m M R H Comment

45 M1/2 G−D7 −G/B− Dev, par: Vc/Va-Va/Vi246 M2 Am (E7 −Am−D]◦7 − E[9

7 )/E Vi1 PD(e)47 ⊥ <(E7 −Am)− E7− PD(e)49 M1’ E7/G]−Am− imit, par

50 M1 C]◦7 −A7/C]d− B[−Am7− Vi1

51 M1 C Dm/F −G7/B − C −G7− (False) Recap, Vi1

52 M1 C −B◦/D − C −Am/C −D7

d− ctp, imit Vc

53... Em/G−A7/C]

d− B[/D − E7

d−

54... F/A−B7/D]− E[9

7 −D]◦7 − E[97 /G]−

56 ⊥ Am Am− C]◦/G−Dm/F − C]◦/E −Dm57 M1 G7/B − C − F]◦/A−G− E◦− Vc, Seq(3×1m;R7)

58... A7/C]−Dm−G]◦ −Am− F]◦−

59 ⊥ Em B7/D]− Em− F][57 /C −B −B[97 −

60 M1 Em/B −B7 − Em/B− par: Vi1+Vi2

61... D]◦7 − F

[5/[97 /C −B −B[9

7 −

62... Em/B −B7 − Em/B−

63 ⊥ D]◦7 − F[5/[97 /C −B−

65 M1 E (E −B7 − E −B)/E − E 2nd Dev: Vi1 P (e−b)67 M2’ <(B7 − E −B[9

7 − E)/E− par: Vi1+2, P (e−b)

73... (B7 − E −B7)/E− climax, P (e−b)

74 ⊥ Em (Em−B7)/E − Em− . . .−G/B− Retrans, P T (e)

79 M1(a) C −C − F −G7 − C −G/B− (True) Rec/Gr 1: Vi180 M1b C −Am−G6

4 −D7 −G Vi181 M1 C7/E − F −B◦/D − C − C/E− Va82 Dm7/F −G7 − C cad83 M1/2 C −Dm−G− C/E− 2nd stat, par: Va+Vc84 ⊥/2 C −Dm−G− C/E− imit: Vi2/Vi185 M2 <(F − C)− imit Vc86 M2’ <(G7 − C −Dm− C)/C− trans, clim, P T (c)

87... (G7 − C7 − F − C7)/C− P T (c)

88... F/C − C]◦7 −Dm− C−

90 ⊥ Dm/F −D7/F]−G PD(g)




m M R H Comment

91 M1” (C]◦ −G7 − C −D7 −G)/G− par: Vi1+2, PD(g)

92... (C]◦7 −G7 − C − Cm−G)/G climax,PD(g)

93 ⊥ (F]◦ −G7 − C −G)−G−Am− PD(g), cad

95 M1 C Dm7/F − C]◦/E −Dm−Am/C− Gr 2, (var), Va ctp

96... F7/C −G/B − F/A− [S6] ,... B7/A− Em/G−Dm/F suspensions

97... G7/F − C/E − F]◦ − C6

4 −G7−98 ⊥ <(C −G7)−<(C −G7)/C− P T (c)

102 C − F − C/G−G7

d− F]◦/A−G7/C cad

105 M1’ C C −G7 − C − C]◦/E −Dm Coda, par, imit

107 ⊥ E − F − C/G−Gd−

109 A[− F]◦7 = D[97 /F]− C6

4 −G7− stretto imit115 <(C −G7)− closing cad117 <(C −G7)− PD(g)119 C/E −G7− cad120 1)<(C −G7)−<(C −G)− C ending 1)

G/B − F/A− Em7/G−D7/F]− : || [S6] , repeat120 2)<(C −G7)−G− C ending 2), (121 m.)



3.3.3 Mvt. 3 Menuett allegro and Trio

Form: menuet and trio form. Both the menuet and the trio are in ternary song form, ABA. Afragment from the first theme is used a counterpoint motif for imitation (M1’). See Table 3.10for the analysis.

3.3.4 Mvt. 4 Finale. Presto




Table 3.10: Haydn, String Quartet Op. 76, No. 3, Mvt. 3 Menuett allegro and Trio

m M R H Comment

Menuett. Allegro[

34

]1 M1 C || : C −Dm/F −G7/B − C A, Vi16 M1’ C −Am− imit: Vi1-Va/Vc-Vi2

8... G]◦7 −Am− F]∅7 −G−

9... D7/C −G/B −Am/C−

10 ⊥ E7/D −Am/C −G64 −D7− cad

12 M2 (G− . . .− F]◦)/G− app motif Vi1, PD(g)16 M2’ G− . . .−D7 −G : || I(M2’) asc Vc

21 M1’ G || : G− . . .− Cm/E[− B, imit: Vi1-Vc

23... A[/C −D◦ −G7/B − Cm appogg

25 ⊥ D[5/[97 /A[−G− cad

27 (M1”) <(F]◦7 −G)− motif imit, echoes31 ⊥ G[9

7 −

33 M1 C C −Dm/F −G7/B − C A’, Vi137 M1’ C −G7 −Dm−A7− par: Vi2+Vc, Seq(2×2m;R7)42 M1’ Dm− C]◦7 −Dm−B∅7 − C− par imit: Vi1+2-Va+Vc

45... G7/F − C/E−

46... Dm/F −A7/G−Dm/F− Σ(cm<)

47 ⊥ C64 −G7− cad

48 M2 C − . . .−G7− Vi1 P T (c)52 M2’ C − . . .−G7 − C : || I(M2’) asc Vc, cad

Trio57 M3 Am || : Am−Dm− E7 −Am A, Vi161 M3’ Am−Dm−B7 − E : ||65 M3” || : Am−Dm− C]◦7 −Dm69 M3” Bm− E7/D −Am/C − F7 − E climax

77 M4 A A− E7/G]− B81 ⊥ A−Bm/D −A/E − E7− cad85 M4’ A− E7/G]−89 ⊥ A/C]−Bm/D −A6

4 − E7 −A Σ(cm>), cad

93 M3 Am Am−Dm− E7 −Am A’97 M3’ Am−B[/D −B7/D]− (N6)99 ⊥ Am6

4 − E7 −Am : || cad (100 m.)


Chapter 4

Wolfgang Amadeus Mozart

Biographical data:

1600 1700 1800 1900 2000

∗ 27-1-1756 in Salzburg† 5-12-1791 in Wien

4.1 Sonata in F Major KV 332 (1783)

Source: [40].9 An overview of the formal analysis is shown in Fig. 4.1.

Mvt. 1 Allegro: Sonata form (F ,[

34

], 229 m.)


Mvt. 2 Adagio: ABAB’ form (B[,[

44

], 40 m.)

A B A B

Mvt. 3 Allegro assai: sonata form (F ,[

68

], 245 m.)

Exposition (90 m.) Development (57 m.)

Recapitulation (84 m.) Cda

Figure 4.1: Mozart, Sonata in F Major KV 332


Form: sonata. This fast opening movement contains a multitude of themes in both sub-ject groups. The short development starts with a new subject; the similarity with the othersections lies in the transitions. The detailed analysis is shown in Table 4.1 and 4.2.


CHAPTER 4. WOLFGANG AMADEUS MOZART

Table 4.1: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro

m M R H Comment

1 M1 F || : F − F7 −B[/F −Gm7/F − E◦/G− Exp/Gr 1 (a): RH

5... <(F −Dm/F )−Gm7 − C − F −B[/D −B[− (b), imit RH-LH

10... F/A−Dm−Gm/B[− C7 − F − C7− cad

13... F − C − F/A− C − F − C7− (c) RH+LH par

17 ⊥ F − C − F/A− C7 − F − C7− cad21 F − C7 − F −A/C]− trans23 M2 Dm Dm−A[9

7 /E −Dm/F −G[97 /D− (aa): arp

31... Cm Cm/E[−A[/C −D

[5/[97 /A[− (b): 16th arp

37 ⊥ <(G− Cm)−G halfcad41 M3 C C − . . .−G− C− Gr 2 (a)

45... F/A−G7/B

d− Am−Dm/F −G (b)

49... C −G/B −G7/B − C −G− C LH triplets

53 ⊥ F/A−G/B −G7/B − C −Dm/F −G7 − C (b)57 Cm <(G7 − Cm)− Fm7 −B[7 − E[∆7− trans

64 A[∆7 −D∅7 −G7

d− A[− F]◦7−

67 <(G− F]◦7)−G− C]◦

71 M4 C F − C −G7

d− Am−Dm/F − C6

4 −G− C cad

77 M4 F/C − C −G7

d−

80 ⊥ Am−Dm/F − C/G−B◦/F−82 Em−G]◦7 −Am−Dm/F − C/G−B◦/F−84 Em−G]◦7 −Am−Dm/F − C6

4 −G− climax, RH: 16ths86 <(C − . . .−G7)− LH: 16ths, PD(c)90 C − E/G]−Am−Dm−G− C : || cad

94 M5 C || : <(C −G)−Dm/F −G7 − C −G7no 3− Dev102 M5 <(C −G)−Dm/F −G7 − C110 Cm <(G7 − Cm)− F]◦7/A−Gm/B[−116 Dm D7/F]−G− C]◦7/E −Dm/F −A7/C]−Dm122 G]◦/B −<(A−G]◦7)−A127 Am−G]◦7 − C7/G− C7−

133 M1 F F − F7 −B[/F −Gm7/F − E◦/G− Rec/Gr 1 (a): RH

137... <(F −Dm/F )−Gm7 − C − F −B[/D −B[− (b), imit RH-LH

142... F/A−Dm−Gm/B[− C7 − F − C7no 3− cad

145... F − C − F/A− C − F − C7− (c) RH+LH par

149 ⊥ F − C − F/A− C7 − F − C7− cad


4.1. SONATA IN F MAJOR KV 332

Table 4.2: Mozart, Sonata in F Major KV 332, Mvt. 1 Allegro (cont’d)

m M R H Comment

153 F − C7 − F −A/C]− trans155 M2 Dm Dm−A[9

7 /E −Dm/F −G[97 /D− (aa): arp

163... Cm Cm/E[− F [9

7 /E[− (aa): arp

167... B[m/D[− F/C −B◦7− (b): 16th arp

173 ⊥ <(C −B◦/F )− C −G∅7 − C climax177 M3 F F − C7no 3/B[− F − E◦ − F Gr 2 (a)

181... B[/D − C/E − C7/G− (b)

183... F −Dm−Gm/B[− C

185... F − C/E − C7/E − F − E◦ − F LH triplets

189 ⊥ B[/D − C/E − C7/E − F − C7 − F (b) 8va193 Fm <(C7 − Fm)−B[m7 − E[7 −A[∆7− trans

200 D[∆7 −G∅7 − C7

d− D[−B◦7−

203 <(C −B◦7)− C − F]◦−

207 M4 B[− F − C7

d− Dm−

211 ⊥ Gm/B[− F 64 − C − F cad

213 M4 F B[/F − F − C7

d−

216 ⊥ Dm−Gm/B[− F/C − C7/B[−218 F/A− C]◦7 −Dm−219 Gm/B[− F/C − C7/B[−220 F/A− C]◦7 −Dm−Gm/B[− F 6

4 − C− climax, RH: 16ths222 <(F − . . .− C7)− LH: 16ths, f -ped226 F −A/C]−Dm−Gm− C − F cad (229 m.)



4.1.2 Mvt. 2 Adagio



4.1. SONATA IN F MAJOR KV 332




4.1.3 Mvt. 3 Allegro assai

Form: sonata. The closing fast movement of this sonata is, like the opening movement, asonata form with melodic richness. It also introduces a new subject in the development(M6). The key relations are similar (major vs. relative or parallel minor), but now the orderis different: tonic major, relative minor, dominant minor, parallel major (F −Dm−Cm−C).In the coda, there is the unexpected return of the first group, second theme, with transitorycharacter (M2). The analysis is shown in Table 4.3 to 4.5.


The key relationship diagram of this three-movement piano sonata is shown in Fig. 4.2.Overall it has a limited key range envelope. Both sonata form movements are in the tonicmajor key F . For a shortest path interpretation they require the double occurrence propertyof the dominant minor Cm and the tonic minor Fm key. The opening Allegro remains in thedominant key area, the closing movement also reaches the subdominant domain with B[and Gm (4–5). The middle movement has one counterclockwise loop through the dominantkey F (1) and one alternation with the tonic minor key B[m (2).

Mvt. 1 Allegro

E[m

E[

Cm

B[m

B[

Gm

Fm

F

Dm

Cm

C

Am6

1

tt

6?2,4HH

HY

3

?65

Mvt. 2 Adagio

B[m

B[

Fm

F?6 ��

�*�

12

Mvt. 3 Allegro assai

A[m

A[

Fm

E[m

E[

Cm

B[m

B[

Gm

Fm

F

Dm

Cm

C

Am6?1,7

2

tt

6?3

HHHj4 -H

HHY5

6

tt

6

Figure 4.2: Mozart, Sonata in F Major KV 332, key relationship diagram

4.2 String Quartet in C Major No. 19 KV 465 (1785)

String quartet No. 19 KV465 is also known as the ‘Dissonanzenquartett’ (Dissonance Quartet).Source: [36]. An overview of the formal analysis is shown in Fig. 4.3.

4.2.1 Mvt. 1 Adagio - Allegro

Form: sonata form. The slow (adagio) introduction with its 3-part stretto imitation openingis the reason for giving this quartet its nickname Dissonance Quartet (‘Dissonanzenquartett’):the three stepwise descending entries are Va: a[, Vi2: e[, Vi1: a, repeated as a stepwise


4.2. STRING QUARTET IN C MAJOR NO. 19 KV 465

Table 4.3: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai

m M R H Comment

1 M1 F || : F − . . .− F/A− Exp/Gr 1 (a) RH 16ths4 ⊥ Gm/B[− F/C −<(B[m/D[− F/C)− (b)6 B◦7no 3 − C halfcad7 M1 F − . . .− F/A− 2nd stat (a) RH 16ths

10... Gm/B[− F/C −<(B[m/D[− F/C)− (b’) halfcad

12 ⊥ B◦7 − E◦/B[− F]◦7/A−Gm/B[− C7 − F15 <(C7 − F )− C7− trans, LH: 8ths22 M2 Dm F −Gm/B[−G/B− unisono

23... C −A/C]−Dm− E∅7−

24 ⊥ C7/B[− F/A− C]◦7 −Dm Σ(cm>)26 M2 F/A−→A/C]−Dm− E∅7 2nd stat, unis28 ⊥ C7/B[− F/A−B[− F 6

4 − C7− Σ(cm>)32 F <(F − C7)− F trans arp36 Dm/F −A7/E− imit RH-LH38 M3 Dm Dm−A7/C]−Dm−D7/C −G/B −G7− (ab)

42... C/Gno 1 −G7/F no 3 − C/E −G7/D−

44 ⊥ C −G7/B − C (c)46 F∆7 −B∅7 − Em7 −Am7− trans, Seq(2×1m;R−7)48 G7/D − C −G−G7−50 M4 Cm Cm−G/B −B◦ −G[9

7 /B − Cm Gr 2 (a), LH: arp

54... Cm/E[−B[/D −A[/C −Gm/B[ (b) [S6]

56 ⊥ Fm7/A[−D[5/[97 /A[− Cm6

4 −G− cad58 M4 Cm−G/B −B◦ −G[9

7 /B − E◦7/B[− F/A− 2nd stat (a) var

62... D

[5/[97 /A[− Cm6

4 −B◦7/F − Cm/E[− Fm (b)64 ⊥ Cm6

4 −G7− cad65 M5 C <(C −G7)− C . . .− (a) RH: 16ths, clim

70... F]◦ − Fm7/C −B◦7 −G[9

7 /F− (b)72 ⊥ C/E − F − C6

4 −G7−74 M5 <(C −G7)− C − . . .− (a) 2nd stat var

79... F]◦ − Fm7/C −B◦7 −G[9

7 /F− (b)81 ⊥ C/E − F − C6

4 −G7−83 C/E −Dm/F − C6

4 −G7− trans, climax85 <(C −G7)− C : ||

91 M1 Cm || : Cm− . . .− Cm/E[− Dev (a)

94... Dm7/F − C/G− Fm/A[− Cm/G− (b)

96 ⊥ <(D7/F]− Cm/G− Fm/A[− Cm/G)−



Table 4.4: Mozart, Sonata in F Major KV 332, Mvt. 3 Presto agitato (cont’d)

m M R H Comment

98 M1’ D7/F]−Gm− Cm−<(G7

d− Fm/A[) Seq(3×4m;R5)

102... G7

d− A[−G[9

7 −<(C −G[57 /D[)−

106... C7

d− Dm− C7 −<(F7/A− E[m/G[)−

110 ⊥ F7

d− Gm− F7−

112 M6 B[ B[− F/A− E[/G−D/F]d− (a) [S6]

114... E[/G−Dm/F − Cm/E[−B[/D− [S6]

116... C7 − F7 −B[−G[ (b)

118 ⊥ E[m7 − C[97 /E − F − F7−

120 M6 B[− F/A− E[/G−D/F]d− (a’) var, 16th arp

122... E[/G−Dm/F − Cm/E[−B[/D− [S6]

124... C7 − F]◦7 −Gm− Cm/E[ (b’) LH-RH arp

126 ⊥ B[64 − F7 −B[ cad129 F]◦7/A−Gm/B[− E◦7 − C[9

7 /B[−135 Fm/A[−Dm7 −B◦7 −D[−G

[5/[97 /D[−

139 (C −B◦ − E◦ − F − F]◦ − E◦)/C− retrans, c-ped142 C7 − . . .− climax

148 M1 F F − . . .− F/A− Rec/Gr 1 (a) RH 16ths151 ⊥ Gm/B[− F/C −<(B[m/D[− F/C)− (b)153 B◦7no 3 − C halfcad154 M1 F − . . .− F/A− 2nd stat (a) RH 16ths

157... Gm/B[− F/C −<(B[m/D[− F/C)− (b’) halfcad

159... B◦7 − E◦/B[− F]◦7/A−Gm/B[−

161 ⊥ C7 − F cad162 <(C7 − F )− C7− trans, LH: 8ths169 F −A[5

7 /E[−D −D7 −Gm/B[−D7/A− imit RH-LH173 M3 Gm Gm−D7/F]−Gm−G7/F− (a)

175... C/E − C7/B[− F/A− C7/G− (b)

178 ⊥ F − C/E − F (c)180 B[∆7 − E◦ −Am7 −Dm− trans, Seq(2×1m;R−7)182 Gm7 − C7 − F −B[−G/B − C − C7−185 M4 Fm Fm− C/E − E◦7 − C[9

7 /E − Fm− Gr 2 (a), LH: arp

189... Fm− E[/G−D[/F − Cm/E[− (b) [S6]

191 ⊥ B[m7/D[−G[57 /D[− Fm6

4 − C− cad



Table 4.5: Mozart, Sonata in F Major KV 332, Mvt. 3 Allegro assai (cont’d)

m M R H Comment

193 M4 Fm− C/E− 2nd stat (a) 8va

195... E◦7 − C[9

7 /E −A◦7 −B[/D−

197... G

[5/[97 /D[− Fm/C − E◦7/B[− Fm/A[ (b) var

199 ⊥ Fm64 − C− cad

200 M5 F <(F − C7)− F − . . .− (a) RH: 16ths, clim

206... B◦/D −B[m7/F − C[9

7 /E− (b)208 ⊥ F/A−B[− F 6

4 − C7−210 M5 <(F − C7)− F − . . .− (a) 2nd stat var

215... B◦/D −B[m7/F − C[9

7 /E− (b)217 ⊥ F/A−B[− F 6

4 − C7−220 F/A−Gm/B[− F 6

4 − C7− trans, climax222 <(F − C7)− F227 F7 −B[−B◦7 − F 6

4 − C7− block chords, cad

232 M2 Dm F −Gm/B[−G/B− Coda, unisono

233... C −A/C]−Dm− E∅7

235 ⊥ C7/B[− F/A− C]◦7 −Gm/D −Dm Σ(cm>)237 M2 F −→A/C]−Dm− E∅7 2nd stat, unis239 ⊥ C7/B[− F/A−B[− F 6

4 − C7− cad241 F <(F − C7)− F : || closing (245 m.)

Mvt. 1 Adagio – Allegro: sonata form (C,[

34

][44

], 246 m.)

Intro Exposition Development Recapitulation Coda

Mvt. 2 Andante cantabile: ABAB Coda form (F ,[

34

], 114 m.)

A1 B1 A2 B2 Cda

Mvt. 3 Menuetto – Allegro: menuet and trio form (C,[

34

], 103 m.)

Menuet Trio

Mvt. 4 Allegro: sonata form (C,[

24

], 419 m.)


Recapitulation (172 m.) Coda (47 m.)

Figure 4.3: Mozart, String Quartet in C Major No. 19 KV 465



downward sequence.1 The allegro main theme has M1(aab) sentence structure (2+2+4 m.),where the longer b-phrase starts with the a-motif. In the allegro the first phrase from theopening theme (M1a) returns in many disguises (variation, stretto imitation) in all sectionsof the movement. The detailed analysis is shown in Table 4.6 to 4.8.

If the first two themes from the secondary group, M2.1 and M2.2, are considered together,they may be interpreted as another M2(aa’b) (2 + 2 + 12 m) sentence structure. The groupreturns in the recapitulation, but is not developed.

4.2.2 Mvt. 2 Andante cantabile


1The other likely reason for its label ‘Dissonance Quartet’ probably has to do with the wide leaps and thediminished fifth leaps in the main themes of the other movements.



Table 4.6: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro

m M R H Comment

Adagio[

34

]Introduction

1 C A[/C −D7/C −G/B −D7/F]− 3pt imit, PB(↘),5 G[/B[− C7/B[− F/A− C7/E− Seq(2×4m;R−7)9 Fm/A[− E[/G−D∅7 − Cm/E[−

13 G7 − C −G7

d−

15 Am7 −D[57 /A[−G−D[9

7 /F]−17 G7 −D[9

7 /F]−D7/F]−G−G7 − . . .− cad (22 m.)

Allegro[

44

]23 M1 C || : C − F −G/B −G7 − C/E −G/B− Exp, Gr 1/Th 1 (aa): Vi1

27... C −G/B

d− Am− F/A− C7/G− (b)

29 ⊥ F −A7/E −Dm−D7/F]−G−G7−31 M1 C −G7 − C− 2nd stat: (aa), var

35... <(C7/B[− F/A)− C7/B[−A7 −D7− (b’)

39... G7

d− Am−Dm/F −G7 − C/E − C−

42 ⊥ Dm/F −G7 − C −G7− cad44 M1 C −G7/F − C/E −G7/D − C −Am7/G− (a): 4pt stretto imit

48... D7/F]−D7/C −G/B −D7 −G−D7/A−

51... G− Em−A7 −D− trans to D

53 ⊥ <(C]◦7/D −D)−<(A7 −D)−

56 M2.1 G G−D7/A−D −D7/C −G/B Gr 2/Th 1, (a): imit 16th

60... G7 − E7 −Am−D7 −G−Bm7/D− (b): Vi1, (a): Vc

65... C∆7/E −D7/F]−B7/D]− Em−

67... <(C −Am/C)−Am/C −D7/A− imit 16th, I(M1’): Vi2+Vc

69 ⊥ G−G7/Bd− Am7/C −G6

4 −D7− cad71 M2.2 G− Em− E7/G]−A7/C]− Th 2: Vi triplets (3rds)75 M2.2 G/D −G/B −G7/B− 2nd stat: Vi2+Vc78 ⊥ C −Am7/C −G6

4 −D7 −<(G−D7)− imit84 M2.1’ G/B − C −Am7/C −D7 −G− (a): 16th sc runs88 ⊥ G7/F − C/E −A7/C]−G6

4 −D7− climax, cad91 M1 G−<(D7 −G)/G−<(D7 −G) (a) clos st: Vi2-Vi1, P T (g)

100 ⊥ Am7/C −G7/D − C/E− (a) imit: Va-Vc103 M1’ A[9

7 /G−Dm/F −G[97 : || (a’): climax, repeat



Table 4.7: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (cont’d)

m M R H Comment

107 M1 || : C7/B[− . . .−A7 − . . .− C]◦7/G− Dev (a): 2pt im, PB(↘)

115 ⊥ Am B[64 − F − F7 −B[5/[97 /F −<(E7 −Am) clim, unis, cad

121 M1 E7 − F/C −B[97 − E7

d− F/C −B[9

7 − (a): Vc125 M1 E7 − . . .− (a’): motif in stretto imit128 ⊥ A[9

7 −<(Dm−A[97 )−

132 M1 Dm D[97 − . . .−G[9

7 − . . .− (a’): motif in stretto imit

137... Cm <(Cm−G[9

7 )− Cm− C7/E − Fm−140 ⊥ B[7/D − E[−A[/C −D∅7 −G7 − Cm− stretto imit143 D[9

7 /F]− . . .− climax, unis145 G7 − Cm−D[5

7 /A[−G7 − Cm halfcad147 M1 <(G−D[9

7 )− (a): Vc151 M1’ G7 − . . .− (a’): 4pt imit, retrans

155 M1 C (C − C7 − F −G7 − C)/C− Recap, Gr 1 (aa): Vi1+2159 M1 C − C∆7/B − F/A−Am7/G− (b): Vi1, PB(↘)161 ⊥ Dm/F −A7 −Dm−D7 −G−G7−163 M1 C −A7/C]−Dm−D7/F]−G7 (a’): 3pt imit165 ⊥ B7/D]− Em7

167 M1 F E7/G]−Am− C7/G− F − C7/B[− (a”): Vi1+2169 F/A− C7/B[−A7 −D−

171 G G7

d− Am−D7− climax

173 <(G−D7/F])−<(G−D7)−G trans, cad176 M2.1 C C −G7/D −G7 − C7 Gr 2 (a): imit 16th181 M2.1 A[9

7 −Dm− E7 −Am− (b): Vi1, (a): Vc185 ⊥ Dm7/F − C7/G− C7/B[−187 F/A−Dm/F−189 C/G−Am−Dm/F −G7− cad191 M2.2 C − . . .−Am7− triplets th: Vi1+2 (3rds)194 A7/C]−D −G[9

7 − C −D7/F]−195 M2.2 C/G−G− C − C7/E− 2nd stat: Vi2+Vc198 ⊥ F −Dm7/F − C6

4 −G7− cad199 M2.2 <(C −G7)− imit204 M2.1 C/E −Dm7/F −G7 − C− (a): 16th scalar runs

208... A[9

7 /E −Dm/F −D7/F]− climax210 ⊥ C6

4 −G7− cad211 M1 <(C −G7)/C− (a): 2pt imit, P T (c)219 ⊥ C −Dm7/F − C7/G− F/A− (a’): Vc trans to SD

223 M1’ F D[97 /C −Gm− C7 − F : || (a’): climax, repeat



Table 4.8: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 1 Adagio - Allegro (cont’d)

m M R H Comment

227 M1 F C7/B[−<(F/A− C7/B[)− Coda (a’): stretto imit232 ⊥ F/A− C7/E − F − F]∅7 − C6

4 −G7− climax, cad, PB(↗)235 M1’ C C −G7 − C − F − C6

4 −G7− (a”): motif in stretto imit238 ⊥ C −G7 − C − F − C6

4 −G7− (a”) repeat241 (M1) <(C − (F − C −G7)/C)− (a): Vi1, P T (c)244 C (246 m.)



4.2.3 Mvt. 3 Menuetto Allegro

Form: menuet and trio form. The menuet is monothematic; its main motif (M1a) is variedand developed in the middle section B. It even returns briefly as a transitory motif in thetrio. This trio uses the same monothematic approach; its melody has M2(aa’b) (4 + 4 + 8 m.)sentence structure. The formal analysis is shown in Table 4.9.





Table 4.9: Mozart, String Quartet in C Major No. 19 KV 465, Mvt. 3 Menuetto Allegro

m M R H Comment

Menuetto[

34

]1 M1 C || : G7no 3

d− Am−Dm7 −G7− A (a): Vi1

5 Mu G7 − . . .− (u) unisono, forte7 M1 C −G7/B − C − E7 −Am−D7 −G− (b): 3p-im, Seq(2×1m;R−7)

11 ⊥ A7 −D −D7/F]−13 Mt G− C/E −G6

4 −D7 −G−G/B− trans, (c): Vi1

17 ⊥ C −D7

d− Em−G− C −D7 −G : || (d): Vi1, cad

21 M1 Dm || : A[97 no 3 −Dm−Gm B (a): unisono

25... E∅7/B[−Dm6

4 −A7− (a’): Vi1

28... F D7 −G− C7 − F (a): Vc, Seq(2×2m;R−7)

32... F − C]◦7 −Dm− C]◦/E− (a”): Vi1

34 ⊥ Dm/F −D7/F]−G36 M1’ <(G7/B − C −G)− retrans, (a): Vi2+Va, PD(g)

40 M1 C G7no 3

d− Am−Dm7 −G7− A’ (a): 4pt imit

44 Mu G7 − . . .−G7/F− (u) unisono, forte46 M1 C −G7/B − C − C7 − F −A7 −D− (b): 4p-im, Seq(2×1m;R5)48 ⊥ A7 −D −G7 − C −Dm7/F− Seq(2×1m;R−7)52 Mt D7/F]− C/G−G7 − C − C/E− trans, (c): Vi1

56... F −G7

d− Am− C/E − F −G7 − C− (d): Vi1

60... F −G7

d− Am− E◦− (d): Vi2, Va

62 ⊥ F −Dm−G7 − C : || cad, repeat

Trio64 M2 Cm || : Cm− . . .−G−G7 − Cm A, (aa’): Vi1 (a’=I(a))

72... E[7/D[−A[/C −<(E[7/G−A[)− (b): Vi1, I(b): Va

76 ⊥ E[ E[− . . .−B[/D − E[ : || cad, repeat

80 M2 Fm || : E◦7/D[− C[97 − Fm− B I(aa): Vi1

84 ⊥ F]◦7 −D[97 −G halfcad

88 M1 Cm <(G− Cm)/G−G7− retr, menuet motif, PD(g)

92 M2 Cm || : Cm− . . .−D[97 /C −G/B− A’, (a): Vc

96... G[9

7 − . . .− C[97 /E− (a’)

100 ⊥ Fm− C/G− F/A−D[57 /A[− (b)

102 Cm64 −G7 − Cm : || closing cad (103 m.)



4.3 String Quartet in B[ Major No. 22 KV 589 (1790)


Mvt. 1 Allegro: sonata form (B[,[

34

], 208 m.)

Exposition Development Recapitulation Cod

Mvt. 2 Larghetto: ABAB Coda form (E[,[

22

], 90 m.)

A1 B1 A2 B2 Cd

Mvt. 3 Menuetto – Moderato: menuet and trio form (B[,[

34

], 103 (37+66) m.)

Menuet Trio

Mvt. 4 Allegro assai: sonata form (B[,[

68

], 155 m.)

Exp. Development Recap. Coda

Figure 4.4: Mozart, String Quartet in B[ Major No. 22 KV 589


Form: sonata form. The detailed harmonic analysis is shown in Table 4.10 and 4.11. There isboth a single main and secondary theme. It is the former theme that is used in the develop-ment section. The extended main theme has a M1.1(aa’b) (6 + 6 + 8 m.) sentence structure,where the a-phrases are repeated in different parts, and the b-phrase has a first violin leadover a cello tonic pedal point. A different approach is used for the transitory 1st group sec-ond theme which has a single phrase M1.2(aaaa’) structure, with the first three statements inthe cello and the varied phrase in the lead violin.

4.3.2 Mvt. 2 Larghetto



4.3. STRING QUARTET IN B[ MAJOR NO. 22 KV 589

Table 4.10: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro

m M R H Comment

1 M1.1a B[ || : B[ F7/A−B[− F Exp, Gr 1/Th 1, Vi17 M1.1.a’ F − F7 −Dm− F7 −B[ Cm/E[− F7 Vc

13 M1.1b <(B[−B[7 − E[− F7)/B[ Vi1 appogg, PD(b[)21 M1.1.b’ F7 −B[−D7/F]−Gm−B[7/F− climax, Σ(cm<)24 ⊥ C/E −B[/D −A◦/C−26 Gm/B[−B◦7 − C7 triplets29 M1.2 C7 − F − . . .− C7 − . . .− Gr 1/Th 2, Vc, PD(c)39 M1.2’ F/A− F]◦7/A−Gm/B[− Vi11, trans to D42 B◦7 − F/C − C7 − F45 M2.1 F C7 − F −Gm/B[ Gr 2/Th 1, Vc50 ⊥ F/A− C7/E − F −Gm/B[−53 M2.1 F C7 − F −Gm/B[− C7 − F/A− 2nd stat, Vi159 ⊥ C7 − F −Gm/B[− F/C − C− imit Vi2-Va-Vc

61 M1.1a’ F − C7

d− Dm−A7

d− B[− F7

d− close, Seq(3×1m;R3)

64 ⊥ Gm/B[−D7 −G7 − C7 − F7− triplets66 B[− F/C − C7 −<(F − C7)/F − F : || P T (f)

72 Fm <(Fm− E◦7/F )− Fm Dev, Vi1, triplets, P T (f)77 Fm A[/C −A[7/E[81 M1.1 D[ A[7 −D[/A[ G[/B[− Gr 1, Vc

87 ⊥ A[7/C −D[/F −A[d−

89 M1.1 E[m B[−B[7 − E[m/B[ G[57 − C − C7− imit

93 M1.1a Fm Fm−A[57 −D −D7− Vc

95 M1.1a Gm Gm− Cm/E[−A∅7− stretto imit97 ⊥ B[/D − F]◦7 −Gm/B[−

100 A[57 /E[− . . .− Vi+Va Σ(cm),P (e[)

104 D <(D − C]◦7)/D triplets, P T (d)108 M1.1a D7 −G7 − C7 − F7 −B[7 Seq(5×1m;R5), imit113 M1.1a E[ E[−G7 − C − F7− Vi1+Vi2115 B[ Cm/E[− C7/E − F7

117 M1.1a (F7 −B[− E◦7 − F − F7)/F − F7 retrans, PD(f)

131 M1.1a B[ B[ F/A−B[− F Recap, Gr 1, Vi1+2137 M1.1a’ F Cm/E[− F7− Vc+Va142 M1.1b <(B[−B[7 − E[− F7)B[−B[ P T (b[)151 M1.1.b’ F7 −B[−D7/F]− Σ(cm<), climax

154... Gm−B◦7 − Cm/E[− E◦7−

156... Fm−A◦7 −B[m/D[−D◦7−

158 ⊥ E[− E[/G− Cm/E[− C7−



Table 4.11: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 1 Allegro (cont’d)

m M R H Comment

161 M1.2 B[ F − F7 −B[− . . .− F7 − . . .− Gr 1/Th 2, Va, PD(f)173 M1.2’ B[/F −B◦7/D − Cm/E[−176 ⊥ E◦7 −B[/F − F7−179 M2.1 B[− Cm/E[− . . .− Gr 2, Vi1187 M2.1 F −B[ E[− F7 −B[/D− Va193 ⊥ F7/A−B[− Cm/E[−B[/F − F−

195 F − E[−B[/F − F7− Coda, imit, climax

198 M1.1a B[ D7

d− E[−B[7 − E[−G7

202 ⊥ C7 − F7 −B[7d− Cm7/E[−B[/F − F7−

204 <(B[−A∅7)/B[−B[ (208 m.)



4.3.3 Mvt. 3 Menuetto moderato

Form: menuet and trio form, each with ABA Coda structure. The menuet main theme hasa regular M1(abab’) period structure, the secondary theme has M2(aab) sentence structure.Characteristic is the rapid (typically single measure) juxtaposition of forte-piano dynamiccontrast. The trio theme M3 also has sentence structure, M4 is another period. The trioB section has a motif in the lower three parts, answered by the lead violin. The detailedanalysis is shown in Table 4.12.





Table 4.12: Mozart, String Quartet in in B[ Major No. 22 KV 589, Mvt. 3 Menuetto moderato

m M R H Comment

Menuet1 M1 B[ || : B[ D7/F]−G− Cm7/G−D◦ − E[ A1, ab): Vi1

5... Cm/E[ F]◦7 −Gm− a)

7 ⊥ Cm7/E[−B[64 − F7 −B[ : || b’), cad9 M2 || : <(F7 −B[) B, aab): Vi1, Vc arp↗

13 E[−B[− Cm−Gm− Va 16th arp↗15 Cm/E[− C7/E − F − F7 −A−B[− F7−

19 M1 B[ D7/F]d− Cm7/G−B[7/F − E[ A2, ab): Vi1 varied

23... Cm/E[− F7/A− a)

25 ⊥ B[7/D − E[− Cm/E[−B[/F− b’)28 M1’ Cm/E[− F7/C −B[/D − E[−B[/F −B[7− Coda, a-motif,31 ⊥ B[/D − F7/C −B[/D − E[− call-and-response34 B[/F − F]◦7 −Gm−B[/D−36 Cm7/E[− F7 −B[ : || cad (37 m.)

Trio1 M3 E[ || : <(E[−B[7/D)− E[−G7 − Cm7 − F7− A aab): Vi1

10 Cm7/E[− Cm7 Cm7/E[− P (c−e[), [S6]14 B[/F F7 −B[− F7/A−B[− F7 −B[ : ||23 M4 || : <(B[−A◦7 −B[) B, Vi2+Va+Vc motif

27... B[−A[7 −B[m−A[97/G[− Σ(cm<)

29 ⊥ D[/F − E[m7/G[−A[732 M4 G/B − Cm/E[−G/B G7/F Vi2+Vc36 M4 B[7/F − F∅7 −B[7/F − F∅7/E[−B[7/D−40 M3 <(E[−B[7/D)− A, aa): Vi144 ⊥ E[− C7 − Fm7 −B[7 − E[ b)49 Fm7/A[−→ P (f), [S6] , climax53 F [9

7 /A− E[/B[ B[7 − E[/B[ P im(↘), PD(b[)

61 E[/B[−B◦7 − Cm− PB(↗)63 B[/D − Cm7/E[−B[7/D − E[−65 B[−A◦7 −B[7 − E[ : || cad (66 m.)


4.4. STRING QUINTET IN C MAJOR KV 515

4.4 String Quintet in C Major KV 515 (1787)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.5. Note the length of theouter movements, in particular the closing rondo.


44

], 368 m.)

Exposition (151 m.) Dev. (53 m.)


Mvt. 2 Menuetto – Allegretto: menuet and trio form (C,[

34

], 48+66=114 m.)

Menuet Trio

Mvt. 3 Andante: binary ABAB Coda form (F ,[

34

], 128 m.)

A1 B1 A2 B2 C

Mvt. 4 Allegro: rondo form (C,[

24

], 539 m.)

A B

A C

B Coda

Figure 4.5: Mozart, String Quintet in C Major KV 515


Form: sonata form. The Exposition first group main theme has M1(aab) (4 + 4 + 10 m.)sentence structure, over a steady 8th note background. Each motif has a call-and-responsecharacter, with an ascending arpeggio in the cello answered by an upward leap plus appog-giatura motif in the first violin. In the second statement the roles are reversed: arpeggio in1st violin is answered by the cello.

The transition to the second theme group contains an extended 8th note theme with twocomponents: a neighbouring note motif Mn and an alternating upward-downward motifMa. Both these will be used as a background to the second group theme, and in the Devel-opment and Coda. The analysis is shown in Table 4.13 to 4.15.

4.4.2 Mvt. 2 Menuetto Allegretto




Table 4.13: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro

m M R H Comment

1 M1 C || : C − . . .−G7/D − . . .−G7/B− Exp, Gr 1 aa): Vc-Vi1

9... C − . . .− C]◦7 −Dm/F− b)

16... G7/F − C/E − F − C6

4 −G]◦7 −Am18 ⊥ Dm/F − C/G−G7/F − C/E −G halfcad21 M1 Cm Cm− . . .−G7/B −G7/D− 2nd st, aa): Vi1-Vc

29... G7 − C]◦7 − . . .− a’) imit Vc-Vi1

34... A7/E −D[9

7 /F]−G7/D − C7/E− Seq(2×2m;R−7)

38... C <(F − C)−D[/A[− Fm/A[− b’): Vi1, N6

4

44 ⊥ G7

d− Am−Dm/F −Dm−G7

d− cad

46 Mt1 Am− Fm−<(D[/A[−A[7)− a): 4pt imit, Neap cad52 ⊥ F [9

7 /A− F]◦7/C −A[7 − C64 −G7− b)

57 C −A7 −Dm− C7− trans59 F −Dm− C6

4 −G7 − C −A7− Σ(cm<)61 Dm− C7 − F − E7−63 Am−G7 − C − F]m−B7− climax65 E − Em−A7 −D −Dm−G7− Seq(3×1m;R−7)67 C −Am/C −A7/C]−69 M1 D D − . . .−A7/C]−A7/E− aa): Vi1-Vc77 ⊥ D − C]◦/E −D −A7− a’): imit Vc→Vi1, clim81 Mna G D −D7 −<(G−D7)− trans, Vi1

90... G− C −D7/F]−

92 ⊥ G−Am/C −G64 −D− cad

94 M2/a G <(G−D7)−G− C −D7− Gr 2 aa): (Vi1+2)/(Va1+2)98 Ma G−D]◦7 − Em−G]◦− imit Vi-Va, Seq(3×2m;R7)

100... Am− C]◦ −D7 − F]◦−

102 ⊥ G−D]◦ − Em−G/B − C − C]∅7−107 <(G6

4 − C]◦7 −D7)−113 D −A/C]−D[9

7 − Σ(cm>), cad115 Mt2 G−G/B − C −A7/C]− PB(↗)

117... D −D7/F]−G−G6

4 −D7− cad

119... G−G+/B − C −A7/C]−PB(↗)

121... D −D7/F]−G−D[9

7 /F]− cad

123... G−D7 −G− . . .−G/B− climax, Σ(cm<)

127... C/E −G6

4 −D −G129 ⊥ G/B − C/E −G6

4 −D7− cad



Table 4.14: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (cont’d)

m M R H Comment

131 Mn <(G− C)/G−<(F]◦ −G)/G− trans, Vi, P T (g)

143... G−Am7 −G/B − . . .− imit

148 ⊥ C − . . .−G7− : || climax

152 M1 C]◦7 − . . .−B[/F − . . .− Dev, aa): Vc-Vi1

160... D7/F]− . . .−D[9

7 /C − C/G− . . .− a)167 ⊥ E7/G]−A−Am− E7− b)171 Mn Am Am−Dm/A− E7/G]−Am/C− Seq(5×3m;R5),

174... Dm A[9

7 −Gm−A[97 −Dm imit Vc→Vi1,

177... Gm Cm−A∅7 −D[9

7 −Gm rapid modul

180... Cm Fm−D∅7 −B◦7/F − Cm/E[

183... Fm B[m7 −G∅7/D[− C[9

7 − Fm

185... A[ B[7 − E[−A[

189 ⊥ Cm D∅7 −G7 − Cm− C7/B[− Fm/A[−193 Ma G−G7 −<(Cm/G−D7/F]−G)− Vi1197 M2/a G <(G7 − Cm)/G−D7− PD(g)201 Ma’ G−Am7/C −G7/D − C/E− retrans, Vc203 ⊥ G7/D −D7/A−G−Am/E −G7/D−

205 M1 C C − . . .−G7 − . . .− Rec, Gr 1, aa): Vc-Vi1

214... C]◦7 − . . .−

219... D[9

7 /F]−G[97 /D − C[9

7 /E− a’): imit Vc-Vi1

222... <(F − C)−D[/A[− Fm/A[− b): VI1

228 ⊥ G7

d− Am−Dm−G7− cad

230 Mt1 Am Am− C]/G]−G]7− a): 4pt imit

234... C]m/G]− E7 −Am− C7/G− b):

238 ⊥ Dm7/F −D[5/[97 /A[−

240 C C/G−G7 − C −A7− climax, cad243 Dm− C7 − F −Dm− C6

4 −G7− cad245 C −A7 −Dm− C7− trans247 F −D −A[9

7 /C]−Dm/A−D7/C− Σ(cm<), clim249 G/B −D]◦7 −Bm− E7 −A−D7− Seq(3×1m;R−7)252 G− C7 − F − C]◦ −Dm/F −D7/F]−



Table 4.15: Mozart, String Quintet in C Major KV 515, Mvt. 1 Allegro (cont’d)

m M R H Comment

255 M1 G G− . . .−D7/F]− . . .−D7/C− aa): Vi1-Vc263 ⊥ G/B −D7/A−G−D7 −G7− a’): imit Vc→Vi1, clim268 Mna G7 −G[9

7 −<(C −G7)/C− P T (c)

277... C − C7/E − F −G7/B−

279 ⊥ C − F − C64 −G7−

281 M2/a C <(C −G7)− C − C7− Gr 2 aa): (Vi1+2)/(Va1+2)287 ⊥ F − F]◦ −G288 Ma C −G]◦ −Am− C]◦ imit Vi-Va, Seq(3×2m;R7)

290... Dm− F]◦ −G7−

292 ⊥ C −G]◦ −Am− C/E − F − F]∅7−294 <(C/G− F]◦ −G7)−298 C6

4 −G7 − C− Vi1+2302 Cm6

4 −G−D7/F]−G7−305 Mt2 C − C/E − F −D7/F]− PB(↗)

307... G−G7/B − C −G7− cad

309... C − C+/E − F −D7/F]− PB(↗)

311... G−G7/B − C −G[9

7 /B− cad

313... C −G7/B − C − . . .− C/E− climax, Σ(cm<)

317... F/A− C6

4 −G7− cad318 ⊥ C − C/E − F/A−D[9

7 /F]−

322 Mn C <(C −G)/G− (C −D7/F])/G− Coda, 4pt imit, PD(g)

329... G−D[9

7 /C −G7/B−331 ⊥ C/E − Em−Am−Dm7 −G7 − C− climax335 Ma F − . . .−D7/F]− E7/G]− F7/A− Vi1, PB(↗)

338 ⊥ G7/F − C7

d− Dm7/F −D[9

7 /F]−

341 M2/a <(C −G7)/Gd− Vi/Va, climax

345... Am− E[9

7 −Am−A7−347 ⊥ Dm−A[9

7 −Dm7/F−349 Ma C/G− . . .−G7− Vc353 Mn C − C7 −<(F − C)/C− Vi, P T (c)360 ⊥ <(G7 − C)/C − C closing cad (368 m.)




Form: ABAB Coda, binary form. The A section has a throughcomposed melody M1, thatmay be spilt into a number of segments: 12 + 8 + 11 m. The setting (lead part, type ofbackground, rhythmical) is different for each segment. In the B section we may discern twomelodies: M2(8 + 8 m.) and the much embellished M3(8 + 8 m.) with its syncopated back-ground. The instruments are changng roles frequently. The analysis is shown in Table 4.16and 4.17.





Table 4.16: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante

m M R H Comment

1 M1 F F −B[− C7 − F A, Vi1+2 par 3rds

5... <(Gm7 − C − F )−Gm/B[− F 6

4 − C7

d− Va answers

8... Dm− C7 − F/A− P i

m(↗)

10... C7/E − F −B[− F 6

4 − C− cad

12... F −Gm7/B[− C7 − F − C7 − F Vi1-Va1 dialog, PD(c)

17... <(F/A− C7/B[)− F/A−Gm− C7−

21... F − C7 − F− Vi1-Va1 dialog, PD(c)

25... C[9

7 /E − F −B◦7/D − C/E− Seq(2×2m;R−7)

29... Am−G6

4 −D7 −G− C7 − F climax31 ⊥ Dm/F − C6

4 −G7− cad

32 M2 C C −G7 − C −G7

d− Am−Dm/F− B, Vi1

36... G−D7 −G−G7 − C7 − F −B◦7 − C −G−

40... <(G7 − C)− F− Vc, 5pt ctp

44... G−D7 −G− C7 − F −B◦− Va1

47 ⊥ C −Dm/F − C64 −G7

d− cad

48 M3 D7/A−G− E7/G]−Am− C/E −Dm/F− Vi1 emb, sync

50 ⊥ C64 −G7

d−

51 M3 D7/A−G− E7/G]−Am− C/E −Dm/F− Va1 emb53 ⊥ C6

4 − . . .− F −G7−56 (C −Dm7 −B◦ − C7 − F −Gm7)/C− retrans, PD(c)60 C7 − . . .− Vi1

63 M1 F F −B[− C7 − F A, Vi1+2 par 3rds

67... <(Gm7 − C − F )−Gm/B[− F 6

4 − C7

d− Va answers

70... Dm− C7 − F/A− P i

m(↗)

72... C7/E − F −B[− F 6

4 − C− cad

74... F −Gm7/B[− C7 − F − C7 − F Vi1-Va1 dialog, PD(c)

79... <(F/A− C7/B[)− F/A−Gm− C7−

83... Fm F − C7 − Fm− Vi1-Va1 dialog, PD(c)

87... F [9

7 /E[−B[m/D[− Seq(2×2m;R−7)89 ⊥ G[9

7 /D − C/E −Dm− C64 −G7− climax, cad



Table 4.17: Mozart, String Quintet in C Major KV 515, Mvt. 3 Andante (cont’d)

m M R H Comment

92 M2 F <(C7 − F )− C7

d− Dm−Gm/B[− B, Vi1

96... C −G7 − C − C7 − F −B[− E∅7−

99... F −Gm7/B[− F 6

4 − C7− cad

100... <(F − C7)

d− Dm−Gm− C −G7− Vc, 5pt ctp

105... C − Fm7 −B[− C7− Va1

107 ⊥ F −Gm7/B[− F 64 − C7

d− cad

108 M3 G7/D − C −A[97 /C]−Dm− F/A−Gm/B[− Vi emb, sync

110 ⊥ F 64 − C7

d−

111 M3 G7/D − C −A[97 /C]−Dm− F/A−Gm/B[− Va1 emb

113 ⊥ F 64 − . . .−Gm7 − C7

d− climax

118 Dm− C64 −G7 − C − F7 −Gm/B[−

120 F 64 − C7/B[−

121 F/A− C7/E − F −B[− F 64 − C7− trans

124 F −B[/F − F − C7− Coda, Va1 emb126 F − . . .− C7 − F Va1-Vi1 (128 m.)




The key relationship diagram of the string quintet KV 515 is shown in Fig. 4.6. The openingAllegro sonata form starts with the regular key pattern: main theme in the tonic major keyC, secondary group in the dominant key G. The unique feature here is that the second state-ment of this theme is in parallel minor Cm (1). The development opens in the relative minorkey Am (3), before modulating through a long sequence Am → Fm (3–5), and remainingin the subdominant area for a while. The recapitulation alternates once more to the relativeminor key Am (8), before closing through the dominant.

Mvt. 1 Allegro

D[ A[ E[ B[ F

B[m Fm Cm Gm Dm

B[ F C G D

Gm Dm Am Em Bm

?61,6

2�H

HHY

3��

tt

4��

5

? ��*

��*7,9

�6?8

-

Mvt. 2 Menuetto – Allegretto

B[ F C G-�1-�2-�3

Mvt. 3 Andante

Fm Cm

F C-�1

?62

Mvt. 4 Allegro

A[ E[ B[

Fm Cm Gm

F C G- 1,4

��

��

2

��

3,6

��

��

5

-

Figure 4.6: Mozart, String Quintet in C Major KV 515, key relationship diagram

The menuet is in the tonic major key C and alternates with the dominant key G (1) in theB section. The trio is in the subdominant key F and alternates with its dominant key C (2)and its subdominant key B[ (3). The slow third movement also has a limited key compass,with both A sections in the tonic key F , and the B section in the dominant key C (1). Theclosing A section sidesteps into the parallel minor key Fm (2).

The closing rondo hardly modulates and has different keys for each section: the A sec-tions remain in the tonic key C major, the C section is in the subdominant key F . There issymmetry in both B sections: the first is in the dominant key G, alternating with its loweredsubmediant major key E[ = [VI (2), the second has a similar movement C −A[−C (5). Thecoda has a brief segment in the subdominant F (6).

4.5 String Quintet in G Minor KV 516 (1787)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.7. Note the relative shortdevelopment section in the opening sonata form movement. In the binary form slow adagiomovement (Mvt. 3) the B sections are significantly shorter than the A sections.


4.5. STRING QUINTET IN G MINOR KV 516

Mvt. 1 Allegro: sonata form (Gm,[

44

], 254 m.)


Recapitulation (102 m.) C (19)

Mvt. 2 Minuetto – Allegretto: menuet and trio form (Gm,[

34

], 43+47=90 m.)

Menuet Trio

Mvt. 3 Adagio ma non troppo: binary ABAB Coda form (E[,[

44

], 82 m.)

A1 B1 A2 B2 C

Mvt. 4 Adagio - Allegro: introduction - rondo form (Gm−G,[

34

]-[

68

], 38+298 m.)

Adagio

A B1 C1 A D B2

C2 A Coda

Figure 4.7: Mozart, String Quintet in G Minor KV 516




Form: sonata form. The formal analysis is shown in Table 4.18 to 4.20. The Exposition maintheme has an M1(aba’b’) period structure. The a-phrase is an upward arpeggio Gm chord(d− g − b[− d− d− d), followed by a chromatic descent (g − f]− f − e\− e[). The seconda’-motif is the melodic inversion of the first: a’=I(a). These two elements, the arpeggio chord(upward and inverted) and the chromatic descent, return in many transitions. The secondgroup remains in the tonic minor key with theme M2.1, until the second theme M2.2, whenthe relative major B[ enters. Both themes have the same rhythmical and M(aab) sentencestructure. However, melody M2.1 has more downward stepwise motion, while M2.2 openswith another downward arpeggio.

Characteristic are the strong dynamic contrasts: accented tutti notes, forte measures fol-lowed by piano playing (no gradual changes). Also there are many irregular phrases (oddnumbers of measures, extending the tail of a melody). Most of the climaxes are in the tran-sitory sections. The Development is relatively short, with a number of sequences featuringimitation. When the main theme returns in the Recapitulation, there is a short secondarydevelopment in the form of a sequence and a stretto imitation.

The Coda presents both themes once more: M1 as a stretto imitation from the highest tothe lowest voice and a closing repeated statement of M2.1.

4.5.2 Mvt. 2 Minuetto




Table 4.18: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro

m M R H Comment

1 M1 Gm Gm− F]◦/A− Fm/A[− C/G− E[/G− Exp, Gr 1 (a): Vi1, [S6]

3... D[9

7 /F]−Gm−D[97 −A[9

7 /C]−D7/C− (b)

5... Gm/B[−D[9

7 /A−D7

d− a’=I(a)

7 ⊥ E[− Cm/E[−D[97 (b’)

9 M1 Gm− F]◦/A− Fm/A[− C/G− E[/G− 2nd stat, (a): Va1, [S6]

11... D[9

7 /F]−Gm−D[97 −A[9

7 /C]−D7/C− (b)

13... Gm/B[−A[/C −G[9

7 /D− (a’), N6

15... Cm/E[− C[9

7 /Ed− PB(↗)

16... Dm/F −D7/F]−Gm−D[9

7 /A−17 ⊥ Gm−A◦ −Gm6

4 −D7 (b’) cad18 M1’ A[9

7 −D[97 − trans, (a): Vi1+Vi2

20 Gm−A[97 /G−D[9

7 /F]− Seq(5×R5), P iB(↘)

21 G[97 /F − C[9

7 /E − F [97 /E[−B[/D−

23 A[/C −Gm64 −D7 N6, climax, cad

24 Gm−B[7/D − E[−B[726 M1’ E[−A[9

7 /C]−Gm64 −D7 −Gm imit: Vc-Vi1, cad

30 M2.1 Gm−D[97 −Gm Gr 2 (aab): Vi1

34 M2.1 Gm− C[97 /G− F7sus4 − F7− (aab’)

37 ⊥ B[ <(B[− C[97 /E − F7)−B[

40 M2.1’ C7/G−B[64 − F − C7 − C[97 trans, (b): Vi1

46 M2.1’ F [97 − F7/E[ (b): Vc

49 M2.2 B[/D −G7 − Cm−B[7− (aaba): Vi153 ⊥ E[−B[− Cm/E[−B[64 − F7− (b), cad56 M2.2 B[/D −G7 − Cm−B[7− stretto imit, (aab): Va1-Vi159 ⊥ E[− C[9

7 /E −B[64 − F7− climax, cad64 M1’ <(B[− F7)− final stat, imit (aa’): Vc-Vi2

68... B[−D7/F]−Gm−B[7/D− Seq(3×1m;R3)

70 ⊥ E[− F7/A−B[− E[−B[64 − F7/A− cad, 16ths72 M1’ <(B[− F7)− imit (aa’): Vi2-Va1, climax76 B[−D7/F]−Gm−B[7/D− trans, Vi1+Vi278 E[− E[m− F7/A−B[− . . .− Vi1, triplets81 Cm7/E[− C[9

7 /G−B[64 − F7−85 M1’ B[− E[/G−B[64 − F7− closing stat, (aa’): Vi188 M1’ B[−B[7/A[− E[/G− E[m/G[− imit (aa’): Vi1-Va190 ⊥ B[64 − F7 −<(B[− F [9

7 )−

93 B[−D7/Ad− Cm/G−D7/F]− : || PB(↘)



Table 4.19: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (cont’d)

m M R H Comment

95 G7/F − Cm/E[−G[97 /B

d− trans

97 M1’ Cm A[− E[7 −A[− C[97 /E− Dev, Vc, Seq(3×2m;R3)

99 M1’ Fm− C[97 − Fm−A[7/C− Vc

101 M1’ D[− . . .−D[7 −B[[97 −107 M2.1 E[m E[m− . . .−B[[97 − E[[97 − C7− Vi1, Seq(3×4m;R7)111 M2.1 Fm Fm− . . .−G∅7/B[− C7 −D[9

7 /F]− Vc115 M2.1 Gm Gm− . . .−D[9

7 −G[97 − Va1, Seq(5×1m;R5)

119 ⊥ C[97 − F [9

7 −B[[97 − E[[97 = A7−123 M2.1’ D[9

7 − imit: Va1-Vi2-Vi1, clim

124... Gm− E[− Cm7 −A◦/C −A[9

7 /C]−

125... <(D − C]◦7)/D− retrans, Σ(cm>), PD(d)

127... (D −B◦7 − Cm− F7)/D−

130 ⊥ (B[− F [97 = D[9

7 −Gm−D7)/D (ped)

133 M1 Gm Gm− F]◦/A− Fm/A[− C/G− E[/G− Rec, Gr 1 (a): Vi1, [S6]

135... D[9

7 /F]−Gm−D[97 −A[9

7 /C]−D7/C− (b)

137... Gm/B[−D[9

7 /A−D7

d− a’=I(a)

139 ⊥ E[− Cm/E[−D[97 (b’)

141 M1 Gm− F]◦/A− Fm/A[− C/G− E[/G− (a): Va1, Seq(3×4m;R5)

143... D[9

7 /F]−Gm−D◦/F − Cm/E[ (b): Va1, 2nd dev144 ⊥ D∅7 −G7− (b): Vi2145 M1 Cm−A[/C −G/B −G◦/B[−D7/A− (a): Vc147 ⊥ G[9

7 − C7 −G∅7 − C[97 imit (b): Vc-Va2

149 M1 Fm− F7/A−B[−B[7/D− stretto imit (a/b): tutti

151... E[−A[−D[− Seq(3×1m;R5)

154 ⊥ G[97 − Cm−Gm/B[−

156 M1’ A[97 −D[9

7 trans, (a): Vi1+Vi2158 Gm−A[9

7 /G−D[97 /F]− Seq(5×R5), P i

B(↘)

159 G[97 /F − C[9

7 /E − F [97 /E[−B[/D−

161 A[/C −Gm64 −D7 N6, climax, cad

162 Gm−B[7/D − E[−B[7 16ths164 M1’ E[−A[9

7 /C]−Gm64 −D7 −Gm imit (a): Vc-Vi1, cad



Table 4.20: Mozart, String Quintet in G Minor KV 516, Mvt. 1 Allegro (cont’d)

m M R H Comment

168 M2.1 Gm−D[97 −Gm Gr 2 (aab): Vi1

172 M2.1 Cm Cm−G[97 − Cm (aab’)

176 M2.1’ Cm/E[−A∅7/E[−A[57 /E[−Gm6

4 −D− trans179 M2.1’ A[9

7 − . . .−D[97 −D7/C− imit (b): Vi1-Vc

185 M2.2 Gm Gm/B[−G/Bd− A[/C− (aab): Vi1, P i

B(↗)

188... G[9

7 −D − Cm/E[−A[97 /E (ab)

191 ⊥ D7/F]−Gm−A∅7/C −Gm64 −D7/C− cad

193 M2.2 Gm/B[−G/Bd− A[/C − F [9

7 /C− imit, (aab): Va1-Vi1

195... B[m/D[−B[[97 /D

d− P i

B(↗)

197 ⊥ Cm/E[− C[97 /E −Gm6

4 −D7− climax, cad201 M1 <(Gm−D7)− imit (aa’): Vc-Vi2

205 Gm−D7

d− E[−G7/B− trans, Seq(3×1m;R3)

207 Cm−D7/F]−208 Gm−A∅7/C −Gm6

4 −D7− cad210 M1’ <(Gm−D7)− imit (aa’): Vi2-Va1, clim

213 Gm−D7

d− E[−G7/B− trans, Seq(3×1m;R3)

215 C − Cm−D7/F]−216 Gm− . . .− Vi1, triplets218 A∅7/C −A[9

7 /E −Gm64 −D7− P i

B(↗), cad222 M1’ Gm− Cm/E[−−Gm6

4 −D7− (aa’): Vi1, climax225 M1’ Gm−G7/F − C/E −A[5

7 /E[− imit (aa’): Vi1-Va1

227... Gm6

4 −D7 −<(Gm− F]◦7)−230 ⊥ Gm−G7 − F − Cm/E[−G7/B− : || cad232 Cm− C7/B[− F/A−D

[5/[97 /A[ trans, P i

B(↘)234 Cm/G−D7/F]−

235 M1 Gm Gm−D7/A− F/A− C/G− Cm/G− Coda, stretto imit

237... D7/F]− E[9

7 /F −A[97 /E −A[5

7 /E[− climax, P iB(↘)

238... D7 − E[9

7 /D −A[97 /C]−A[5

7 /G−

239... D7/F]− E[9

7 /F − Em7 − Cm/E[−

240 ⊥ D7

d− E[−A[/C −Gm6

4 −D7− N6, cad243 M2.1 Gm−A[5

7 /E[ (aa): Vi1245 ⊥ Gm/D − E7/G]−A◦ −D7/F]− (b)246 M2.1 Gm−A

[5/[97 /E[−Gm/D − E7 −A◦ −D7 (aa): Vi1, PD(d)

249 M2.1 <(Gm−D[97 )−Gm−D −Gm cad (254 m.)



4.5.3 Mvt. 3 Adagio ma non troppo

Form: binary, ABAB form. The formal analysis is shown in Table 4.21 and 4.22.Remarkable is the use of mutes (con sordino) in this slow, intimate movement. It is a

harmonically very rich setting, with lots of passing chords. In the tutti phrases all parts areequally important. Occasionally there is a textural thinning, with solo instruments answer-ing each other’s calls; see the b-phrase of the opening melody M1, which has an M1(abb’)structure.

The second theme M2(aaa’b) in the A1 section, with its descending stepwise phrases in8th note rhythm repeated at higher pitches, is in the dominant minor key (B[m); in the latterhalf it is repeated in the tonic minor key. The same melodic curve returns in the B sectiontheme M3, but now the steps occur in an appoggiature 16th note rhythm in major, and themelody is used in imitation (see the second statement).

Just before the coda, there is a brief sidestep towards the subdominant area A[. Thecoda itself is a weird combination of snippets from both melodies M1 and M3, but in arhythmically very condensed form.





Table 4.21: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo

m M R H Comment

1 M1 E[ E[−B[7/D − E[/G− Fm/A[− E[64 −B[ A1, (a): tutti

3... B[7 −B[7/D − Fm7/E[−B[7/D−

5... <(A∅7 −B[)−D7/C −G/B −D7/F]−G (b): imit Vi1-Vc

7... (Fm−D◦7)/A[− E[/G− F/C −B[7/D − E[

8... A◦7 −B[7 − E[− Fm/A[− climax, cad

9... E[64 −B[7

d− Cm−B[7/D − E[7/G−

11... Fm/A[−D◦ − E[/G− Fm7/C −D◦7 − E[ (b’): imit tutti

12... D∅7 − E[−A◦/C −B[7 − E[− Fm/A[ climax, imit

13 ⊥ E[64 −B[7 − E[ cad14 B[−A◦7 − F7− trans16 F7/A− E[/G− C]◦7 −D −D7 −Gm− E◦18 M2 B[m F − (B[m− F )/B[ (a):Vi1, P T (b[)

19... (B[m− Fm−G[−B[m7 − C∅7)/B[ (a): Vi1, 16ths (ped)

20... (<(A◦7 −B[m)− (A◦7 −G[− F7 −B[m))/B[ (a’): Vi1, climax (ped)

23... C∅7/E[−B[m/F − F7

d− G[− C[/E[− (b): Vi1, imit

25 ⊥ D[7 −G[− F7 − E◦7 −B[m64 − C◦ − F7− climax, cad

27 M3 B[ B[−D7 −Gm/B[−G7/B− B1, Vi1 16th app, stacc

28... Cm− C7 − F − F7/E[−B[/D − F7/C− PB(↘)

29 ⊥ B[− F/A−→Cm/E[−B[64 − F7− [S6] , PB(↘), cad30 M3 B[−D7 −Gm/B[−G7− imit Va1-Vi2, leg arp

31... Cm− C7 − F − Cm7 −Gm7 − F7−

32 ⊥ <(B[−A◦7)−B[ halfcad33 E[ E[− Cm/E[−B[64 − F −B[− E[−B[/F− trans, tutti35 E[/G− Cm/E[−B[64 − F7 −B[− F7− cad36 <(B[− F7)−B[−A◦7 −B[−B[7/D− cad

38 M1 E[ E[−B[7/D − E[/G− Fm/A[− E[64 −B[ A2, (a): tutti

40... B[7 −B[7/D − Fm7/E[−B[7/D−

42... <(A∅7 −B[)−D7/C −G/B −D7/F]−G (b): imit Vi1-Vc

44... (Fm−D◦7)/A[− E[/G− F/C −B[7/D − E[

45... A◦7 −B[7 − E[− Fm/A[− climax, cad

46... E[64 −B[7

d− Cm−B[7/D − E[7/G−



Table 4.22: Mozart, String Quintet in G Minor KV 516, Mvt. 3 Adagio ma non troppo (cont’d)

m M R H Comment

48... Fm/A[−D◦ − E[/G− Fm7/C −D◦7 − E[ (b’): imit tutti

49... D∅7 − E[−A◦/C −−B[7 − E[− Fm/A[ climax

50 ⊥ E[64 −B[7 − E[ cad51 B[m7 − E[/B[− C7/G− Fm− Cm7− trans53 F/C −D7/C −G/B − Cm− Cm7 −A◦−55 M2 E[m B[− (E[m− F )/E[ (a):Vi1, P T (e[)

56... (E[m−Bm− C[− E[m7 − F∅7)/E[ (a): Vi1, 16ths (ped)

57... (<(D◦7 − E[m)− (a’): Vi1, climax (ped)

58... (D◦7 − C[−B[7 − E[m))/E[ (ped)

60... F∅7/A[− E[m/B[−B[7

d− C[− F[/A[− (b): Vi1, imit

62... G[7 − C[−B7 − F

[5/[97 − . . .− climax

65 ⊥ F[5/[97 − E[64 −B[7− cad

66 M3 E[ E[−G7/D − Cm/E[− C7/E− B2, Vi1 16th app, stacc

67... Fm− F7 −B[−B[7/A[− E[/G−B[7/F− PB(↘)

68 ⊥ E[−B[/D−→Fm/A[− E[64 −B[7− [S6] , PB(↘), cad69 M3 E[− Cm/E[− C[9

7 −B[7/D − C7/E− imit Va1-Vi2, leg arp

70... Fm− F7/E[−B[− Cm7 −D∅7

71 ⊥ <(E[−D◦7)− E[ cad72 A[ A[− Fm/A[− E[64 −B[− trans, tutti73 E[−A[− E[7/B[−74 E[ A[− Fm/A[− E[64 −B[7 − E[−B[7− cad75 E[−B[7 − E[−A◦7 climax, cad

76 (M) B[− E[− Fm/A[− E[64 −B[7− Coda (M1/3)77 A◦7 −B[− E[− Fm/A[− imit78 E[64 −B[7 − E[−A◦ cad79 E[64 −B[7 − E[/G−A◦7−80 E[64 −B[7 −<(E[−B[7/F )− E[ closing cad (82 m.)


4.6. CLARINET QUINTET IN A MAJOR KV 581

4.6 Clarinet Quintet in A Major KV 581 (1789)

Source: [38]. An overview of the formal analysis is shown in Fig. 4.8. The third movementmenuet has two trios, and the final movement has a theme and variations form.

Mvt. 1 Allegro: sonata form (A,[

44

], 197 m.)


Mvt. 2 Larghetto: ABA form (D,[

34

], 85 m.)

A1 B1 A2 C

Mvt. 3 Menuetto: menuet and trio form (A−Am,[

34

], 124 (32+41+51) m.)

Menuet Trio 1 Trio 2

Mvt. 4 Allegretto con Variationi: theme and variations form (A,[

22

], 141 m.)

Th. V. 1 V. 2 V. 3 V. 4 Ad. Coda

Figure 4.8: Mozart, Clarinet Quintet in A Major KV 581


Form: sonata form. The Exposition opening theme M1 is a sort of chorale setting for strings(partly in contrary motion), answered by the clarinet. The second theme from the first grouphas M2(abc) structure, with the a-phrase and ascending scale, and the b-phrase a characteris-tic downward descending melodic sequence, that is re-used in imitiation in the strings. Thesecond group 1st theme has M3(aab) (2 + 2 + 3 m.) sentence structure. The transitory themeM4(aaab) consists of a melodic sequence a-motif and 16th note runs in the b-phrase. Thelast theme from this group has M5(abab) period structure. The Development is based onthe first theme phrases only. The other melodic material returns in the recapitulation, with aprominent role for M5 in the Coda. The detailed analysis is shown in Table 4.23 and 4.24.





Table 4.23: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro

m M R H Comment

1 M1.a A A−A/C]− E7

d− F]m−Bm− E7

d− F]m Exp, Gr 1/Th 1, Str

5 M1.b D −A/C]−Bm7 − E7 −A− E7− Cl response

9 M1.a A−A/C]− E7

d− F]m−Bm− E7

d− F]m 2nd stat, repeat

13 M1.b D −A/C]−Bm7 − E7 −A− E7− Cl response17 A− E7−19 M2 A− F]m7/A− E/G]−D/F]− C]m/E− Gr 1/Th 2, a): Cl22 ⊥ Bm/D −A/C]−<(G]∅7/B − E7/G]−A) bc)25 B − E7 −A−D]◦7− [S6]26 M2 E − E/B −B − C]m− F]7/A]−Bm−G]m 2nd stat, Str, a): Vc

29... A− F]m− C]m− E −D]◦7 − C]m/E− b)

31 ⊥ B −A/C]−G]m− F]m/A− E − F]7− b) Vi135 (M2) B −Am7/C −B −Am7/C −B −B7− trans to D, a’) Cl

42 M3 E E − F]m7/E −B7/F]− Gr 2/Th 1 aa): Vi146 ⊥ E − F]m7/A− E/B −B7− b)49 M3’ Em E − Em− F]∅7/E −B[9

7 /D]− 2nd st minor aa): Cl,53 ⊥ Em−Am7 −Dm7 −G7 − C− sync, b)58 M4 C+ −D]◦7/C − F][97 /C]−61 ⊥ E6

4 − . . .−B7− climax, cad64 M5 E E −A/E − E/G]−A− F]m7/A−B7− ab) Vi1-Cl, P T (e)

68 E −A/E − E/G]−A− F]m7/A−B7

d− ab’) repeat

72 C]m−B7/D]− E − F][97 /C]− E64 −B7− cad

74 M1 E/G]−B − E/G]− F]m/A−77 ⊥ E6

4 −B7 − E cad

79 E − Em−G7/F− Dev

82 M1.a C C − C/E −G7

d− Am−Dm/F Gr 1/Th 1

86 ⊥ G7

d− Am−Dm7/F − C/E −Dm7 −G7−

88 M1.b C −G7 − C −G7− arpeggios, imit92 M1.b C −A7 −Dm−B7 − Em− C]7 − F]m arp, Seq(3×2m;R7)

100 M1.b F]7/E − (Bm− E7)/D −A/C]−D]∅7/F]− Seq(5×2m;R5)110 M1.b E (E −Am− E −Am− E −D]◦7)/E − E7− stretto, PD(e)



Table 4.24: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 1 Allegro (cont’d)

m M R H Comment

117 M1.a A A−A/C]− Ed− F]m−Bm/D − E −A/C] Recap, Gr 1/Th 1

121 M1.b D −A−Bm7 − E7 −A− E7−125 M2 A− F]m7/A− E/G]−D/F]− C]m/E− Gr 1/Th 2, Cl128 ⊥ Bm/D −A/C]−G]∅7/B − E7 −A7− [S6]131 M2 D D −D/A−A−Bm−G−A− F]m SD

134... G− Em− F]m−D − Em− C]∅7 −D −Bm/D

136 ⊥ A/C]−G]m7/B − F]m/A− E/G]−B7/F] [S6]139 M2 E −<(Dm/F − E7)− trans to T147 M3 A A−D/A− E7 −A−Bm/D −A6

4 − E7− Gr 2/Th 1155 M3 Am A−Am− E7/G]− E[9

7 − repeat in minor,

159... Am− C7 − F −A7/C]−Dm− E[9

7 /G]− sync

165... Am−B◦/D −Am/E − E−

167 ⊥ C]7 − F]m−B/D]−A64 − E7−

169 M5 A A−D/A−A−A/C]−D −Bm/D − E7− Coda, P T (a)

173... A−D/A−A−A/C]−D −Bm/D − E7

d− repeat (ped)

177... F]m− E/G]−A−Bm−A7/C]−D −B7/D]

180... E − E7 −A/E − E7−

182 ⊥ A−G]◦/B −A/C]−Bm/D − E7 −A7− [S6]

185 M1.b D D −B[97 /D]−A6

4 − . . .− E7− climax

193 M1.a A A− Ed− F]m−Bm/D −A6

4 − E7 −A fin stat (197 m.)



4.6.3 Mvt. 3 Menuetto

Form: menuet and trio form. In this movement there are two trios. The Menuet is thereforeplayed three times (however, without repeats after the trios). The first theme M1 is playedin parallel thirds; the a-phrase between clarinet and violin 1, the b-phrase between viola andcello.

Trio 1 omits the clarinet and features the lead violin; note the imitative legato downwardand upward leaps in the other string parts, and the simultaneous offbeat fp accents. Theclarinet returns in Trio 2 with an M5(aab) (1 + 1 + 2 m.) theme in small-scale sentencestructure. The (inverted) arpeggio a-motif is picked up by the leading parts in the string(mostly violin 1, but occasionally the cello). The analysis is shown in Table 4.25.

4.6.4 Mvt. 4 Allegretto con Variationi




Table 4.25: Mozart, Clarinet Quintet in A Major KV 581, Mvt. 3 Menuetto and Trio

m M R H Comment

Menuet1 M1.a A || : A−<(E7 −A)− F]m−Bm7/D − E − E7/D− A1

5... A/C]−Bm− F]m/A− E7/G]−A−Bm/D−

7 ⊥ A/E − E7 −A9 M1.b A−Bm−A− E7/B −A B, Str par 3rds

13... F]m/A− C]m/G]− F]m−B7/D]− E

15... F]m/A− E/B −G][97 /B]− C]m− C][97 /B−

17... F]m/A− C]7/G]− F]m−B7/D]− E−

19 ⊥ F]m/A− E/B −B7−20 M1.b E −<(A/E − E)−A− E7− PD(e)26 M1.a A− E7 −A− F]m−Bm/D − E − E7/D− A2, 2nd stat

28... A/C]−Bm− F]m/A− E7/G]−A−Bm7/D−

30 ⊥ A64 − E7 −A : || cad (32 m.)

Trio 11 M3.a Am || : Am−B∅7/D − E7 −Am A!, no Cl5 M3.b C B∅7/D −G7 − C −<(C −G7/B)− C

11 ⊥ Dm/F −<(A7/G−Dm/F )− C64 −G7 − C : ||

17 M4.a’ || : C − C7 − F −A7 −D −D7/F]−G−B7− B21 M4.b’ E −<(D]/E − E)− E7/D− PD(e)25 M4.a Am Am−B∅7/D − E7 −Am A2, 2nd stat29 M4.b B∅7/D − E7 −<(Am− E7/G])−Am

36... B[/D(N6)−<(F7/E[−B[−D) Neap

40 ⊥ Am64 − E7 −A : || (41 m.)

Menuet (play without repeats)

Trio 2

1 M5.a A || : A−Bm7/D − E7

d− F]m−A/C]− A1, Cl

6 M5.b Bm/D −<(F][97 /E −Bm/D)− . . .−A64 −A : ||

13 M5.a’ || : <(E7 −A/E) E −<(E7 −Am/E)− E B, e-ped21 M5.a” <(B7 − E)− E7 − . . .− e-ped

36 M5.a A−Bm7/D − E7

d− F]m−A/C]− A2, Cl

41 M5.b Bm/D −<(F][97 /E −Bm/D)−A7/E −D/F]49 ⊥ Bm7/D −A6

4 − E7 −A : || cad (51 m.)

Menuet (play without repeats)




The key relationship diagram of the Mozart clarinet quintet is shown in Fig. 4.9. Here sub-lime musical beauty and elegance meet key simplicity. The key scope is very limited; onlythe opening sonata allegro moves somewhat further away from the tonic key. Note the re-peated statements of the secondary theme in major and parallel minor (2) and (4).

The ternary form larghetto has the A sections in the tonic key D, with the bridge in thedominant major key A. The menuet and closing theme and variations use the major-minorkey juxtaposition, without modulation.

Mvt. 1 Allegro

F C G

Dm Am Em

D A E� -1

?62

��

��3?64

� -5

Mvt. 2 Larghetto

D A� -

Mvt. 3 Menuetto

C

Am

A

?6

Menuetto

Trio

Mvt. 4 Allegrettocon variationi

Am

A?6Var 3

Figure 4.9: Mozart, Clarinet Quintet in A Major KV 581, key relationship diagram

4.7 Symphony No. 38 Prague KV 504 (1786)

Source: [37]. The remarkable aspect of this symphony is that it only has three movement; thetypical third movement (menuet and trio) is missing.2 An overview of the formal analysis isshown in Fig. 4.10. Note the limited length of the development section in the opening sonataform movement, and the false recapitulation.


Form: sonata form. This movement opens with a slow adagio Introduction section, dividedinto four segments: 6 + 9 + 12 + 9 m. The opening unisono motif Mu is followed by a stringmelody Mi(abc) over the middle segments (note the syncopated repeated notes in Mi.b overthe tonic minor key).

The introduction bursts into the allegro Exposition with an opening theme M1, launchedby a another series of syncopated dominant pedal point notes M1.a., and the ascending motifM1.b. This is answered by a descending scale in parallel consonants M1.c in woodwinds.

2Maybe this was rejected by a contemporary A&R manager or record producer in good old Austria. Insteadof Prague its nickname could have been ‘Blague’; who knows?


4.7. SYMPHONY NO. 38 PRAGUE KV 504

Mvt. 1 Adagio – Allegro : sonata form (D,[

44

], 302 m.)

Intro (36 m.) Exposition (106 m.) Dev. (49 m.) FR

Recapitulation (94 m.)

Mvt. 2 Andante: ABA form (G,[

68

], 148 m.)

A B A’

Mvt. 3 Finale presto: sonata form (D,[

24

], 351 m.)



Figure 4.10: Mozart, Symphony No. 38 Prague KV 504

There is tonal ambiguity, balancing between G and the real major tonic key D. The major-minor approach from the introduction returns in the allegro (and in the final movement).

The secondary theme has M2(aab) (2 + 2 + 4 m.) sentence structure; its second statementis in minor. The Development is based on the second and third theme (M1.c and M1.d) fromthe first group and treated with counterpoint, imitation and sequential settings. Note thesustained horn pedal point in the retransition. The detailed analysis is shown in Table 4.26to 4.28.





Table 4.26: Mozart, Symphony No. 38 Prague, Mvt. 1 Adagio - Allegro

m M R H Comment

Adagio Introduction1 Mu D <(D −A) unis motif4 F]/A]−Bm−D/F]−G−

6 Mi.a B/D]− Em−A7

d− intro a): Vi1

8... B[9

7 /F]−<(Em/G−D]◦7/A)− Em/G−

11... D/A−A−A]◦7 −Bm−D7/C −G/B−

14 ⊥ D]◦7/A−G]◦7 −D/A−A7− contrast dyn

16 Mi.b Dm Dm− . . .−B[− . . .− F7 − . . .−D7/F]− Str sync, P (d−a)24 ⊥ Gm− . . .−G]◦7 − . . .− P (d−a)

28 A[97 − . . .− climax PD(a)

32 (Mi.b) <(A−Dm) cad (36 m.)

Allegro37 M1a G || : D/F]−G−Am−D7/F]− Exp, Gr 1, Vi1: d-sync41 M1b G−D/F]− Em−A7− Vi1 asc, str43 M1c D D −A7− WW+Brs, par scale45 M1a D −D7/F]−<(G−D7/A)− 2nd stat, Vi149 M1b G−D/F]− Em7 −A7− cad51 M1a’ D − Em7 − C]◦7/E −D/F]−A/C]− Vi2+Va par 3rds55 M1d <(D −Bm− Em−A/C]− tutti climax

... D − Em7 −A7)−

59 ⊥ D −Bm/D − Em7D −A/C]d−

60 M1d Bm− Em7 −Am7 −D− Seq(4× 12m;R−7)

61... G∆7 − C]◦7 − F]m7 −Bm7 imit

62... Em7 −A7 −<(D −A7)− tutti climax, cad

66... <(D −A)−<(Bm− F]m)−

68 ⊥ <(G−D)−A halfcad, PD(a)71 M1a A+/C]−<(D −A+/C])− Vi1: a-sync75 M1b’ D −A/C]−Bm− E7− Str+WW imit

77... A−D∆7 −Bm/D

79... C]∅7 −A/C]− F]m7 −D/F]−

81... E −A−D∆7 −G]∅7 − C]m7 − F]m7− trans, Seq(4×2m;R−7)

87... Gm Bm7 − E7

d− Dm/F −D7/F]− climax

91... Gm−G]◦7 −D7/F]− trans to D, P i

B(↗)93 ⊥ Gm/B[−G]◦7/B −A/C]− C]7−



Table 4.27: Mozart, Symphony No. 38 Prague, Mvt. 1 (cont’d)

m M R H Comment

95 5 F]m−Bm/D −A/E − E7− closing cad

97 M2 A A− E7/G]−A− C]m/E −A−B7 − E− Gr 2, aab): Vi1105 M2 Am Am− E7− minor aab): Vi1109 ⊥ Am− C/E −Am/C −Bm7 − E7−112 M2 A A− E7 −A−Bm− E7 3rd stat, aa): Bsn116 ⊥ A7 −D∆7 − E7/G]−Bm/D −A/E − E7− cad121 M1d A−Bm7 − E − F]m7 −Bm7 − E7 −A Str+WW imit123 M1d D∆7 −G]◦7 − C]m7 − F]m7 −Bm− E7− tutti clim

125... A− E − F]m− C]m−

127 ⊥ D −A−D −A64 − E− cad

129 A−A7 −<(D/A−A7)− closing stat, PD(a)133 D/A−A7 − F]7 −Bm− E7 −A− F]m−135 Bm/D − E −<(A− E)−A : || closing cad

143 M1c A A/C]− E7 −A− F]7/A]−Bm Dev, Gr 1, Str imit147 ⊥ C]m−D − E −A7−

151 M1c D D −A7 −D/F]− Em− C]◦7 − F]7d− Str+WW imit

156 M1c/b G− Em−A]◦7 −Bm−G− Em−A− ctp, Seq(3×2m;R−3)160 ⊥ D −Bm−G]∅7162 M1d/c F]m− C]7 − F]7 −Bm− F]7 −B7− Seq(3×4m;R−7),

166... /

... Em−B7 − E −A− E7 −A7− WW+Str ctp170 ⊥/⊥ D −A7 −D −D7−172 M1d G−→Bm7/A− E/G]− Seq(3×2m;R7),

174... Am−→C]∅7/B − F]/A]− imit Vi2-Vi1

176 M1d Bm−→Em7/D −A/C]d− Str+WW imit

178... Bm7 − Em7 −A7 −D− stretto, climax

179 ⊥ C∆7 − C]◦ − F]m7 −Bm7 − Em7 −A7−181 <(D −A7)− retrans184 <(D −A)−<(Bm− F]m)−<(G−D)− cad187 A7− PD(a)189 M1a Dm A/C]−Dm−A7/C] retrans, Vi 1, a-sync

192 M1c/b Dm−A7/C]−Dm−B[− E[57 /B[− False rec, Hns ped

195 ⊥ (A−A[97 −Dm−A7 −Dm−G]◦7)/A− Str+WW ctp, PD(a)

199 (M1c) (A−G]◦7 −A− F]◦7)/A scalar motif (ped)

201... (G− C]◦7 −Dm−D]◦7)/A minor (ped)

203... (E − C]◦7 −D −G]◦7)/A− major (ped)



Table 4.28: Mozart, Symphony No. 38 Prague, Mvt. 1 (cont’d)

m M R H Comment

205 ⊥ A− . . .−A7− cad, return to T

208 M1a D D −D+/F]−<(G−D]57 /F])− Recap, Gr 1, Vi1

212 M1b D −D/F]− Em7 −A− Vi1 asc, Str214 M1c D −A7− WW par scale216 M1a D −D/F]−G−D/F]− 2nd Dev, d-sync

219... Gm−D7/F]−Gm− E[m/G[− Vi1, SD

221 ⊥ F −<(B[/F − F )− mediant224 M1b B[− F/A−Gm7 − C]◦7/E Vi1226 ⊥ Dm/F −B[∆7 − E[5

7 −A− Str+WW imit229 M1b G∆7 − C]∅7 − F]m7 −Bm7 − Em− Seq(3×2m;R−7),

235... A7

d− Gm/B[−G7/B − C− ctp, climax

239... C]◦7 −Gm/D − E[7 −A7/E−

241 ⊥ D/F]− Em/G− F]m/A−A]◦7− P iB(↗)

242 Bm− Em/G−Bm7/A−A7 cad

244 M2 D D − . . .−A7/C]− . . .−D −A7 −D− Gr 2, aab): Vi1250 ⊥ D/F]−G]◦7 −D6

4 −A−

252 M2 Dm Dm−A7

d− B[−G]◦7 −Am− E◦7− minor aab): Vi1

257 ⊥ F/A− C]◦7/G−Dm/F − E∅7/G−A7−259 M2 D D −<(A7 −D)− 3rd stat, aa): Bsn

264... A−D −G−A7/C]− Str imit

268 ⊥ D − Em/G−D/A−A7

d−

270 M1d Bm/D −A/C]−G/B −A7

d− tutti climax

272 ⊥ Bm/D − C]◦7 −A◦/C −G/B −Gm/B[−A[97 − P i

B(↘) , cad274 M1d D −G− C]∅7 − F]m−Bm7 − Em−A7 −D stretto imit276 ⊥ G∆7 − C]∅7 − F]m−Bm7 − Em−A7−278 <(D −A7)−<(Bm− F]◦)−<(G−D)− tutti, cad281 G−D6

4 −A−D closing clim, cad284 D7 −<(G−D7)/D − (G−Gm−D −G]◦7)/D− P T (d)287 C]◦7/D −Bm− Em/G−A−D (ped)290 D − F]/C −G−D7/F]−G−D]◦7/A− (ped)292 E − C]◦7/G−D/F]−Bm− Em7/G−A7−296 <(D −A7)− closing cad299 D (302 m.)



4.7.3 Mvt. 3 Finale presto

Form: sonata form. The third and final movement opens with an arpeggio motif on the tonicchord (M1a), imitated by the other strings, and closing with downward suspensions overa series of first inversion chords ([S6] ). This a-motif is used extensively in the transitions(imitations) and development (sequences). The second statement of M1 is in minor. Theclimaxes are falling mostly on the tutti transitions, while the thematic material is orchestratedlightly. The series of first inversiion chords return prominently in the development. Themovement concludes with a closing statement of M1; there is no coda. The analysis is shownin Table 4.29 and 4.30.





Table 4.29: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto

m M R H Comment

1 M1 D || : D −G/B − F]m/A− Em/G−B7− Exp, Gr 1 a): Str im [S6]

5... <(Em−B7)− Em b): Vi1

9... Em− F]m/A− Em/G−D/F]−A7− a): Str imit [S6]

13 ⊥ <(D −A7)−D b’): Vi118 <(D −G−D −A7)/D −D− trans, tutti clim, P T (d)28 <(A−D)/A−A PD(a)32 M1 Dm Dm−Gm/B[− F/A− E◦ −G−Gm7 a): WW imit [S6]

36... <(C7/E −Gm7/F )− C7/E b): Fl

40... C7 − F −Gm/B[− F/A− C7− a): WW imit

44 ⊥ <(F − C7)− F b’): Fl48 F −Am/E −Dm−D]◦7− trans, tutti clim, PB(↘)56 <(E7 −Am−D]◦7)/E− PD(e)60 <(E7 −Am)− E − . . .− E7− cad67 M2 A <(A−D −A− E7 −A) Gr 2, aa’): Vi par 6ths75 ⊥ <(A− E7)−A (b): WW80 D −Bm−Bm/D −D]− E7− cad, Σ(cm>)83 M2 <(A−D −A− E7 −A) 2nd st aa’): Fl+Vi 6ths92 ⊥ <(A− E7)−A b): WW

96 D − E7

d− F]m−Bm/D − E7− cad

99 M1 A−D/F]− C]m/E −Bm/D −A/C] Gr 1, a’): WW imit [S6]

103... E7

d− D/F]− E7/G]− Σ(cm>)

106 ⊥ A−Bm/D −A64 − E− cad

108 M1 A−Dm/F −A/E −Dm/F −A/C]− a’): Str imit111 Dm <(Dm−A7)−D/F]−Dm/F− trans, tutti climax

119 E7

d− F]m−Bm/D − E7− cad

121 M1’/c A <(A− E7)−A a’): WW, Mc: Vi1 tripl131 M1’/c <(A−D −A/E − E7)− a’): WW imit, Mc: Vi139 A− . . .− : || tutti clos clim, PD(a)

153 A A− . . .− Dev, tutti clim, PD(a)157 M1’ A−D/F]− C]m/E −Bm/D −A/C] WW, Seq(2×8m;R−5)161 E7/B − . . .− LoStr, tutti forte165 M1’ E7 −A−Bm/D− WW imit [S6]169 F]7/C]− LoStr, tutti forte173 M1’ F]−Bm− C]◦/E −Bm/D −A]◦/C] WW imit [S6]177 M1’ Bm Bm−B∅7/A− E7/G]− E7− Str im, Seq(2×4m;R−7),181 ⊥ Am Am−A∅7/G−D7/F]−D7− trans



Table 4.30: Mozart, Symphony No. 38 Prague, Mvt. 3 Finale presto (cont’d)

m M R H Comment

185 M1 G G− C/E −Bm/D −Am/C −G/B Seq(5×4m;R−5),

189... D −D7/C −G/B − F −→Dm/F− WW+Str imit [S6] , forte

193... Am E −Am−Dm/F −→Am/C [S6]

197... E − E7/D −Am/C−→Em/G− [S6]

201 ⊥ Bm F]−Bm− Em/G−→Bm/D− [S6]

205 C/E − F]7d− G cad

208 (M1) Bm/D − Em− F] retrans, a’): WW imit

211... G− C∆7/E − F]◦ −B7/D]− Seq(3×2m;R−7)

215 ⊥ Em−A7/C]−

217 M1 D D −G/B − F]m/A− Em/G−B7− Rec, Gr 1, a): Str im [S6]

221... <(Em−B7)− Em b): Vi1

225 ⊥ Em−Am−Bm/D −D −G64 −D7− a): Str imit

229 Gm Gm/B[− . . .− LoStr, tutti forte233 M1 Gm− Cm/E[−→Gm/B[ 2nd st, a): WW imit [S6]237 F7 − . . .− LoStr, tutti forte241 M1 B[ F7 − b[− Cm/E[−B[/D −A◦/C− a): WW imit245 Dm B[−Dm/A−Gm7 −G]◦7− trans, tutti forte, P T (d)253 <(A7 −Dm−G]◦7)− PD(a)257 <(A7 −Dm)−A− . . .−A7−264 M2 D <(D −G/B −D −A7 −D) Gr 2, aa’): Str par 6ths272 ⊥ <(D −A7)−D− b): WW in par 6ths277 G− Em− Em/G−G]◦7 −A−A7− halfcad280 M2 <(D −G/B −D −A7 −D) 2nd stat: WW+Str288 ⊥ <(D −A7)−D− b): WW293 G−A7no 3 −Bm− Em/G−A− cad296 M1 D −G/B−→D/F]− Gr 1, a): WW imit [S6]

300... A7 −A]◦7

d− G/B − C]◦7− Σ(cm>)

302 ⊥ D − Em−D64 −A− cad

304 M1 D− a): Str imit306 ⊥ Gm/B[−D/A−Gm/B[−D/F]− cad308 Gm <(Gm−D7)/D− trans, tutti forte, PD(d)

314 G/B −Gm/B[−A7

d− Bm− Em−A−

318 M1’/c D <(D −A7)−D a’): Hns, Mc: Vi1 tripl328 M1’/c <(D −G−D6

4 −A7)− a’): WW+Brs imit336 D − . . .− cl clim, arp (351 m.)



4.8 Symphony No. 39 in E[ Major KV 543 (1788)

Source: [37]. An overview of the formal analysis is shown in Fig. 4.11. Both outer movementsare in sonata form, with a fairly short development section and without coda. The fairly long,slow second movement has binary form. The 3rd movement, menuet and trio is short, buthas many repeats. There is an unusual instrumentation aspect: in the woodwind sectionthere are two clarinets, but no oboe.

Mvt. 1 Adagio - Allegro: sonata form (E[,[

44

][34

], 309 m.)

Intro (25) Exposition (117 m.) Dev. (41 m.)


Mvt. 2 Andante con moto: ABAB Coda form (A[,[

24

], 161 m.)

A1 (27) B1 (40) A2 (25) B2 (51) C (17)

Mvt. 3 Menuetto Allegro: menuet and trio form (E[,[

34

], 68 m.)

Menuet Trio

Mvt. 4 Finale Allegro: sonata form (E[,[

24

], 264 m.)



Figure 4.11: Mozart, Symphony No. 39 in E[ Major KV 543




4.8. SYMPHONY NO. 39 KV 543




4.8.2 Mvt. 2 Andante con moto




Table 4.31: Mozart, Symphony No. 39, Mvt. 3 Menuetto Allegro

m M R H Comment

Menuet1 M1 E[ || : E[− E[/G−A[− A, a): Cl+Bsn+Vi, P T (e[)

5... B[−B[7/D − E[ a’)

9... <(B[7/D − E[/G)− Fm− F∅7/E[− b): Vi

12... B[7/D − E[−B[/D − E[−

14 ⊥ B[ B[64 − F7 −B[ : || tutti, cad17 M1’/c <(B[−B[7/A[− E[/G)− B, Mc: Bsn, PD(b[)21 ⊥ Fm/A[−B[7− Vi25 M1 E[ || : E[− E[/G−A[− A’, a): Cl+Bsn+Vi, P T (e[)

29... B[−B[7/D − E[ a’)

33... <(B[7/D − E[/G)− Fm− F∅7/E[− b): Vi

36... B[7/D − E[− Fm/A[−B[7−

39... E[−B[7/A|[− E[/G− tutti clim, PD(b[)

42 ⊥ Fm/A[− E[64 −B[7 − E[ : || cad

Trio45 M2 E[ || : E[−B[7 − . . .− C, aba): Cl51 ⊥ E[−B[7 − E[ : ||53 M4 || : E[−B◦7/D −G[9

7 /D − Cm− C∅7/B[− D, Vi, PB(↘)

56... F [9

7 /A−B[− F7−58 ⊥ B[64 − F7 −B[−B[7− cad60 M2 E[−B[7 − . . .− C, aba): Cl61 ⊥ E[−B[7 − E[ : || (68 m.)

4.8.3 Mvt. 3 Menuetto Allegro - Trio

Form: menuet and trio form.. Both the menuet and trio have ternary structure. The analysisis shown in Table 4.31.

The menuet A section melody has sentence structure M(aa’b) (4 + 4 + 4 m.), played byclarinets (quarter note rhythm) and in embellished form (staccato 8th note arpeggios) byviolins. The a-phrase is a tutti climax, the b-phrase is for strings only and concluded witha tutti cadence. The B section continues with the strings in 8th notes, with an arpeggiocountersubject for bassoon. The second A section closes with an extended b-phrase withwoodwind doublings.

The trio melody has period structure M3(abab) (2+2+2+2 m.), and is played by clarinet.The bridge section melody M4 has a lead part for first violins, with strings only background.



4.8.4 Mvt. 4 Finale Allegro





The key relationship diagram of symphony No. 39 in E[ major is shown in Fig. 4.12. Theopening sonata form movement has a regular key scheme, with the tonic-dominant movein the exposition (1). The development starts in the subdominant major key (3), then passesby the relative minor key Cm before returning to the tonic major key in the recapitulation.This section has the familiar key pattern of subdominant-dominant-tonic A[−B[−E[ major(3-4). The overal key envelope of this movement is limited.

Mvt. 1 Adagio - Allegro

A[ E[ B[

Fm Cm Gm

- 1, 4��*2

?� 3 �

Mvt. 2 Andante con moto

Bm G[m D[m

B G[ D[

A[m E[m B[m

A[ E[ B[

Fm Cm Gm

-�1,6

?62

63XXXXXXXz

�4

?

5

��

Mvt. 3 Menuetto

E[ B[-�

Mvt. 4 Finale Allegro

Em Bm F]m C]m

E B F] C]

D[m A[m E[m B[m

D[ A[ E[ B[

B[m Fm Cm Gm

B[ F C G

Gm Dm Am Em

-1

?

��

2

3

��

�

?4t

t�

��

5?

? ��*��

6

?

��

7

Figure 4.12: Mozart, Symphony No. 39, key relationship diagram

Movement 2, the slow Andante con moto, in the tonic major key A[, demonstrates tworeturning features of this symphony: the brief alternation between major and minor and themove towards the enharmonically related key [III = B = C[, i.e., the major key on thelowered mediant degree. The major-minor element A[ − A[m occurs in both A sections (2)and an equivalent move is present in the second B section, here as the B −Bm pair (5). Thefirst B section starts in the relative minor key Fm (3). Both B sections move back to the tonickey through the dominant major key E[ (4,6).

The menuet and trio (Mvt. 3) key scheme is simple. Both remain in the tonic major keyE[, except for a brief excursion to the dominant major key B[ at the end of the first menuetsubsection.

The closing sonata form finale has the widest key envelope of this symphony. Note the



four occurrences of the major-minor move (1, 4, 5, and towards 7). Equivalent to the secondmovement, there is the quite unexpected sidestep to the lowered mediant degree major key[III = G[ = F] in the exposition (2), and the corresponding lowered submediant degreemajor key [V I = C[ = B in the recapitulation. The development starts in the subdominantaxis key A[ (3), then moves through a set of roots that are the result of symmetrically dividingthe octave into major thirds A[−E(m)−C(m) (4-5). Once again, there is the play with major-minor key ambiguity. The recapitulation has the familiar move towards the subdominantarea, disguised here as the loop through [V I = B major (7) before closing in the tonic majorkey.

4.9 Symphony No. 40 in G Minor KV 550 (1788)

Source: [37]. An overview of the formal analysis is shown in Fig. 4.13. The outer movementsare in sonata form, with a short (Mvt. 1) and a significantly longer development section inthe finale. The ternary form second movement has a relatively short middle B section.

Mvt. 1 Allegro molto: sonata form (Gm,[

22

], 299 m.)

Exposition (101 m.) Dev. (39 m.) FR (26 m)


Mvt. 2 Andante: ABA form (E[,[

68

], 123 m.)

A1 B A2

Mvt. 3 Menuetto – Allegretto: menuet and trio form (Gm,[

34

], 84 m.)

Menuet Trio

Mvt. 4 Allegro assai: sonata form (Gm,[

22

], 308 m.)



Figure 4.13: Mozart, Symphony No. 40 in G Minor KV 550

4.9.1 Mvt. 1 Allegro molto

Form: sonata form. The opening movement is part of the classical music core curriculum;listening courses will undoubtedly play this piece. The phrase structure of the main melodyis discussed in books on composition, the string section middle voices treatment in instru-mentation classes.3

3Remember the 20th century pop hit by Waldo and his boom-tchi-ka band? Same piece of immortal music.



The main theme has M1(aab) (4+4+10 m.) sentence structure. The a-phrase may be sub-divided into a(ccd); the appoggiature 8th notes in the c-motif are the prominent element inthis movement. This idea is used in cadences, transitions and throughout the development.

After two statements of the main theme there is a climax, that acts also as a transitionin the exposition and has multple statements in the recapitulation. The climax theme Mccontains a melodic sequence Seq(4×1m;R−7) in staccato 4th notes in the lead voice over asteady 8th note background. The secondary theme has M2(ab) (4 + 4 m.) structure and isfull of descending chromatic steps. The detailed analysis is shown in Table 4.32 to 4.34.





Table 4.32: Mozart, Symphony No. 40, Mvt. 1 Allegro molto

m M R H Comment

1 M1 Gm Gm− . . .−A∅7/G−D7/F]−D[97 −Gm Exp, Gr 1, aa): Vi

9... Gm−<(A∅7 −D[9

7 )/C −Gm7/B[− b): Vi

14... E∅7 − E[7− Str+WW

16 ⊥ <(D − C]◦7)−D −A∅7 −Gm−D7− tutti, PD(d)22 M1’ Gm− Cm7/E[− F7− 2nd stat, a’): Vi, WW28 Mc B[ B[− F/A− E[/G−B[/F− clim, trans, PB(↘)

32... Cm/E[−B[/D−

34... <(C −G∅7)− C[9

7 tutti clim38 ⊥ F <(F − F7 −B[m− E◦7)/F − F PD(f)

43 M2 B[ G7 − C − F7 −B[−Gm− E◦7 − F7− Gr 2, a): Vi-WW

48... A∅7 −D −G− C − F7 −B[− b): Vi, Str

50 ⊥ Cm− F7 −B[52 M2 G7 − C − F7 −B[− C7 − F7 2nd st 8va, a): WW-Str

56... A∅7 −D7 −G7 − C7 − F7 −B[7− b’): WW+Str

58... <(E[7 −A[)/E[− P (e[)

62 ⊥ E[7 − E◦7 −B[64 − F7− cad66 M3 B[−B[7/A[− E[/G− F7/E[−B[/D− clos, Str unis, PB(↗)70 ⊥ E[− F7− cad72 M1’ <(B[− F7sus4 − F7)− motif , a’): WW imit

77... D[9

7 −Gm−B[/F − F7− a”): Vi par, cad

80... <(B[− Cm7/B[− F7/A)−B[ a’) WW imit

85... D[9

7 −Gm7 − Cm7/E[−B[/F − F7− a”): Vi par, cad89 ⊥ <(B[ B[/D − E[− F7)− climax, str unis94 Gm− E[−B[/F − F7 −<(B[− F7)−99 <(B[− F7)−B[− F]◦7 closing cad

101 Gm− F◦7 − F]m− F◦7− Dev, Gr 1103 M1 F]m F]m− C]− F]m−G]7/F]− a): Vi, Seq(3×4m;R7)

108... G]∅7/F]− C]7/E]− C]◦7/E a): Vi, P i

B(↘)

112 ⊥ F]∅7/E −B7/D]−B[97 − a): Vi

115 M1 Em Em−B7 − Em− E7 −Am−A[97 − a): ctp, Seq(3×4m;R−7),

119... Dm Dm− C]◦7 −Dm−D7 −Gm−G7 rapid mod, R5, tutti

123 ⊥ C −G7 − C − C7 − F − F7− Seq(3×R5)



Table 4.33: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (cont’d)

m M R H Comment

127 M1 B[− F7 −B[−Gm7 − Cm7− a): Vi, Seq(3×2m;R−7)

131... Am−D7 −Gm− Em−G]◦7−

134 ⊥ <(A−Dm/A)−A cad, P (a)

140 (M1’) F7 −B[m−G7 − Cm− False rec, a’): imit WW-Vi

147... F]◦7 −D7 −D[9

7 − retrans , imit Str-WW

153... D[9

7 −Gm− C]◦7 −D− a”): motif Str stretto, clim157 ⊥ D7 −Gm− C]◦7−160 (D − Em− C)/D− P i

m(↘), PD(d)162 (Dm7 −B[− C]◦7 −A∅7)/D− (ped)164 Gm (B∅7 − C]◦7)/D −D7 (ped)

166 M1 Gm Gm− . . .−A∅7/G−D7/F]−D[97 −Gm Recap, Gr 1, aa): Vi

172... Gm−<(A∅7 −D[9

7 )/C −Gm7/B[− b): Vi

177... E∅7 − E[7− Str+WW

179 ⊥ <(D − C]◦7)−D −A∅7 −Gm−D7− tutti, PD(d)

184 M1’ E[ Gm−B[7 − E[−B[7/Fd− 2nd stat, a’): Vi

188 ⊥ F∅7/E[−B[7/D −B[7−191 Mc E[−B[−A[/C − E[/B[− Vi, tutti clim, Seq(3×R7)195 ⊥ Fm/A[− E◦7 −B[m7 − C7−198 Mc Fm Fm− C7 −G∅7/B[− 2nd stat: LoStr+Bsn,

201... Fm/A[− E◦7/G− Vi stretto imit leaps

203... Fm−B[7 − E[−A[−

207 ⊥ Dm−G7

d− A[∆7/C −D7−

211 Mc Gm Gm−Dm/F − Cm/E[−Gm/D− 3rd stat: Vi

215... (A∅7 − F]◦7)/C −Gm/B[−

217... <(A− E∅7)−A7−

221 ⊥ D <(D − C]◦7)/D −D cad, P (d)



Table 4.34: Mozart, Symphony No. 40, Mvt. 1 Allegro molto (cont’d)

m M R H Comment

226 M2 Gm Gm−A−D7− Gr 2, a): Vi-WW

229... G7/F − C/E − E[7 −D Str, P i

B(↘)

231... F]◦7 −Gm−A7 −D7 −G− E[− b): Vi, Str

233 ⊥ A∅7 −D7 −Gm235 M2 Gm−A7 −D7 2nd st 8va, a): WW-Str

237... Gm−G7 − C − E[7 −D7−

239... F]◦7 −Gm−A7 −D7 −G− E[ b’): WW+Str

241... <(B[7 − E[)−

245... B[7 −B◦7− cresc to climax, P i

B(↗)

247... C◦7 −B[m/D[−B◦7/D − Cm/E[− Seq(3×2m;R−7)

251 ⊥ C]◦7/Ed− B[/D −D7− cad,PD(d)

254 M3 Gm Gm G7 −<(Cm−D7 −Gm)− closi, Str unis, PB(↗)261 (M1’) <(D7 −Gm) a’): WW imit265 M1’ G[9

7 − Cm−Gm64 −D7 −Gm a’) Vi1, tutti clim

269 (M1’) <(D7 −Gm) a’): WW imit273 M1’ G[9

7 − Cm−Gm64 −D7 −Gm a’): Vi1, tutti clim

277... Gm− Cm−D7 −Gm−A7 −D7/C−

281... Gm/B[−G/B −A[/C −A7/C]− P T (g), climax, P i

B(↗)283 ⊥ Gm/D −G7/F − C/E − E[7− P i

B(↘) (ped)285 M1’ Gm6

4 −D7 −Gm−G[97 − Cm−D[9

7 − a’) motif, Str imit293 ⊥ <(Gm−D7)− closing cad297 <(Gm−D7)−Gm (299 m.)



4.9.3 Mvt. 3 Menuetto allegretto - Trio

Form: menuet and trio form. Both parts have ternary song, ABA form structure. The ternarystructure is asymmetrical in the sense that the opening statement is not repeated literally; theA2 section is some sort of wrap-up of the main theme.

The menuet melody starts with a hemiola phrase and has M1(aab) (3+3+8 m.) sentencestructure, with the b-phrase an extended variation of the second measure of the a-phrase.The menuet middle section B has development character. The trio melody also has M2(aab)(2 + 2 + 2 m.) sentence structure. The second statement and the trio contrasting middlesection treat the two motifs in imitative and (limited) developmental fashion. The analysisis shown in Table 4.35.





Table 4.35: Mozart, Symphony No. 40, Mvt. 3 Menuetto Allegretto

m M R H Comment

Menuet1 M1 Gm || : Gm−D7 −Gm/B[− A1, a): Fl+Vi, tutti

4... Gm−D7 −Gm a)

7... Dm E[−A7/C]− b): WW+Vi

9... Dm−A7

d− B[− C7/E −D7/F]− tutti climax, Σ(cm<)

11... Gm− C]◦7 −Dm− E −A7 −B[−

13 ⊥ E∅7 −A7 −Dm : || cad15 M1’ B[ || : B[−A◦7 −B[− B, var/dev, aa): imit

18... Gm− F]◦7 −Gm Hns: PD(d)

21... Gm E[−D◦7 − E[−B◦7 − C − C]◦7 b:)

26... D − C]◦7 −D/F]−D7/C− ctp, imit

28... Gm/B[−A∅7/C− (imit)

30 ⊥ D7/F]−Gm−G7/B− climax, Σ(cm<)32 Cm−D[5

7 /A[− E[/G−D7/F]−Gm35 A∅7/C −D7 −Gm cad37 M1’ Gm− E[7 −G− C]◦7− A2, clos st, a): WW, P i

B(↘)40 ⊥ Gm6

4 −D −Gm : || a’): Fl, closing cad

Trio43 M2 G || : G−D7 −G− A1, aa): Str47 ⊥ Am/C −D −G b)

49 M2’ G− . . .−D/F]−A7

d− Bm7− a’): WW arpeggio imit

55... Em/G−A7− b’): Str+Ob

57 ⊥ <(D −A7)−D : || cad60 (M2) || : D7 − . . .−G− . . .− E7− B, a’): CB-WW imit, var66 ⊥ Am−G−Am/C −D− cad69 M2’ G−D closing stat, a’a’): Str72 ⊥ G−D −G−D7 −G b)75 M2’ G−D − . . .− A2, a’): WW arpeggio imit

79... A∅7/C −D7−

81 ⊥ <(D7 −G) : || b’): Str+WW, clos cad (84 m.)


4.10. SYMPHONY NO. 41 IN C MAJOR JUPITER KV 551


The key relationship diagram of the well-known Gm symphony is shown in Fig. 4.14. Theopening movement has the regular exposition key pattern: main theme in the tonic minorkey Gm and the secondary theme group in the relative major key B[ (1). The develop-ment starts in the remote key F]m (3), working its way into the subdominant domain usingsequences based on R−5 cycles (3–5). The recapitulation moves through the lowered subme-diant key E[ = [VI (6) into the subdominant area (7), before returning home.

Mvt. 1 Allegro molto

A[ E[ B[ F C

Fm Cm Gm Dm Am

F C G D A

Dm Am Em Bm F]m

?1 -� 2

34

tt

5��

��6H

HHY

7��

��

8

Mvt. 2 Andante

C[ G[ D[

A[m E[m B[m

A[ E[ B[

Fm Cm Gm

F C G

- 1

��

2,7

�

?3

4

HHYHHj

5

�6

AAAAU��

Mvt. 3 Menuetto

B[ F

GmM Dm

GT D

-

��

6

Mvt. 4 Allegro assai

A[ E[ B[ F C G

Fm Cm Gm Dm Am Em

F C G D A E

Dm Am Em Bm F]m C]m

?1 �

��*

tt2,4,7

HHHj 6

3,9

5-�6��

�8

-�

Figure 4.14: Mozart, Symphony No. 40, key relationship diagram

The Andante has both A section in the tonic major key E[ and the middle section inthe parallel minor key E[m (3). Note the key progression along the minor third verticalsymmetry axis: B[ −D[ (1) and E[m − C (3–4), and the A section symmetry D[ − G[ − B[(2) and G[ − C[ − E[ (7). The menuet in Gm has the trio in the parallel major key G and avery limited key range.

In the closing sonata form Allegro the main and secondary theme once again have theregular minor-relative major Gm−B[ (1) key relationship. The development quickly movesto the dominant minor key Dm (2) and, using the enharmonic equivalence property, startsa series of R5 and R−5 root cycles and sequences, until the remote key C]m is reached (6).Then there is the way back and a final stop in the subdominant area Fm− E[− Cm (7–9).

4.10 Symphony No. 41 in C Major Jupiter KV 551 (1788)

Source: [37]. An overview of the formal analysis of Mozarts last symphony is shown inFig. 4.15. Compared to the KV 550 Symphony No. 40, in the Jupiter symphony we have the



tonic major key C, a much longer development section in the opening movement and a verylong closing sonata form movement.

Mvt. 1 Allegro vivace: sonata form (C,[

44

], 313 m.)



Mvt. 2 Andante cantabile: ABA form (F ,[

34

], 101 m.)

A1 B A2 Co

Mvt. 3 Menuetto – Allegretto: menuet and trio form (C,[

34

], 87 m.)

Menuet Trio

Mvt. 4 Molto Allegro: sonata form (C,[

22

], 424 m.)


Recap. (57 m.) 2nd Development (79 m.) Coda (63 m.)

Figure 4.15: Mozart, Symphony No. 41 in C Major KV 551

4.10.1 Mvt. 1 Allegro vivace

Form: sonata form. The exposition of this opening movement is repeated. The Expositionopening theme is a period with call-and-response flavour on the local scale and a sentenceon the larger scale: M1(ccd) (4 + 4 + 6 m.), with c=a+b (2 + 2 m.). The unisono a-motifhas the characteristic upward fourth leaps with the 16th triplet scalar patterns, the b-motifcontains a series of appoggiaturas in the lead violins. In the c-phrase there is the middleregister strings 32th-note downward scalar pattern Ms, covering the interval of the fifth.The first statement starts in m. 1 (there is no introduction), the second statement (m. 24 ff.)has a woodwind countermelody Mc. Here the b-phrase is extended in a sort of miniaturedevelopment (variation b’), acting simultaneously as a transition.

The secondary group consists of two themes: the lyrical first melody has M2(abab’) (4 +2 + 4 + 5 m.) period structure, with the characteristic ascending stepwise motion in the a-phrase. In the transition from M2 to M3 the b-motif from M1 returns in diminution. Thesecond, more playful melody has M3(aaab) (2 + 2 + 2 + 4 m.) structure with an 8th noterhythm. In the orchestration, note the frequent doubling of strings with bassoon for repeatedstatements of thematic material.

The Development starts with a simple unisono turn in the woodwinds, kicking off thetheme M3 in the new key. The b-phrase from M3 becomes the core element in the firsthalf of the development, with (stretto) imitative treatment in harmonic sequences. The falserecapitulation puts the main theme M1 back on the stage, acting as the main character in thesecond half of the development. The Recapitulation has the second statement of the main



theme in tonic minor Cm. These minor-major changes in tutti climaxes occur also at the endof the exposition and recapitulation.

The detailed analysis is shown in Table 4.36 to 4.39.

4.10.2 Mvt. 2 Andante cantabile




Table 4.36: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace

m M R H Comment

1 M1 C || : C − . . .−G7/D − C −G7/B− Exp, Gr 1, a): unis, b): Str5 ⊥ G− . . .− C/E −G7/D − C ab): unis-Str9 Ms (C − F −G7 − C − F −G7)/C− Ms): Vi2+Va, clim, P T (c)

16 ⊥ <(C −G)− C −<(G− C)−G trans, halfcad24 M1/c C − . . .−G7/B − C −G7/F− 2nd st, ab): Vi, Mc): WW

28... /

... G− . . .− a): Vi

30... /

... A[97 −D[9

7 −G[97 − C[9

7 − b’): Seq(4×1m;R5)34 ⊥/⊥ F/A− Em/G−Dm/F − F −D7− trans to D37 M1/c G G− . . .− a): unis Str, Mc): WW

39... /

... (G− . . .− C −G7 − C −G7)/G− b’): Bsn+Str, P T (g)47 ⊥/⊥ Am/C −G]◦7/B −Am/C −A7/C]− cad49 Ms <(D −G)/D −D Ms): Vi2+Va, clim, cad56 M2 G G/B −G]◦7/B −D7/Cno 3− Gr 2/Th 1, a): Vi1

58... D7/A−D+/A]−Bm−

60... D7/F]−G−D b)

62... G−G]◦7 −D7/Ano 3− a): Bsn+Vi1

64... D7/A−D+/A]−Bm−

66... D7/F]−G−D7/C− b’)

68... G/B −D]◦7 − Em−Am/C− Fl+Bsn+Vi1

70 ⊥ G64 −D7− cad

71 Mv/(1) G−D7/C− Mv): Vi1, (M1b): LoStr73 ⊥ G/B − Em7 −Am7 −D7 −G75 Mv/(1) G−D7/C− repeat77 ⊥ G]◦7/B −Am/C −G7/D−81 Cm− . . .− C − C+− trans min-maj, clim, P (c)85 (F −B◦7 − C)/C −G6

4 −D7−89 M1’ G− . . .−G7− clos, b’): dim Vi+Bsn, PD(g)92 ⊥ C/G−G−Am/C −D7−94 M1’ G− . . .− b’): dim WW+LoStr, Vi sync

97... C − E7/D −Am/C − E7/G]−

98 ⊥ Am− Cm7/G−D7/F]− cad101 M3 <(G−D7)− Gr 2/Th 2, aaa): Vi107 ⊥ <(G−D)− b): Bsn+Vi111 G− E7/G]−Am−D7/F]− closing, tutti clim, PD(d)113 G−Am/C −D− cad



Table 4.37: Mozart, Symphony No. 41 Jupiter, Mvt. 1 Allegro vivace (cont’d)

m M R H Comment

114 G− E7/G]−Am−D7/F]− repeat116 G−Am/C −D− cad116 (Ms) <(G−D)−G : || Ms: Vi1, cad

121 E[ B[− Dev, mod cad, WW unis123 M3 E[−<(B[7 − E[) aaa), Vi, Str129 ⊥ <(E[−B[7)− bb) Str-WW imit133 M3’ E[−B[7/A[− E[/G−B[7/D− HiStr-LoStr, Seq(3×2m;R7)

135... Fm E[− C7/B[− Fm/A[− C7/E−

137... Gm F7 −−D7/F]−Gm−D7/F]−

139... Gm7 − C7 − Fm7 −B[7 stretto imit, Seq(2×2m;R−7)

143... E[ E[−A[−D◦ −G7− (stretto imit), Seq(2×R−7)

145 ⊥ Cm− . . .−D7− cad147 M3’ Gm Gm− Cm/E[− F]◦7 −D7/F]− b): imit LoStr-HiStr

149... Gm− C]◦7/E −A[9

7

151... Dm− E7 −Am−

153 ⊥ <(E −D]◦7)− cad155 (M3’) E − . . .− b’): WW157 ⊥ E − E7/D − E◦7 − C7− trans161 M1/c F F − . . .− E◦ − F 6

4 − C7− False rec, ab): Str, Mc): Bsn

165... /

... C7 − . . .− a): Str, Mc): WW167 ⊥/⊥ (Am7 −D[9

7 )/D − (Bm7 − E[97 )/E− 2nd dev Seq(2×2m;R7)

171 M1’/s Am−B7/A− a+Ms): Vi

173... E/G]− E◦7/G−A7/G− Seq(3×2m;R−7), P i

B(↘)

175... D/F]−Dm/F −D◦7/F −G7/F−

177 ⊥ C/E − Cm/E[−D[57 /A[−

179 Ms G <(G−D7)− cad with Ms-motto181 M3’ <(G−D)− retrans, b’): Vi1

183... <(G− F]◦7)/G− b’): WW, PD(g)

185... (G−A7 −Dm−G7)/G− retrans (ped)

187 ⊥ C64 −Dm7/G−G7− Str unis desc scale




m M R H Comment

189 M1 C C − . . .−G7/D − C −G7/B− Recap, Gr 1 a): unis, b): Str193 ⊥ G− . . .− C/E −G7/D − C ab): unis-Str197 Ms (C − F −G7 − C − F −G7)/C− Ms): Vi2+Va, clim, P T (c)203 ⊥ <(C −G7)− C −<(G− C)−G trans, halfcad212 M1/c Cm Cm− . . .−B[7 − E[−B[7− 2nd st min, ab) Vi, Mc): WW

216... /

... E[ B[7 − . . .− E◦7 − Fm− C7− b’): Vi imit

220... /

... Fm7 −B[7 − E[

222... /

... F7/A−G7/B − Cm7 −Gm/B[−224 ⊥/⊥ A∅7 −D[5

7 /A[− trans, cad225 M1/c G G− . . .− a): Str unis, Mc): WW, PD(g)

227... (G− C − . . .−G7 − C −G7)/G− b’): Bsn+Str (ped)

235 ⊥ <(D7/A−G)− motto (ped)237 Ms <(G− C)/G−<(G− C)/G Ms): Vi2+Va, cad244 M2 C C/E − C]◦/E −G7/F no 3− Gr 2/Th 1, a): Vi1

246... G7/D −G+/D]− C/E

248... G/B − C −G−G7− b)

250... C − C]◦ −G7/Dno 3− a): Fl+Bsn+Vi1

252... G7/D −G+/D]− C/E−

254... G/B − C −G7/F− b’): Ob+Vi1

256... C/E − E7/G]−Am−Dm/F− Fl+Ob+Vi1

258 ⊥ C64 −G7− cad

259 Mv/(1) C −G7/F− Mv: Bsn+Vi1, (M1b): LoStr261 ⊥ C/E −Am−Dm7/F −G7−263 Mv/(1) C −G7/F− repeat, WW+Str265 ⊥ C]◦7 −Dm/F − C7/G− cad269 Fm Fm− . . .− trans min-maj, clim271 D[/F − C[9

7 /E − Cm/E[−G7/D− P iB(↘)

274 C/E − F − C64 −G7− cad, climax

276 M1’ C C − . . .− C7− clos, b’): dim WW+Vi, P T (c)279 ⊥ F/C − C −Dm/F −G7−282 M1’ (C −Dm− C]◦7 − F − C7)/C− b’): dim Ob+LoStr, (ped),

285... F − C]◦7/G−Dm/F −A7/C]− Vi1 sync

287 ⊥ A[/C −G7/B− N6/V , cad




m M R H Comment

289 M3 <(C −G7) Gr 2/Th 2, aaa): Vi295 ⊥ C −<(Dm−G7 − C) bb): Vi-(Fl)299 C − C]◦ −G7/D − C −Am−Dm/F −G7− closing, tutti climax301 C −Am−Dm/F −G7− cad

302 C − C]◦ −G7/D − C −Am−Dm/F −G7

d− repeat

305 Am−Dm/F − C64 −G7−

306 (Ms) <(C −G7)− C Ms: Vi1, cad (313 m.)



4.10.3 Mvt. 3 Menuetto allegretto - Trio

Form: menuet and trio form, each with ABA Coda structure. The Menuet main theme isregular M1(aab) (4+4+8 m.) sentence structure; the a-phrase contains descending chromaticsteps, the b-phrase is a variation on this idea with a cadential closing. In the second A sectionthis theme is set as a variation with (stretto) imitation and contrary motion (closing andopening).

The Trio has call-and-response elements; its theme has M2(abab) (2 + 2 + 2 + 2 m.) periodstructure. The call is a simple cadential formula for woodwinds and horns. The response b-phrase with its embellished descending chromatic steps obviously has similarities with themenuet theme. The middle section B of both menuet and trio use extended pedal point (witha pounding brass and timpani section) and are in dynamic contrast witht the outer A sec-tions. The trio middle section B takes the flute upward chromatic lead from the a-phrase anddevelops that as an augmented melody; note how the first four measures (m. 68–71) yieldthe melodic pattern, that will become the main motif of the following closing movement(coincidence or design?). The analysis is shown in Table 4.40.

4.10.4 Mvt. 4 Molto allegro




Table 4.40: Mozart, Symphony No. 41 Jupiter, Mvt. 3 Menuetto Allegretto

m M R H Comment

Menuet1 M1 C || : C −G7sus4/F − C −G A1, a): Vi1 P i

L(↘), halfcad, PD(g)

5... F −G7sus4/D − C −G− C a)

9... <(G−Gm−D7)− b): Vi, tutti clim

13 ⊥ G/B −Am/C −D7 −G : || cad17 M1’ G (G− F]◦7 −G−G7)/G− B, a’): Ob+Vi, Brs: PD(g)

21... (B∅7 − C − F]◦7 −B◦)/G− P i

m(↘), Σ(cm<), (ped)23 ⊥ (Am7 −D7)/G− (ped)24 <(G− C)−G− Str+Hns unis, clim, halfcad28 M1 C || : G− F]◦ −G7− A2, a): WW+Str imit, Σ(cm>)

30... C −B◦ − C7−

32... F −A7 −D − C]◦7 −D− a) Σ(cm<)

36... G−D7no 3 −G−D7 −G7− b): imit, Σ(cm<), climax

40 ⊥ C − F − C64 −G7 − C cad

44 M1” <(G− F]◦)− a’): WW stretto imit

46... G[9

7 − C]◦ −D −A[/C− N6/V

48... G−Gm−A7 −D[5

7 /A[−G7−50 ⊥ C − C −G7− cad52 M1’ <(C − F]◦7 −G)− b’): WW+Vi dim, clim, Brs: PD(g)56 ⊥ C/E −Dm/F −G7 − C : || closing cad

Trio60 M2 C || : G7 − C A1, a): WW+Hns call

62... G7/B − C −G b): Ob+Str response, halfcad

64... G7 − C a) repeat

66 ⊥ G− C : || b) cad68 M2’ Am || : (E7 −Am−D]◦7 −D−)/E− B, a’) WW+Vi1 augm, climax,72 ⊥ (B◦7 − C −D]◦7 − E)/E Brs+LoStr: PD(e)76 B7 − E −A7 −D trans, Str, P i

m(↘), Seq(2×2m;R−7)80 M2 C G7 − C A2, a): WW+Hns call

82... G7/B − C −G b): Ob+Str response, halfcad

84... G7 − C a) repeat

86 ⊥ <(G7 − C) : || b): WW+Str, Σ(cm<), (87 m.)

[Repeat menuet]



4.11 Opera The Magic Flute (Die Zauberflote) KV 620 (1791)

Source: [39]. For an overview of the formal analysis of The Magic Flute (Die Zauberflote) seeFigure 4.16 to 4.18. The opera is in two acts: Act 1 (Overture, No. 1 to 8) and Act 2 (No. 9 to21). The length contrast is obvious. The overture has the typical length and sonata form, thatis familiar for the opening movements from a Mozart symphony. Both acts end with a verylong finale, which in fact consist of various subsections, covering a number of scenes. Thesefinales contain multiple time signatures, keys and tempo indications. The length of the othernumbers are more or less proportional to the number of singers involved: solo arias andduets are short song types (approximately 30-100 measures), while trios to quintets receivehigher numbers of measures (lengths between roughly 40 and 250 measures). Most songshave a ternary song structure, some are simple multiple verse songs.

An overview of the instrumentation is given in Table 4.41. In the woodwind section thereis occasional use of the piccolo and the basset horn (clarinet in F ). The brass section musthave looked like a plumber shop in the orchestra pit with horns in E[,G,B[, F,C,G,E,D,trumpets in E[,C,D and triple trombones (alto, tenor and bass). There are full strings inevery scene, except for the strings tacet in No. 9a, and the violins tacet in No. 10. In No. 19there is a separate part for the contrabasses (in all other scenes celli and basses are writtenon the same staff).

The opera is based on a libretto by Emanuel Schikaneder, who commissioned the opera.It is also categorised as a Singspiel (musical numbers juxtaposed with spoken text). BothSchikaneder and Mozart were Freemasons and included masonic elements in the plot. Thisyields the well-known opening tutti triple signal motif on an ascending arpeggio triad E[ :e[−g−b[. This pattern returns many times in the opera, in particular in the opening phrasesof vocal lines or musical sections. Quite a few have been identified in this analysis, but sometargets may have been missed in the search. The key relationships (see Section 4.11.23) alsomay be giving away such clues.

4.11.1 Ouverture

Form: sonata form. In the overture Mozart combines a 4-part fugue with the sonata form.The detailed analysis is shown in Table 4.42 to 4.44.

The slow Introduction section opens with the ‘Freemason’ (Freimaurer) motif (Mf): re-peated triadic signals with a dotted rhythm on the tonic chord in the major key E[. This Mfsignal motif re-appears in the opening of the second act, where it is in the dominant majorkey B[ major. With the finale set also in E[ major, this creates an overall bridge design forthe opera. After the signals first violins take the lead over a subtle and subdued half-noterhythm syncopated string background, an extended tonic pedal point P T (e[). There aredotted arpeggios and some chromatic stepwise motion in bassoons and lower strings.

The fugue main subject M1(aa’bb) (1 + 1 + 1 + 1 m.) starts on the first measure of the alle-gro sonata Exposition section (m. 16 ff.) It is a 4-part fugue for strings (P1-P4), with classicalfugue scheme entrances alternating between tonic and dominant. The last entrance for lowerstrings is doubled in the bassoons. At the third statement (m. 27) there is a countersubject Mcin 1st violins. The Development section (m. 39 ff.) gives more importance to this counter-subject. It becomes the main element and is juxtaposed and combined simultaneously withthe a-phrases from the main theme M1. There is intricate swapping of instrument roles: M1vs. Mc, orchestration inversion of high vs. low. The development uses sequential treatment,


4.11. OPERA THE MAGIC FLUTE KV 620

ACT 1

Overture, Adagio – Allegro: sonata form (E[,[

22

], 227 m.)

Intro Exp. Development T 2nd Dev.

Recapitulation

No. 1 Introduction ‘Zu Hulfe’, Allegro: ABA’ form (Cm,[

44

], 218 m.)

A Tamino B Damen

A’ Damen

No. 2 Arie ‘Der Vogelfanger’, Andante: AA’ form (G,[

24

], 50 m.)

Intro Song

No. 3 Arie ‘Dies Bildnis ist bezaubernd schon’, Larghetto: ABC form (E[,[

24

], 63 m.)

A B C

No. 4 Arie ‘O zittre nicht’, Allegro maestoso – Recitativ – Arie Larghetto –

Allegro moderato: ABC form (B[−Gm,[

44

][34

], 103 m.)

A B C

No. 5 Quintett, Allegro – Andante: ABCD form (B[,[

22

][44

], 247 m.)

A Allegro B

C D Andante

No. 6 Terzett ‘Du feines Taubchen nur herein!’, Allegro molto: ABC form (G,[

44

], 71 m.)

A B C

No. 7 Duett ‘Bei Mannern, welche Liebe fuhlen’, Andantino: AAB form (E[,[

68

], 49 m.)

A A B

Figure 4.16: Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1



No. 8 Finale, Larghetto – Andante – Allegro – Presto: mixed form

(C −G− F ,[

22

][44

], 587 m.)

Larghetto Recitativ – Allegro – Andante

Andante (Flute) Andante Sc. 16 Allegro Sc. 17

Allegro Sc. 18 Larghetto Allegro Sc. 19

Presto

ACT 2

No. 9 March of the Priests, Andante – Adagio: ABA form (F −B[,[

22

], 28+6 m.)

A B A’ 9a

No. 10 Arie ‘O Isis und Osiris’, Adagio: AB form (F ,[

34

], 55 m.)

A B

No. 11 Duett ‘Bewahret euch vor Weibertucken’, Andante: AB form (C,[

44

], 25 m.)

A B

No. 12 Quintett ‘Wie? wie? wie?’, Allegro: ABC form (G,[

22

], 164 m.)

A B C

No. 13 Arie ‘Alles fuhlt der Liebe Freuden’, Allegro: ABA form (C,[

24

], 49 m.)

A B A’

No. 14 Arie ‘Der Holle Rache’, Allegro assai: ABC Coda form (Dm,[

44

], 99 m.)

A B C Cd

No. 15 Arie ‘In diesen heil’gen Hallen’, Larghetto: AB form (E,[

24

], 28 m.)

A B

Figure 4.17: Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 1 & 2 (Cont’d)



No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’, Allegretto: AB form (A,[

68

], 36 m.)

A B

No. 17 Arie ‘Ach ich fuhl’s, es ist verschwunden’, Andante (Gm,[

68

], 42 m.)

No. 18 Chorus ‘O Isis und Osiris, welche Wonne’, Adagio: AB form (D,[

22

], 42 m.)

A B

No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’, Andante moderato: ABC form

(B[,[

22

], 78 m.)

A B C

No. 20 Arie ‘Ein Madchen oder Weibchen’, Andante – Allegro: AB form (F ,[

24

], 51 m.)

A B

No. 21 Finale, Various tempi: mixed form

(E[− Cm−G,[

22

][34

][44

][68

], 919 m.)

Andante Sc. 26 Sc. 27 Allegro

Adagio Sc. 28 Allegretto Andante

Marsch Allegro

Alegro Sc. 29 Allegretto Allegro

Allegro

Allegro Sc. 30 And’te Allegro

Figure 4.18: Mozart, Opera The Magic Flute (Die Zauberflote) KV 620, Act 2 (Cont’d)



Table 4.41: Mozart, The Magic Flute, Instrumentation

No. Sc. Woodwinds Brass Percussion StringsPi/Fl-Ob-Cl-Bsn Hns-Tpt-Tbn Vi1-Vi2-Va-Vc-Cb

Overture

2-2-2(B[)-2 2(E[)-2(E[)-3 Timp 1-1-1-1-1

Act 11 1 2-2-2(B[)-2 2(E[/C)-2(E[/C)-0 Timp 1-1-1-1-12 2 0-2-2 2(G)-0-0 1-1-1-1-13 4 0-0-2(B[)-0 2(E[)-0-0 1-1-1-1-14 6 0-2-0-2 2(B[)-0-0 1-1-1-1-15 7 0-2-2(B[)-2 2(B[)-0-0 1-1-1-1-16 11 1-2-0-2 2(G)-0-0 1-1-1-1-17 14 0-0-2(B[)-0 2(E[)-0-0 1-1-1-1-18 15 2-2-2(C/B[)-2 0-2(C)-3 Timp 1-1-1-1-1

16 2-2-0-2 2(G)-0-0 1-1-1-1-117 2-2-0-2 2(G)-2(C)-0 Timp-Glk 1-1-1-1-118 2-2-2(F )-2 2(G)-2(C)-0 Timp 1-1-1-1-119 2-2-2(F )-2 2(G)-2(C)-3 Timp 1-1-1-1-1

Act 29 1-0-1(F )-2 2(F )-0-3 1-1-1-1-1

9a 1 2-2-2(F )-2 2(F )-2(B[)-310 0-0-2(F )-2 0-0-3 0-0-1-1-111 3 2-2-2(C)-2 2(C)-2(C)-3 Timp 1-1-1-1-112 5 2-2-0-2 2(G)-2(C)-3 Timp 1-1-1-1-113 7 2(Pi/Fl)-0-2(C)-2 1-1-1-1-114 8 2-2-0-2 2(F )-2(D)-0 Timp 1-1-1-1-115 10 2-0-0-2 2(E)-0-0 1-1-1-1-116 16 2-0-0-2 1-1-1-1-117 18 1-1-0-1 1-1-1-1-118 20 2-2-0-2 2(D)-2(D)-3 1-1-1-1-119 21 0-2-0-2 1-1-1-1-1∗

20 22 1-2-0-2 2(F )-0-0 Glk 1-1-1-1-121 26 2-0-0(B[)-2 2(E[)-0-0 1-1-1-1-1

28 2-2-2(B[)-2 2(F/G)-2(C)-3 Timp 1-1-1-1-129 1-2-0-2 2(G)-0-0 Glk 1-1-1-1-130 2-2-2(B[)-2 2(E[)-2(E[)-3 Glk 1-1-1-1-1



another countertheme (flute with ascending scales in m. 58 ff.), and reaches the dominantmajor key in a climax (m. 68 ff.).

The opening motif Mf is stated by woodwinds and brass in the dominant key B[ (m. 97ff.), before there is a secondary development of the fugue theme. Again the main theme M1and countersubject Mc are combined; there is (stretto) imitation in strings and woodwinds,and tutti sequential treatment (m. 117 ff.). The retransition to the tonic domain starts inm. 128 after a general pause (G.P.). Note the rapid dynamic changes (p−f ) in the strings, thatare setting an 8th note rhythmic groove.

The Recapitulation section (m. 144 ff.) has another set of four main theme M1 statements(P1-4), but now combined with the countersubject Mc from the start. The tutti section inm. 154 is a copy of m. 39 ff., the transition in m. 179 ff. is similar to m. 58 ff. (however,the instrumentation is different with the theme Mt now for clarinet and bassoon). The tuttisection (m. 192) and transition (m. 204 ff.) lead into the closing tutti cadences.

4.11.2 No. 1 Introduction ‘Zu Hulfe’




Table 4.42: Mozart, The Magic Flute, Ouverture, Adagio - Allegro

m M R H Comment

Adagio[

22

]([[[) Introduction

1 Mf E[ E[− Cm− E[/G− ‘Freemason’ motif, tutti4 M0 Fm7/A[− E[7/B[− Vi1, str sync P T (e[),

8... A[/C − E[/B[− Fm7/A[− Bsn+LoStr arp

10... A[/C − E[m/B[− F7/A− E[7/B[−

12... A[/C − F [5

7 no 1/C[−B[− P iB(↘)

14 ⊥ F [97 /A−B[7sus4 −B[7− cad

Allegro Fugue, Exposition16 M1 E[ E[− . . .− Cmno 3 −B[no 3 P1(aa’bb): Vi220 M1 E[− Cm−<(Gm/B[− F/A−) P2: Vi124 ⊥ Gm/B[− C7 − F −B[7 − E[−B[7−27 M1/c E[−B[7− P3: Bsn+Va+Vc, Mc: Vi1

29... /

... E[/G− Cm−<(Fm7 −B[)−

31... /

... E[− F −Dm−Gm−32 ⊥/⊥ E[−B[− Cm7 − F7−33 M1 B[− F7 −<(B[−Gm− Cm− F ) P4: Bsn+Cb37 ⊥ (B[− C[9

7 − F7 −B[[97 )/B[− WW+Str, Hns PD(b[)

38 (E[− F [97 )/B[−B[7sus4 −B[7−

Development39 M1/c <(E[−B[7)− M1(aa’)+Mc, tutti

43... E[− Cm/E[− F7/E[−B[/D− PB(↘), Seq(3×1m;R3),

44... Cm−A[/C −D7/C −Gm/B[− tutti clim, Str 16ths trem

45... A[− Fm/A[−B[/A[− E[/G−

46... Fm7 −B[7− cad

47... E[− Cm− F7/A−B[− repeat, inv, LoStr 8ths

48... Cm/E[−A[−D7/F]−Gm−

49... A[/C − Fm−B[/D − E[−

50 ⊥ F7/A−B[− F7/C− PB(↗)51 B[/D − Cm/E[− C7/E− Vi sync, cad



Table 4.43: Mozart, The Magic Flute, Ouverture (cont’d)

m M R H Comment

53 (M1) <(F − E◦7)/F − F trans to D, Str sync, PD(f)58 Mt G7/B − Cm− F7/A−B[− Fl, Str bg, Seq(3×2m;R7)62 ⊥ E[∆7/G− F7−64 <(B[− F7)− WW, Str bg, cad68 M1’ B[ B[− tutti

69... F]◦7/A−Gm/B[− Seq(3×1m;R−7)

70... E◦7/G− F/A−

71 ⊥ Fm−B[7/A[− E[/G72 E[−B[− E[− F− cad74 M1’ <(B[− F7)− closing stat, WW, Str bg78 M1’ B[− repeat, tutti clim

79... F]◦7/A−Gm/B[− Seq(3×1m;R−7)

80... E◦7/G− F/A−

81 ⊥ Fm−B[7/A[− E[/G82 E[−B[− E[− F− cad84 <(B[/D −B◦7/D− trans cresc, PD(f)

Cm/E[− F7/E[)−90 B[/D − Cm/E[− tutti clim91 B[64 − F −B[ closing cad

Adagio Interlude97 Mf B[ motif, WW+Brs

Allegro Fugue, 2nd Development103 M1/c B[m <(B[m− F [9

7 )− P1: Vi1/(Vi2+Va)

105... /

... <(B[m− C[57 − F [13

7 )− P2: Vc107 ⊥/⊥ D

[5/[97 −G[9

7 − Str sync109 M1/c Cm Cm−G[9

7 − P3: (Bsn+Cb)/(Vi1+Vi2)111 ⊥ /⊥ Cm/E[−D[5

7 −G[97 −

113 M1/c Cm−B[− E[−D[97 − P4: Vi, Mc: WW imit

117 M1’ Gm Gm− Cm−A∅7− tutti stretto imit

119... F7 −B[−Gm Seq(3×2m;R7)

121... E[∆7 −A∅7−

123 ⊥ D7 −Gm125 Cm−A∅7/C−127 Gm6

4 −D7− cad, GP128 M1’ <(G7/B −A[/C)−G[9

7 − retrans, N6/V , Seq(4×4m;R5),132 M1’ <(C7/E −D[/F )− C[9

7 − Str (p−f )+WW



Table 4.44: Mozart, The Magic Flute, Ouverture (cont’d)

m M R H Comment

136 M1’ <(F7/A−G[/B[)−140 M1’ <(B[7/D − C[/E[)−B[7− back to T

Recapitulation144 M1/c E[ E[−B[7− P1: Vi2/Cl

146... /

... E[− C7/E − F7 −B[7− P2: Vi1/Ob

149... /

... Cm− C7/E − Fm−D7/F]− P3/4: Seq(4×1m;R7),

151... /

... Gm− Cm7/G− Bsn+LoStr152 ⊥/⊥ Fm7/A[− F7/A−B[7−154 M1/c <(E[−B[7)− tutti

158... E[− Cm/E[− F7/E[−B[/D− PB(↘), Seq(3×1m;R3),

159... Cm/E[−A[/C −D7/C −Gm/B[− Str 16ths trem

160... A[− Fm/A[−B[/A[− E[/G[−

161 ⊥ Fm7 −B[7− cad162 M1/c E[− Cm− F7/A−B[− repeat, inv, LoStr 8ths

163... /

... Cm/E[−A[−D7/F]−Gm

164... /

... A[− Fm−B[/D − E[165 ⊥/⊥ F7/A−B[− cad, tutti climax166 (M1) F7/C − F7 −B[7 − E[7− Vi sync, Seq(3×2m;R5)172 A[− E[− Fm7 − F7/A− cad174 (M1) <(B[−A◦7)/B[−B[179 Mt C7 − Fm−B[7 − E[−A[−B[7− Cl+Bsn,Seq(3×2m;R−7)185 (M1) <(E[−B[7)− tutti

189... E[−B[/D− climax, PB(↘)

191... Cm−Gm/B[−A[− E[/G−

192 ⊥ B[7/F − E[− Fm/A[−B[− cad195 (M1) <(E[−B[7)− repeat, WW+Hns, Str bg

199... E[−B[/D− tutti clim, PB(↘)

200... Cm−Gm/B[−A[− E[/G

202 ⊥ B[7/F − E[− Fm/A[−B[− cad204 <(E[− E◦7 − Fm7/A[−B[7)/B[ trans cresc, PD(b[)210 E[/G− Fm/A[− E[64 −B[− closing cad, LoStr 8ths212 <(E[−D[7no 3 − Cm−A[− tutti climax, Brs P T (e[)215 E[64 −B[)− cad220 (M1) E[−B[−Gm−D◦/F− Fl+Str unis223 E[ (227 m.)



Table 4.45: Mozart, The Magic Flute, No. 2. Arie ‘Der Vogelfanger’

m M R H Comment

Andante[

24

](]) Introduction

1 M G <(G−D)− a) Vi1, Str 16th bg

5... D −G−D −A7/C]−D −A−D b), Hns cad

9... D −G−D7/A−G−D −D7− a’)

13 ⊥ <(D7 −G) c): whistle call15 M’ G7 − C −Am/C −D7 −G a’) Vi1, Str+Hns

19... G7 − C −Am/C −D7 −G− a’), repeat, tutti cresc

23 ⊥ <(D7 −G)−G−D7 −G c), call+cad

27 M G−D −G Song, a): Papageno+Vi1, 3 verses

31... D −<(A7/C]−D) b), Str+Hns, tutti cad

35... D −G−D7/A−G−D− a’)

39... <(D7 −G) c) whistle call

43... G7 − C −D7 −G− a’)

47 ⊥ <(D7 −G) c) whistle call49 G−D7 −G tutti cad, da Capo (50 m.)

4.11.3 No. 2 Arie ‘Der Vogelfanger’

Vocal part: Papageno. See Table 4.45 for the analysis. This is straightforward song for bassvoice with simple harmonies and a introduction with three verse form. The melody hasM(aba’c) (4 + 4 + 4 + 2) structure, with the c-phrase being the whistle call. In the songthe b-phrase is extended by 2 measures, a call-and-response setting between vocal and tuttiorchestra. The vocal lead part is doubled in first violins.

4.11.4 No. 3 Arie ‘Dies Bildnis ist bezaubernd schon’




4.11.5 No. 4 Arie ‘O zittre nicht’

Form: recitative and aria. Vocal part: Konigin der Nacht. See Table 4.46 for the analysis. Onceagain, the opening measures seem to have a link with the ‘Freemason’ motif; the viola innerpart in the introduction is an ascending (diminished) triad arpeggio d−f−a[, the vocal partopens with the b[ − d − f arpeggio (the minor key is Gm). The aria melody M2 (m. 21 ff.)has a unique structure. Phrase melodic shapes are depicting the lyrics: descending stepwisemotion (Leiden . . . angstliches Beben), rising high points e[ − f − a[ (Bosewicht . . . seh’ich . . .Ach). An optional subdivision is M2(abc) (10 + 13 + 16 m.). The lead part M2 is doubled infirst violins, later in oboe.

The allegro C section is in the relative major key B[. The melody subdivision is M3(abcd)(10 + 6 + 14 + 6 m.), with the c-phrase as a coloratura setting (apex pitch F6 in m. 92). Thismelody also opens with a b[− d− f arpeggio triad.

4.11.6 No. 5 Quintett




Table 4.46: Mozart, The Magic Flute, No. 4. Arie ‘O zittre nicht’

m M R H Comment

Allegro meastoso[

44

]([[) A, Introduction

1 B[ (B[−B[7 − E[− E[m− F7)/B[− Vi sync, LoStr P T (b[)5 <(B[− F7/A)−B[ tutti, cad

Recitativ Konigin der Nacht11 M1 (B[−A◦7)/B[−B[− C7−

15... F − F7/E[

d−

18 ⊥ Gm D −D/F]−Gm−A[/C −D[97 − trans

Arie – Larghetto[

34

]B

21 M2 Gm Gm− Cm−D7/F]−Gm−A∅7/C −D a): Konigin+Vi1, Str bg

28... D[9

7 /F]−Gm− F7/A−B[− Str+WW

32... B[ F − E[−B[/D −B[− F7− b) Voc+Vi1, tutti clim

36.../c B[−B[7 − Fm/C −G[9

7 /B− Mc: Bsn+Va, Str 16ths

40.../

... Cm−A[−B[−D/F]−Gm− P iL(↘), Seq(3×1m;R−7),

42.../⊥ A− C/E − F]◦7 −G− E[7 −D chrom in bass

45... Gm D[9

7 /F]−Gm−G[97 /F − Cm/E[− c) Voc+Ob, tutti fp acct

49... A∅7/C −D −G7 − Cm−A∅7/C −D7

d− Str

56... Cm E[− Cm/E[−D∅7 −G[9

7 − Cm−60 ⊥ Gm C]◦7 −Gm6

4 −D7− cad, retrans

Allegro moderato[

44

]C

61 B[ Gm− F7 −B[− F7− trans, tutti clim

64 M3 B[− Cm/E[− F7

d− Gm− F7 −B[ a): Voc+Vi1

68... Cm/E[− F7

d− Gm−B[/D − E[−

72... Cm7/E[− C7/E − F− cad

74... <(B[− F7)−B[− Cm7/B[−B[7/A[− b), Ob PD(f)

81... E[/G−B[7/D − E[−A◦/C− c) coloratura, Str bg

83... B[− F7 −B[− E[− E[/G− WW+Str bg

90... Cm/E[− . . .−B[64 − F7 −B[− E[−

95... Dm/F −D7/F]−Gm−B[− E[− d)

97... B[64 − F7 −B[− F7− tutti clim

100 ⊥ B[− Cm− F7 −B[ clos cad (103 m.)



4.11.7 No. 6 Terzett ‘Du feines Taubchen nur herein!’

Vocal parts: Pamina, Monostatos and Papageno. Form: ABC. See Table 4.47 for the analysis.The outer sections are duets, the middle section is for solo voice. Vocal phrases are juxta-posed (dialogue), the closing section has some two-part singing S(2p) in parallel consonantthirds.

The A section contains extended (tonic) pedal point P T (g). In the middle section firstviolin and bassoon play unisono ascending arpeggios; these interjections once again sup-port the comical note that accompanies Papageno. The C section has dotted rhythm unisonostrings filling the brief gaps in the vocal lines. This yields a composite rhythm, with windsand brass joining in the closing phrase.

4.11.8 No. 7 Duett ‘Bei Mannern, welche Liebe fuhlen’




Table 4.47: Mozart, The Magic Flute, No. 6. Terzett ‘Du feines Taubchen nur herein!’

m M R H Comment

Allegro molto[

44

](]) A (Elfter Auftritt, Sc. 11)

1 G G intro, tutti, LoStr PD(g)3 M1 <(G−D7)−G a): Pam & Monos+Vi1+Bsn

7... C/G−G−D/F]−G cad, fp dyn

11... Dm A7/C]−Dm− E◦/G− b): Pam+Vi1

16... Dm6

4 −A7− cad

17... D D −G/D −D c): Monos, Str sync, P T (d)

20... D − C]◦7− unisono cresc

22... D − C/E −D7/F]−D7− d): Pam+Vi1

25... D tutti clim, Str sync

27 ⊥ G G− C −Am−D −G e): Monos, cad, tutti clim

B (Zwolfter Auftritt, Sc. 12)32 G/D −Am/C −D7 −G trans, Str36 M2 G/D −Am/C −D7 −G a): Papageno, Vi1+Bsn

40... G/D −A−D −Bm− b), Vi1+Bsn

43... Em7/G−A−D

45... <(G−D7)− c), Fl+Vi1, Str 8ths

52 ⊥ G tutti clim

53 M3 <(G/B −Am/C −D)− C, a): Monos & Papag S(2p), Str unis

61... <(G−D7)− b): Voc imit, (WW+Brs)-Str imit

67 ⊥ G−<(D7 −G) cad (71 m.)



4.11.9 No. 8 Finale

Vocal parts: Drei Knaben, Tamino, Priester, Papageno, Pamina, Monostatos and Sarastro. SeeTable 4.48 to 4.56 for the analysis. The long Act 1 finale has a total length of 587 measures,covering five scenes (Sc. 15 to 19). It may be subdivided into 9 subsections (the measurenumbering is restarted in the tables).

Section 1, Larghetto (Funfzehnter Auftritt (Sc. 15), has AABA form. The A sections are inthree-part writing S(3p): parallel consonant sixths and a dominant pedal for the Drei Knabenand there is upper string doubing. The triple brass tenuto signals at the end of the phraseexpress the divine character. The bridge B is for Tamino solo with light string background(2nd violin triplet arpeggios).

Section 2, Recitativ, is a wonderful example of depicting the lyrics. In the vocal part thereis dialogue between Tamino, a Priest (m. 33 ff.) and a three-part S(3p) choir of Priests. Mozartuses many techniques to illustrate the lyrics and mood. Examples are:

• Contrast in tempo (Allegro, Adagio, Andante), rapidly changing.

• Tonality. Opposing major-minor keys. ‘Weisheit’ (m. 1) in major, anxiety ‘Wo bin ichnur? was wird mit mir?’ (m. 4) in minor. Frequent modulation.

• Melodic shape. See the high points for ‘Thatigkeit’ (pitch G5, m. 13), ‘Mussiggang’ (A5,m. 15). The entrance of the Priest (m. 33) is an ascending augmented triad b[−d−f], ex-pressing dramatic tension, while also being a reference to the opening ‘Freemason’ motifMf. Unisono descending scale on the words ‘Tod und Rache dich entzunden’ (m. 57).

• String section accents to comment on the lyrics (later adding woodwind, see ‘Tyrann!’in m. 78). There is use of dynamics, ascending scalar 16th runs for heroic action (m. 20and 26), tremolo on ‘Heuchelei’ (m. 63, while in the remote key B[m), ‘Sarastro’ (m. 70)and ‘Hass’ (m. 75).

• Instrumentation. When the mood changes, e.g., when the Priest is comforting Tamino(m. 94 ff.) and expressing hope, the vocal line is doubled in cello. The sotto voce choirof Priests (m. 105 ff.) is doubled in brass (divine, holy).

Section 3, Andante - Presto, contains the Tamino flute song and a longer coda with hislonging for Pamina (m. 33 ff.). The song has regular AABA form. The main melody hasM3.1(aba’b’) (2 + 2 + 2 + 2 m.) period structure. Note the sudden transition to tonic parallelminor Cm when Pamina’s name is called (m. 29). The hope and expectation in the Presto(m. 53) is expressed by the downbeat rising notes d−f−a in the vocal part (another ascendingarpeggio triad), answered by the following descending steps.

Section 4, Andante, is a duet between Pamina and Papageno. The overall form is ABA’,with two-part consonant parallel singing with violin doubling S(2p) in the outer sectionsand solo phrase juxtaposition in the bridge. The main melody has M4.1(aa’bcb’c) (2 + 2 +2 + 2 + 2 + 2 m.) structure. The b- and c-phrase are repeated in the closing section (m. 27 ff.)

Section 5 has ABC form. The opening section has a somewhat recitative character withlyrics for Monostatos, Pamina & Papageno, the middle section (m. 30 ff.) is for 3-part S(3p)Slave Choir, the closing section (m. 63 ff.) a duet for Pamina & Papageno. The middle sectionalso has the glockenspiel dance tune accompanying the entrance of Papageno, with the har-monic basis for the choir singing. This has a melody with M5.3(aa’ba”b’a”b’) (2 + 2 + 4 + 4 +4 + 4 + 4 m.) structure.



Table 4.48: Mozart, The Magic Flute, No. 8. Finale

m M R H Comment

Larghetto (Funfzehnter Auftritt, Sc. 15)[

22

](Section 1)

1 M1.1 C C −G7 − C A, Intro, Vi S(2p), PD(g)6 ⊥ <(C −Am−Dm7/F − C6

4 −G− C)10 M1.1 C −G7 − C Drei Knaben+HiStr S(3p)14 ⊥ C −D7 −G−<(C −G) tutti, Brs 3×, cad19 M1.2 G− C −D −G B, Tamino, Str triplets23 M1.1’ G−G7/F − C]◦7/E− A, Drei Knaben S(3p), var

24... Dm−A−Dm−G−

25... <(C −G)−G− C Brs 3×

31... <(C −G7

d− Am−Dm7/F−

32 ⊥ C64 −G7 − C) Brs 3×

35 C64 −G7 − C tutti cad, PD(g) (38 m.)

Recitativ[

44

](Section 2)

1 M2.1 C −B[− C7 − F −A7/C]− Tamino maj, Str accts

5... A7/G−Dm/F − E[5

7 /B[−A min, modul

7... A−A7/G− F]7−... Allegro

12... G Bm−G/B −Am−D7− Str 8ths afterbeat

16... G−Am7/C −D7−

18... G− F]−B7/F]− Em− tutti Σ(cm<)

19... B7/D]− Em Vi scalar run↗

21... A7 − . . .−D −G

28 ⊥ G−A7 −D − . . .−Ad− tutti accts

33 M2.2 Gm B[−D7− Priest & Tamino, Str accts

37... Gm−B[7− WW+Str unis accts

40... E[ E[−G/D −G[13

7 − Voc, Str accts44 ⊥ Cm Cm− Cm/G WW+Str unis accts



Table 4.49: Mozart, The Magic Flute, No. 8. Finale (cont’d)

m M R H Comment

Adagio47 M2.3 E[ A[−B[7− Tamino & Priest

... Andante a tempo

50... E[−B[/D − Cm− Cm7/B[− Ww+Vc

51... Fm/A[−B[7 − E[

53 ⊥ E[−B◦/D −B◦7− Str accts55 M2.4 Cm−D[5

7 −G− Voc+tutti unis↘, maj

57... Gm Gm−D[13

7 /F]− F]◦7− min, Str accts

60... Gm−B[7/F−

62... E[− F]◦7/A− Str trem

64... B[m B[m/D[−A◦7/C −B[m/D[− C7/E− Str accts

68... Fm/A[− F7/A−B[m− Cm−G7− Str trem, tutti accts

74... Gm Cm−D7 −Gm−B[/F−

78... E[−B[[97 /D

d− Cm/E[−D[9

7 −

82... Gm− C7 − . . .− F− Str bg

86... C]◦7 −Dm− E7− modulation

90... Am−A−A7/G−Dm/F−

93... Em B[9

7 − Em96 ⊥ G7/D − C7 − F −Dm/F − E7−

Andante a tempo99 M2.5 Am Am− F− Priest+Vc

100... B∅7/D −Am6

4 − E− Str 8ths afterbeat

101... Am−Dm− E7− Ob+Str

103 ⊥ Am−G]◦7/A−Am−B[57 /F− Tamino, Str bg

105 M2.6 E −Am− F −B∅7/D− Chor S(3p), Brs

107... Am6

4 − E −Am cad108 ⊥ A7/G−Dm/F −B[5

7 /F− Tamino110 M2.6 E −Am− F −B∅7/D− repeat, Chor

113... Am6

4 − E −Am cad114 ⊥ C D7/F]−G7 −G7/F − C/E− Tamino, Str bg119 C7 − F −G7 − C closing cad (121 m.)




m M R H Comment

Andante - ABA’-Coda (Section 3)1 M3.1 C C −G− C/E − F −Dm/F − C6

4 −G− A, ab): Fl, Str bg4 ⊥ C −G− C/E − F − C/G−G7− a’b’)8 M3.1 C −G− C/E − F −Dm/F − C6

4 −G− A, ab): Tamino12 ⊥ C −G− C/E − F − C/G−G7− a’b’)17 M3.2 G7 − C −D7 −G B, bridge, Fl-Voc21 ⊥ G7 − C −D7 −G repeat var25 M3.1’ C −G− C/E− A’ a): Voc, Str bg

27... F −Dm/F −G−G/B− b)

29... Cm Cm−A[−D∅7/F −G7

d− Sadness, minor

31 ⊥ A[− Cm/E[−D∅7/F −G7−33 M3.4 C C −D7 −G/D − C]◦7/E −D7− Coda Fl, Str bg

33... C −D7 −G/D − C]◦7/E −D7− Tamino, Str 8ths

40... G G−G]◦7 −Am−A7/G−D/F]− Papageno whistle

43 ⊥ G− . . .− F]◦7/G−G closing cad, P T (g)47 G Papageno whistle

Presto - Adagio - Presto53 M3.5 G− . . .− Tamino+Vi1, Str 8ths

57... C B∅7/F − C/E −G7B − C Str ff , cad

59... <(Dm/F − C/G−G7/F − C/E)− Str sync

63 ⊥ Dm7/F − C64 −G7−

66 C −Am− F]◦7− trans, Str unis (69 m.)




m M R H Comment

Andante (Sechzehnter Auftritt, Sc. 16)[

44

](]) A (Section 4)

1 M4.1a G G−D7 −G−D− aa’): Pam & Pap+Vi S(2p)

5... G/B − F]/A]− F/A−D −Am/C− b) ~H‖e↘, [S6]

7... G/B −Am/C −G6

4 −D7 −G c) cad

9... G−D −Am/C− b’)

11 ⊥ G/B −Am/C −G64 −D7 −G c) cad

12 M4.2 (G−D7 −G)/G−D− B, Voc S(p), P T (g)16 G−<(D7 −G) cad, whistle

21 M4.3 D (A7 −D −A)/A− A’, Voc S(2p), PD(a)24 ⊥ D/A−A7 −D7− tutti clim27 M4.1 G G−Am/C− b)

29... G/B −Am/C −G6

4 −D7 −G c), [S6] , cad

31... <(G− C −D7/F])− b’) tutti

35 ⊥ <(G−Am/C −G/D − F]◦7/C)− c’) cad (37 m.)




m M R H Comment

Allegro (Siebzehnter Auftritt, Sc. 17)[

44

](Section 5)

1 M5.1 G−<(D −G)− A, tutti unis, Monostatos

5... <(D/F]−G)− C]◦7/E− climax

9... D D −G]◦7/B −A−

12... D − . . .− Str 8ths, Ob+Hns PD(d)

15... D − . . .− Pam & Pap+Vi S(2p)

17... D −A−D − C]◦7/E− Monos, tutti unis

20 ⊥ D −D7− Voc+WW23 M5.2 G <(G−D)− unisono30 (M5.3) G−D7 −G Glockenspiel34 ⊥ G−Am/C −G6

4 −D7 −G cad

38 M5.3 G−D7 −G B, aa’): Slaves S(3p)

42... G−Am/C −G6

4 −D7 −G b), Glk bg

46... D7 −G/D −D7 −G a”)

50... G−Am−G6

4 −D7 −G b’)

54... D7 −G/D −D7 −G a”) repeat

58 ⊥ G−Am/C −G64 −D7 −G b’) cad, GP

63 M5.4 G−D7 −G−D −G−Dd− C, Pam & Papag+Vi S(2p)

67... Em− E7/D −Am/C−

69... D −D7 −G

71... <(D7 −G/D)− Voc imit, Hns+LoStr PD(d)

76 ⊥ G−A7 −D−

79 M5.4 G−D7 −G−D −G−Dd− repeat, tutti

83... Em− E7/D −Am/C−

83 ⊥ D −D7 −G (86 m.)




m M R H Comment

Allegro maestoso (\) (Section 6)1 M6.1 C C −G− C A, Chor S(4p) intro5 M6.2 F − C/E− Papageno & Pamina, unis

7... F − C/E −D7 −G7 − C

9... F]◦7/A−G− fear, chrom

10... <(D[5

7 /F]−G) fear, stepwise↘

14... D[5

7 /A[−G−17 ⊥ G7 − C −Dm/F −G−20 C −G/B − C− cad, tutti climax

(Achtzehnter Auftritt, Sc. 18) B25 M6.3 C −<(G/B − C)− a): Chor S(3p), tutti

28... G− C −<(G7/B − C −G) b)

31... G−D7 −G− c) Voc+WW imit

34... G7/B − C −G− halfcad

35... <(C −G7 − C) a’) tutti climax

41 ⊥ <(C −Am− F −G7 − C) tutti cad (44 m.)

Section 6, Allegro maestoso, has AB form. The first half is a dialogue between Pamina andPapageno (with choir introduction), the B section (m. 25 ff.) is a 3-part setting S(3p) for Chor.The feeling of fear in the A section is expressed by doubling the vocal phrases with unisonostrings (see ’Was soll das bedeuten? Ich zittre’ m. 5); note the chromatism and descending steps(m. 10-14 on ‘O war ich eine Maus, wie wollt’ich mich verstecken’). The choir is accompanied bythe entire orchestra, with brass once again expressing the divine and holy mood; the openingphrase ‘Es lebe Sarastro!’ yields the familiar dotted rhythm ascending arpeggio triad motifc− e− g.

The ascending arpeggio triad f − a − c (woodwinds and violins) then opens Section 7,a duet with interaction for Pamina and Sarastro with ABC form. The lyrics are underpinnedwith instrumental effects. For example, the violin afterbeat 16th arpeggios after ‘der boseMohr verlangte Liebe’ (m. 9), the woodwind runs with ‘dringen’ (m. 16 and 18), the violin16ths leap patterns after ‘doch geb ich dir die Freiheit nicht.’ (m. 31), descending 32ths runsafter ‘und ein stolzes Weib!’ (m. 42).

Section 8 uses a two-measure stepwise descending motif M8.1a in quarter notes as centralelement for the vocal part for Monostatos. It usually appears in a group of three statements:the first is a descending series of 1st inversion triads [S6]↘ with 8th note appoggiaturas inthe 1st violins. The next two statements use contrary closing motion. This motif is juxtaposedwith imitative phrases (labeled M8.1b and M8.1c). The section is closed with a choral phrase




m M R H Comment

Larghetto ([) (Section 7)Mf F F− A, signal

3 M7.1 C7

d− Dm−Gm/B[− C7− Pamina, Str bg

6... F −Dm−A−Dm−

9 ⊥ G7 − C/G− F]◦7/A−D7− tension, Str 16th

12 M7.2 C G−G7 − C B, Sarastro

15... <(C7 − F/C − C −G7)− Voc+Vi1

19... C − Cm/E[− E[−D7− Voc+Fl+Vi1

21... G7 − C− cad

23... C/E − F− Str 8ths bg

25... C/G−G7 − E7/G]−

26... Am− C/E − F

29 ⊥ F −G−D/F]−G−G7−

31 M7.3 <(C −G7)/C− C, Pamina, Str 6th, P T (c)

35... C −D[9

7 −Gm−D Sarastro+Vi1, mod

38... B[ B[− F7

d− Pamina+WW unis

39... Gm−B[/D − Cm7/E[− Str bg

41... F7 −B[ Sarastro, Str 32ths

43... C7

d− Dm− F/A−

45 ⊥ B[− E[7/B[−B◦7 − C7− trans (46 m.)



with M8.2(aa’ba’) (2 + 2 + 2 + 2 m.) structure and a brief recitative M8.3 for Sarastro.The closing Section 9 of the finale opens with 4-part choir and tutti playing a variant of

the ‘Freemason’ Mf motif; note the ascending arpeggio triad c − e − g in the lead parts overthe lyrics ‘Wenn Tugend und Gerechtigkeit’. The choir melody M9(a+b+6c) has (6 + 6) + (6 +10 + 6 + 6 + 12 + 4) m. phrasing; the a-phrase is the divine signal motto, the b-phrase is dergrossen Pfad mit Ruhm bestreut’, the c-phrase is ‘dann ist die Erd’ . . . den Gottern gleich’ repeatedmany times until the closing cadences. There is extended dominant pedal point in brass andfirst violins.

4.11.10 No. 9 March of the Priests





m M R H Comment

Allegro (Neunzehnter Auftritt)[

22

](Sc. 19) (Section 8)

1 M8.1 F F − C/E−→F/A− C7− a): Str [S6]↘, intro3 M8.1 <(F − C7/E − F − C7)− aa): Monostatos, Σ(cm>), PD(c)7 ⊥ <(F − C7 − F −G7)− b): Pam & Tam imit, Vi1 arp↗

15 M8.1 C −G/B−→G7− a): Pamina+Str [S6]↘17 ⊥ C −G/B−→G7− aa): Pam & Tam, Σ(cm>), PD(g)21 M8.2 C − F]◦7/A− Chor, unis23 ⊥ <(D7/F]−Gm)− Mon., tutti unis clim27 M8.1 D − Cm/E[−→D7− trans, a): Str [S6]↘29 M8.1 Gm <(Gm−D7/F]−Gm−D7)− aa): Monostatos, Σ(cm>), PD(d)33 ⊥ Gm− E[/G− F7/A− b), Str 8ths35 M8.1 B[ B[− E[/G−→F7− a): Monostatos, [S6]↘

37... B[− F7/A−B[− F7− a), Σ(cm>), PD(d)

39 ⊥ B[−Gm− C7− b), Str 8ths41 M8.1 F F − C/E−→F/A− C7− trans, a): Str [S6]↘43 M8.1 F − C/E−→F/A− C7− a): Monostatos [S6]↘45 ⊥ F −G7sus4 −G7− b): Sarastro, Str 8ths47 M8.1 C C −G/B−→C/E −G7− trans, a): Str [S6]↘49 M8.1 <(C −G7 − C −G7)− a): Sar & Mon Σ(cm>), PD(g)53 ⊥ C − F c): unis arp56 M8.1 Fm/C − Cm/E[−B[m/D[− trans, a): Str [S6]↘57 ⊥ A[/C − C7−58 M8.1 Fm Fm− C7/E − F − C7− a): Monostatos Σ(cm>), PD(c)60 ⊥ Fm− C7/E − F − C7− a): Sarastro, tutti Σ(cm>)

63 M8.2 F F − C7/E− a): Chor S(4p), Vi 8ths arp

65... C7 − F− a’), tutti clim

67... Dm−Gm7/B[− b) sotto voce

69 ⊥ C7 − F a’), tutti clim71 F −Dm−G/B− 3 signals

Rezitativ72 M8.3 C G/B −G7/B − C− Sarastro

76... F −G7 − F]◦7/A−

77 ⊥ C64 −G7 − C (77 m.)




m M R H Comment

Presto[

22

](\) (Section 9)

1 M9 C C − . . .− a): Chor S(4p), tutti signal5 <(C −G) tutti imit, Str 8ths PD(g)7 M9 <(C −G)− C b): Chor imit

13 M9 G c): unis

15... G7 − C S(4p), PD(g)

19... C7/B[− . . .− F/A c), tutti Str 8ths

24... G7 − C −Am−

26 ⊥ Dm7/F −G− C− cad28 M9 D7/C − . . .− c)31 ⊥ G/B − C −Am−Dm7/F −G− C Str 8ths, cad34 M9 D7/C − . . .− repeat, c)37 ⊥ G/B − C −Am−Dm7/F −G− Str 8ths, cad39 M9 <(C −Am−Dm7/F −G)− c’), tutti

47... <(C − C6

4 −G)− scalar runs↗, cad51 ⊥ C −Am−Dm−G− tutti unisono55 <(C − . . .−G7)− closing cad, PD(g)65 C (69 m.)



Table 4.57: Mozart, The Magic Flute, No. 10 Aria ‘O Isis und Osiris’ with Choir

m M R H Comment

Adagio[

34

]([)

1 F F − Cd− Dm−Gm/B[− Intro, tutti

3 C7 − F cad5 M1 F − C − F −Dm−B[ A, a): Sarastro

7... C − C7 − . . .−

12... F −Dm−G7 − . . .− C b)

17... C/E −Dm/F − C6

4 −G7 − C c)

21... C − C∆7/B −Am−Dm/F− c’), PB(↘)

23 ⊥ C64 − C7 − F cad

25 M1 C − C∆7 −Am/C −Dm7− c’): Chor27 ⊥ G7sus4 −G7 − C cad

29 M2 C − F]◦7/A−Gm−D7/F]−Gm B, a): Sarastro

33... (F )− Fm−G[5

7 no 1/D[− C − C7/B[− b)

37... F/A−Gm7/B[− C7

d− Dm c)

41... F/A−Gm/B[− F 6

4 − C7 − F d)

45... F − F∆7/E −Dm−Gm/B[− d’), PB(↘)

47 ⊥ F 64 − C7 − F cad

49 M2 F − F∆7 −Dm/F −B[−Gm/B[− d’): Chor51 ⊥ F 6

4 − C7 − F cad53 Dm−B[−Gm− F 6

4 − C7 − F clos cad (55 m.)

4.11.11 No. 10 Aria ‘O Isis und Osiris’ with Choir

Vocal part: Sarastro. See Table 4.57 for the analysis. Form: AB. The vocal lead consists oftwo melodies M1(abc)+M2(abcd). The last phrase of each, i.e., M1c and M2d is repeated invaried form by Osiris, then by the Choir. The varied repeat uses a descending bass pattern inboth A and B section. The instrumentation is special: clarinets are replaced by basset horns(clarinet in F ), bassoons and trombones, and strings without violins. Combined with thechorale setting this yields a serene and holy atmosphere, in line with the Osiris character.

4.11.12 No. 11 Duet ‘Bewahret euch vor Weibertucken’




4.11.13 No. 12 Quintet ‘Wie? wie? wie?’

Vocal parts: Tamino, Papageno, the Three Ladies. See Table 4.58 and 4.59 for the analysis. Form:ABC. The vocal elements are 3-part writing M1:S(3p) for the Drei Damen, or two against oneM3:S(2p+p) (see m. 33, 61), imitation M2 (see Papageno vs. Tamino in m. 18 ff., 37 ff. and98 ff.), and some ‘real’ quintet singing M4, M5 (section C, m. 113 ff.). The opening phrase‘Wie? Wie? Wie?’ may be another reference to the triple Mf signal: The M1 a-phrases startwith ascending arpeggios b − d − g, e − g − c (inverted triads). The ladies are threateningthe two heroes; there is dynamic contrast to support this. A funny effect, contradictingthe lyrics, is the orchestral crescendo to a climax over the lyrics ‘Immer still, und immer still’(‘Always silent’, m. 29-32). There is sound painting in minor over the lyrics ‘Sag’an Tamino,ist das wahr?’ (m. 74), ‘Entweiht ist die heilige Schwelle’ (m. 152), and ‘O weh!’ (m. 163). Thelatter phrase also has the obligatory stepwise descending melody on ‘hinab mit den Weibernzur Holle!’. The B section is a bridge, with a four-measure repeating pattern, stressing thedominant chord D.

4.11.14 No. 13 Aria ‘Alles fuhlt der Liebe Freuden’




Table 4.58: Mozart, The Magic Flute, No. 12 Quintet ‘Wie? wie? wie?’

m M R H Comment

Allegro[

22

](])

1 G G A, Str unis

2 M1 G−D/F]d− Em a): Drei Damen+Str S(3p)

4... Em−Bm/D − C b)

6... C −G/B

d− Am−Am7/C− a)

8 ⊥ G64 −D −G b’), ca

10 D7/F] Fl+HiStr11 M1 G−Am/C −D7 −G c)14 D7/F]− repeat Fl+HiStr15 M1 G−Am/C −D7 −G−G/B− c)

18 M2 C −D7

d− Em−G/B− Papageno, Str bg

20... C −D7 −G Tamino imit

22... A7 − . . .−D/A− Voc+WW+HiStr, clim, PD(a)

26... <(G]◦/B −A)−A/C]− Pap & Tam

29 ⊥ <(D −A/C])− cresc, clim33 M3 D − . . .− Drei Damen+WW imit S(2p+p)37 M2 <(D −A7)− Pap & Tam imit, Hns PD(a)41 ⊥ D − Em7 −D/F]−45 G−D7− trans, Fl+HiStr47 M1 G−Am/C −D7 −G− c): Drei Damen+Str S(3p)50 D7− repeat, Fl+HiStr51 M1 G−Am/C −D7 −G− c), Str staccato 8ths54 ⊥ <(G7 − C) dd): Voc+WW58 M2 G7/B − C −G7 − C Tamino, Ob+Str bg62 M3 E7 −Am−Am7/G−D7 −G Dam & Tam S(2p+p), Seq(2×2m;R−7)67 ⊥ G−D7/F]− C]/E −A7−69 M2 <(D −A7/E)− Papageno, Str bg

71... D − F]◦7 −D/F]− tutti acct, minor

74... Gm Gm−A[5

7 no 1/E[−

76... G D −G−D7− Tamino, Fl+HiStr

78... G−G/B −Am/C −D7 −G− Pap & Tam

81... G7/B − C −A7/C]−D− Seq(2×2m;R7)

85... D7 −G cresc clim

87 ⊥ G/B −Am7/C −D7 −G cad



Table 4.59: Mozart, The Magic Flute, No. 12 Quintet ‘Wie? wie? wie?’ (cont’d)

m M R H Comment

91 M1 <(G−D/F]−A7/G−D)− B, Damen S(3p), Vi arp↗99 M2 <(G−D/F]−A7/G−D)− Pap & Tam imit, repeat

108 ⊥ (C)−Am7/C −D7 −G Σ(cm<)

113 M4 G− C/G− C −D7 −G C, Damen+Fl S(3p)

118... C −D7 −G−D− Hsn, P T (g)

120... G− . . .− Tam & Pap S(2p)

122... D7 − . . .− Damen (3p)

124... G− . . .− Tam & Pap S(2p)

126 ⊥ D7 − . . .−G Damen S(3p), clim129 M5 G/B − C a): Dam & Tam & Pap S(5p), tutti

132... G/D −D7

d− Em b)

136... Gno 3/D −D7/C −G/B − C a)

140... C −G6

4 −D7 −G b), cad

145... C −Am/C −G6

4 −D7 −G− b), repeat149 ⊥ C −Am/C −G6

4 −D7 −G− b), repeat152 M2 Gm D[9

7 − Tam & Pap S(2p), minor153 ⊥ (Cm/G)− . . .− Voc+Str 16ths↘.155 M3 F]◦7/C − C]◦7− Damen imit, climax158 C]◦7 − . . .− Vi1 16th arp↘

160 M2 G D7

d− E[−A∅7/C −D7 −G Pap, cad (164 m.)



4.11.15 No. 14 Aria ‘Der Holle Rache’

Vocal parts: Queen of the Night. See Table 4.60 and 4.61 for the analysis. Form: ABC coda.And here she is, finally, the Schwartzkopf among the coloratura queens. No more fiddlingaround, prepare for some hot cooking bravura singing by the Konigin der Nacht. The outersections are in the tonic minor key Dm, the middle section B in the relative major F . Both Band C section end with coloratura phrases.

The orchestra supports the lyrics: string section 16th note tremolos (m. 1, ‘Der HolleRache’), m. 11), jazz big band style tutti offbeat accents (m. 3 ‘Tod und Verzweiflung’, m. 16‘Todesschmerzen’, m. 88 ‘Hort’), string section runs (m. 47 and 88). In the vocal part there isthe appearance of the Mf ’Freemason’ holy motif in disguise: see the ascending arpeggio triada − c] − e in m. 82-84 over ‘durch dich Sarastro’ (obvious reference, it seems), repeated as aninverted triad d− f − b[ in m. 88-90. And there are the inevitable descending lines over thelyrics ‘Sarastro wird erblassen’ (m. 85) and Rache Gotter (m. 92). The latter phrase is set overcadences on the Neapolitan, lowered supertonic degree key of E[ = [II . It’s all over beforeyou realise!

4.11.16 No. 15 Aria ‘In diesen heil’gen Hallen’




Table 4.60: Mozart, The Magic Flute, No. 14 Aria ‘Der Holle Rache’

m M R H Comment

Allegro assai[

44

]([)

1 Dm Dm/F −Dm A, Str 16th trem, tutti accts3 M1 Dm− C]/D −Dm a): Konigin dN, Str 8ths

5... C]◦7/E −Dm/F− b), WW+Brs offbeat accts

7... E[/G− F]◦7/A− c), N6, [S6]↗

8... Gm/B[−D/F]−Gm apex pitch B[5

9... E[/G−G]◦7−

10 ⊥ A−Am−G]◦ − C7/G− tr, Σ(cm<), P iB(↘)

11 M2 F F − . . .− B, a): Voc+Vi1, P T (f)

13... F −Gm7/F − C7/E − F7/E[− bb), Seq(2×2m;R7), P i

B(↘)

17... B[/D − F/C −B◦7− c)

20... <(C − C7/B[− F − C7)− dd)

24... F − C/E −Dm−Am/C− e): coloratura, Seq(3×2m;R3),

28... B[− F/A− C/E− Str-WW stacc 8ths im

30... <(F −B[)− F −Dm− C− apex pitch F6, cad

35... F − C/E −Dm−Am/C− e) repeat coloratura

39... B[− F/A− C/E− Str-WW stacc 8ths im

41... <(F −B[)−

43... F − F/A−Gm/B[−B◦7− PL(↗), P i

B(↗)45 ⊥ F 6

4 − C7− tutti clim, cad47 <(F − C7)− trans, Vi 16ths49 F −B[−Gm−50 E◦ − F −B[− C− tutti cad



Table 4.61: Mozart, The Magic Flute, No. 14 Aria ‘Der Holle Rache’ (cont’d)

m M R H Comment

51 M3 <(F −Gm7)/F− C, a) P T (f), Str imit

55... <(F −Gm7)/F− aa), Seq(2×6m;R7)

59... D[9

7 − b): Voc+WW

61... <(Gm− Cm)/G− aa) P (g)

65... E[9

7 /G]− b): Voc +WW

67... Dm A− c) coloratura, PD(a)

69... <(Dm−A)/A− Voc triplets

73... <(Dm−Gm)/D− Vi-Voc imit, apex pitch F6

77... Dm−Dm7/F− Voc+Fl, Seq(4×R−7)

78... Gm− C7/E − F −B[∆7/D−

79... E◦ −A7/C]−Dm−

80... E[/G−G]◦7− N6, Str trem

82... A− . . .− d)=Mf motif

85 ⊥ A7 −A7/C]− cad, GP

Coda, climax88 M4 Dm−B[7/A[− a)=Mf’, Str runs, WW accts

91... <(E[/G−B[7/A[)− apex pitch B[5, Vi 16ths

92... E[/G− C]◦7/G− N6, tutti accts

94 ⊥ G]◦7 −A7

d− P i

B(↗)97 B[−G]/B− unis PL(↗), P T (d)98 Dm6

4 −A−Dm cad (99 m.)



Table 4.62: Mozart, The Magic Flute, No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’

m M R H Comment

Allegretto[

68

](]]])

1 A A− E7 −A/C]−Bm7/D− Intro, Vi1 appogg4 A6

4 − E7 −A cad5 M1 A− E −Bm7/D − E A, a): 3 Knaben+Str S(3p)

7... A/C]−D −A6

4 − E −A

9... E −B −B7 − E b)

11... E − F]m/A−B7 − E

13... <(E7/D −A/C]−G]◦ −A− E) c), halfcad

17... A− E −A− E d)

19 ⊥ A− E −A−Bm/D − E−

21 M2 A/C]−Bm7 − E7

d− F]m− B, e): Voc+Str

23... A/C]−Bm7/D −A6

4 − E7 −A Str+WW

25... A/C]−Bm7 − E7

d− F]m− repeat e)

27... A/C]−Bm7/D −A6

4 − E7 −A Str+WW29 ⊥ <(E7 −A) f)33 A−G]◦− Coda35 A/C]−Bm7/D −A6

4 − E7 −A cad (36 m.)

4.11.17 No. 16 Trio ‘Seid uns zum zweiten Mal willkommen’

Vocal parts: The Three Boys. See Table 4.62 for the analysis. Form: AB. The singing by the DreiKnaben is set in three parts S(3p), doubled by the string section. Sometimes during this piecethe setting in fact this is S(2p + p), with the independent lower (bass) part doubled in thecello. There is an apparently free 1st violin part, playing fills with 32th note appoggiaturapatterns.

4.11.18 No. 17 Arie ‘Ach, ich fuhl’s, es ist verschwunden’




Table 4.63: Mozart, The Magic Flute, No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’

m M R H Comment

Adagio[

22

](]])

1 M1 D D −A−A7 −D −A Intro a): Priests+Str S(3p)5 ⊥ G/B − F]◦/A− Em/G−D/F]− tutti clim, [S6]↘

7 M2 D − F7/Cd− Gm/B[− A, a) Voc+Tbn, VI 8th arp↗

10... A7 −D −A tutti clim, HiStr sync

12... A− E/G]−D/F]− b)

14... E]◦7 − F]m−B7/F]−

15 ⊥ A/E −D/F]−A64 − E7− c), cad

18 A A−D −A64 − E −A B, trans

21 M3 A−A7/G−D]◦7/F]− a): Voc+Str, tutti clim

22... Em−G−G∆7/F]− C/E −D−

25... <(C]◦ −D −A) a), halfcad

29... D D − . . .− C]◦ −D b)=Mf

32... Em/G−A7 − C−

34... D −Bm−A]◦ −Bm− b’)

37... Em/G−A7

d− Bm− Em/G−

39... D/A−A]◦ −Bm− Em/G−

41 ⊥ D64 −A−D cad (42 m.)

4.11.19 No. 18 Chorus ‘O Isis und Osiris, welche Wonne!’

Vocal parts: The Priests. See Table 4.63 for the analysis. Form: AB. The Chor der Priester singsin 3-part setting S(3p), doubled by strings (intro) and trombones. The orchestration involvesextended tutti playing in this slow movement. There is an appearance of the inverted Mfmotif, disguised as an ascending arpeggio triad a− d− f] on ‘bald, bald, bald’ (m. 29, 34).

4.11.20 No. 19 Trio ‘Soll ich dich, Theurer, nicht mehr sehn?’




Table 4.64: Mozart, The Magic Flute, No. 20 Aria ‘Ein Madchen oder Weibchen’

m M R H Comment

Andante[

24

]([) A

1 M1 F || : F − C − F− Intro, a): Ob+Glk

3... C7/E − F − C a’), halfcad

5... C7 − C7/B[− F/A−Dm b)

7 ⊥ Gm/B[− C7 − F9 M1 F − C − F− a): Papageno+Vi1, Vi2 16th arp

11... C7/E − F − C a’), halfcad

13... C7no 3 − C7/B[− F/A−Dm b)

15... Gm/B[− C7 − F Va PD(c)

17... <(F − C7 − F ) cc) Voc+Hns+Vi1

Allegro[

68

]B

21 M2 C <(C − F )− C −G7 − C aa’): WW+Hns+Glk25 M2 <(C − F )− C −G7 − C aa’): Voc+Vi1

29... F C7/B[− F − C7− b, Σ(cm<)

31... Gm7/B[− C − F c): Voc+Vi

33... <(F − C)− F d), GP

36... F − F7 −B[−Gm c’), Hns PD(f)

38 ⊥ F 64 − C7 − F −<(C7 − F ) : || e) cad

44 <(F − C7)− Coda, WW+Hns+Glk47 <(F − C7)− F tutti clim (51 m.)

4.11.21 No. 20 Aria ‘Ein Madchen oder Weibchen’

Vocal parts: Papageno. See Table 4.64 for the analysis. Form: AB coda.

Before the age of online dating there was Papageno’s song. Profile: cheerful chap withoutdoor hobby is looking for a feathered friend of the opposite sex. Enjoys good food andwine, willing to give up independence. This binary form song contrasts two sections throughmeter, lyrics (unchanged in A, three verses in B), and instrumentation. The famous glock-enspiel (celesta) is varied in each A section statement, and remains almost unchanged in theB section. The A section rhythmical groove is provided by 2nd violins with 16th note legatoarpeggios. The B section phrases are interrupted by fermatas and a general pause (m. 35 and37).



4.11.22 No. 21 Finale




Opera The Magic Flute

D[

B[m

B[

Gm

G

A[

Fm

F

Dm

D

E[

Cm

C

Am

A

B[

Gm

G

Em

E

6

6

1,8,9,11,13-�

2,6,8,12,21

��

0,3,7,21-6

4,17

?

5,19

-�

8,10,20

HHHY

14

?

15�16

�

t

t-��

18

19-

@@@@R

��*��

Figure 4.19: Mozart, The Magic Flute KV 620, key relationship diagram


The key relationship diagram of the opera Die Zauberflote is shown in Fig. 4.19. Shown arethe main keys of the 21 numbers from the opera; for the longer numbers such as the finales,some intermediate keys are also labeled.

It is hard to infer conclusions from reasoning about the tonic key scheme. The main keyrepresenting the divine and holy is the major E[. Quite a few opera numbers lie on the tonicaxis E[−A−C. The remote outlier keys D,A,E and Dm are reached in the second act: Dm inNo. 14 for the Queen of the Night: ‘Der Holle Rache’ aria, the major key E in No. 15 for Sarastro:‘In diesen heil’gen Hallen’, A major in No. 16 for the Drei Knaben: ‘Seid uns zum zweiten Malwillkommen’, and D major in No. 18 for Chor: ‘O Isis und Osiris, welche Wonne!’, respectively.There is a vague tendency to move into the subdominant area (F,D,Dm) during the latterhalf of the opera (like in the recapitulation or coda section of a sonata form movement), butthis observation may be far-fetched.

Some opera characters seem to have preferred keys or modes: Papageno sings in G major,the Queen of the Night and Pamina vocal parts are mostly in minor keys, the Drei Damen andDrei Knaben stay on the tonic axis. However, looking for such key-character association pat-terns might as well be speculation. Vocal range consideration and instrumentation choices(brass, see Table 4.41 in Section 4.11) may have resulted in the key selection. Specialised mu-sicological studies about this opera and its hidden layers will probably have reached morethoroughly founded conclusions.


Chapter 5

Ludwig van Beethoven

Biographical data:

1600 1700 1800 1900 2000

∗ 17-12-1770 in Bonn† 26-3-1827 in Wien

The analysis of Beethoven compositions was supported by the information in [27].

5.1 Sonata Op. 2, No. 1 in F Minor (1795)

Source: [7].9 The first piano sonata by Beethoven has the subtitle: Joseph Haydn gewidmet,Sonata pour le clavecin ou pianoforte (dedicated to Joseph Haydn, sonata for harpsichord orpianoforte). This underlines both the by now established form of the multi-movement pianosonata (another form created by Papa Haydn, as composers used to call him in reverence) andthe recent technological development of the pianoforte keyboard instrument.

Analysis of the Beethoven piano sonatas is supported by the formal analyses and de-scriptions in [26]. An overview of the formal analysis is shown in Fig. 5.1.


Form: sonata form. This is a straightforward sonata form in minor, with secondary theme(M2.1 to M2.3) in the relative major key. The development section is relatively brief, andmodulating to neighbouring keys. The codetta appears at the closing of the exposition andthe recapitulation. The detailed analysis is shown in Table 5.1 and 5.2.

5.1.2 Mvt. 2 Adagio



CHAPTER 5. LUDWIG VAN BEETHOVEN

Table 5.1: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro

m M R H Comment

1 M1 Fm || : Fm− C7/E− Exp/Gr 1 (aa) main th5 ⊥ Fm− C7/G− Fm/A[−G∅7/B[− C (b), halfcad9 M1’ Cm− Fm/C −D∅7/C −B[m7− trans, LH-RH imit

13 ⊥ A[ E[7/B[−A[ mod to rel major15 <(B[m/D[−B[7/D − E[7 −A[/C)−19 B[m/D[−B[7/D−20 M2.1 A[ <(E[[97 −A[)/E[− E[7/D[− Gr 2 (aa), PD(e[)26 M2.2 A[/C − E[/G−A[−D◦/F− (b): appoggiaturas

28... E[−D◦/F − E[[97 /D[−A[− E[[97 −

31 ⊥ A[/C − E[/G−A[− E[7− cresc33 M2.3 A[/C − E[m7/D[−A[/E[− E[7/D[− climax, (c): scalar runs37 ⊥ A[/C −B[m7 −A[/E[− E[7−41 <(A[−B[[97 /D −A[64 − E[7)− closing statement47 E[7 −A[ : || codetta, cad

49 M1 || : A[− E[7/G− E◦7 − C[5/[97 /G[− Dev

55 M2.1 B[m <(F [97 −B[m)/F − F [9

7 − F7/E[− mod, PD(f)

61 M2.2 B[m/D[− F7/C −B[m−D[5/[97 /A[−

63 M2.1 Cm <(G[97 − Cm)/G− PD(g)

69 M2.2 G[97 − Cm− F [9

7 −B[m− E[[97 LH, Seq(3×2m;R−7)74 ⊥ A[ A[−D[− E[7/B[− C−78 Fm/A[−B[m−B◦7−81 Fm <(C − Fm− C7 − Fm−B◦)/C− climax, PD(c)

89 <(C[97 − Fm−B◦)/C− dim, (PD(c))

93 (M1’) (C − . . .−G[no 3)/C −B[m− C7/B[− retrans97 ⊥ Fm/A[−B[7/A[− E◦7−

101 M1 Fm Fm− C7/E− Recap/Gr 1 (aa)105 ⊥ Fm− C7/G− Fm/A[−G∅7/B[− C (b): halfcad109 M1’ Fm−G[∆7/F − C◦/E[− F [9

7 /E[− trans, LH-RH imit

114... B[m/D[−B◦7−

117 ⊥ C − Fm/C − C7

d− D[−G

[5/[97 /D[− cad


5.1. SONATA OP. 2, NO. 1 IN F MINOR

Mvt. 1 Allegro: sonata form (Fm,[

22

], 152 m.)

Exposition Development Recap Cd

Mvt. 2 Adagio: ABAB form (F ,[

34

], 61 m.)

A B A’ B’

Mvt. 3 Menuetto and trio, Allegretto: menuet and trio form (Fm− F ,[

34

], 73 m.)

Menuetto Trio

Mvt. 4 Prestissimo: sonata form (Fm,[

22

], 196 m.)


Figure 5.1: Beethoven, Sonata Op. 2, No. 1 in F Minor

Table 5.2: Beethoven, Sonata Op. 2, No. 1, Mvt. 1 Allegro (cont’d)

m M R H Comment

119 M2.1 Fm <(C[97 − Fm)/C − C[9

7 /B[− Gr 2 (aa)125 M2.2 Fm/A[− E◦/G− Fm−G[5

7 /D[− (b): appoggiaturas

127... C −G[5

7 /D[− C − E◦7/B[−

129... Fm/A[− E◦7/B[− Fm/A[− C/E−

131 ⊥ Fm− C7/G−132 M2.3 <(Fm/A[−G∅7/B[− Fm/C − C7/B[)− climax, (c): scalar runs

140 <(Fm−G[5/[97 /D[− Fm/C − C7)− Codetta

146 F7/A−B[m− E[7/G−A[−D[∆7/F− climax150 G◦ − C7/E − Fm−D[−151 G∅7/B[− C7 − Fm : || cad (152 m.)


5.1. SONATA OP. 2, NO. 1 IN F MINOR

Table 5.3: Beethoven, Sonata Op. 2, No. 1, Mvt. 3 Menuetto and Trio, Allegretto

m M R H Comment

Menuet1 M1 Fm || : G∅7/F − Fm− C7/E − Fm− Fm7− A (a), Σ(cm<)

5... A[ B[m7 −A[− E[7/G−A[ (a’), Σ(cm<)

9... E[7/G−A[−B[m/D[− (b)

11 ⊥ <(A[64 − E[7 −A[) : || cad15 M1’ || : G◦7 −A[−A◦7 −B[m B (a’) Seq(2×2m;R7),19 ⊥ B[m6

4 − F7 −B[m RH-LH imit, cad21 M1’ B[m6

4 − F7 −<(B[m− F7)− (b’)24 ⊥ B[m− . . .−B[m7 − E◦ −B◦7 − C29 M1’ Fm <(C7 − Fm)− E◦7 −B◦7 (a’): LH-RH imit35 ⊥ <(Fm6

4 − C7 − Fm)− C7 − Fm : || clim, cad

Trio41 M2 F || : F −Gm−G7/F − C/E − C7 − F A, RH: 8th note th45 M2 F −Gm−G7 − C −Dm−G7 − C − F]∅7− LH49 ⊥ C6

4 −G7 − C : ||51 M2’ || : (C −B◦ − C7 − F )/C− B, RH55 M2’ C −B◦ − C7 − F− LH

59... B[− C7 − F/A−

61 ⊥ B[/D −Am/C − E◦/G−Dm/F− [S6]63 C/E −Am− C7− cad66 M2 F −Gm−G7/F − C/E − C7 − F− RH69 M2 F/A−Gm−G7 − C − C7 − F : || LH, cad (73 m.)

5.1.3 Mvt. 3 Menuetto and Trio, Allegretto

Form: menuet and trio form. Both the menuetto and trio are monothematic, with theirB section developing the main theme. In the trio the development technique is imitationbetween right and left hand, in the trio it is repetition in the left hand. The menuet is repeatedafter the trio. The analysis is shown in Table 5.3.

5.1.4 Mvt. 4 Prestissimo



5.2. SONATA OP. 13 IN C MINOR PATHETIQUE


The key relationship diagram is shown in Fig. 5.2. This early piano sonata has a very limitedkey compass. Three of the four movements open in Fm, then move first to the relative majorA[. The opening sonata movement is unconventional in the sense that there is a change to thesubdominant minor area B[m (1) at the start of the development, before the move towardsthe minor dominant Cm (2). The third movement closes in the parallel major key F (2). Theclosing movement confirms the standard pattern of going to the dominant domain Cm (2)before alternating in the subdominant domain on the lowered submediant major [V I = D[(4).

Mvt. 1 Allegro

D[

B[m

A[

Fm

E[

Cm?HH

HY1

�� 26

Mvt. 2 Adagio

F

Dm

C

Am61HHHj�

Mvt. 3Menuetto

A[

Fm

F •

?61

62

Mvt. 4 Prestissimo

D[

B[m

A[

Fm

E[

Cm?61

-2

�� 3

��

4

Figure 5.2: Beethoven, Sonata Op. 2, No. 1, key relationship diagram

5.2 Sonata Op. 13 in C Minor Pathetique (1798/1799)

Source: [7]. This piano sonata has the subtitle: Dem Fursten Carl von Lichnowksy gewidmet,Grande Sonata Pathetique pour le clavecin ou pianoforte; hence it is better known as the PathetiqueSonata. This sonata has only three movements (fast-slow-fast). Analysis of the Beethovenpiano sonatas is supported by the formal analyses and descriptions in [26]. An overview ofthe formal analysis is shown in Fig. 5.1.

5.2.1 Mvt. 1 Grave - Allegro di molto e con brio

Form: sonata form. A special feature of this sonata movement is that the slow introductionsection subject returns as transitions before the development, and before the coda. Contrastis achieved through tempo changes and dynamics. There is frequent use of contrary motionand pedal point (8th note tremolo octaves). The development opens in the remote key of Eminor, before moving towards more closely related keys. The detailed analysis is shown inTable 5.4 to 5.6.



Table 5.4: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro

m M R H Comment

Grave Introduction1 M0 Cm Cm− F]◦7 −G−B◦7 − Cm (aa) Σ(cm<)3 ⊥ <(F]◦7 −G/B)− Fm/A[−B[7− (b) Σ(cm<)5 M0’ E[ E[− Fm7/E[−B◦7 − Fm/C− (a’) p−ff -contrast, Σ(cm<)

6... B◦7 −B[m7/D[− C]◦7 −A[9

7 /G− (a’)

7... D/F]−D7/F]−B◦7 − . . .− (a’)

8... B◦7 −Gm7 − Fm/A[− (a’) cresc

9 ⊥ G7

d− A[− (b’) climax

10 D∅7/F − C64 −G[9

7 − cad, lead chr desc

Allegro di molto e con brio Exposition11 M1.1 Cm || : <(Cm− C7 − Fm−B◦7)/C− Gr 1, lead asc, P T (c)

15... Cm−G7/D − Cm/E[−D◦/F− Σ(cm>)

17 ⊥ Cm/G−D[5/[97 /A[− F]◦7 −G7− Σ(cm>), cad

19 M1.1 <(Cm− C7 − Fm−B◦7)/C− 2nd st, lead asc, P T (c)

23... Cm−G7/D − Cm/E[−D◦/F− Σ(cm>)

25 ⊥ Cm/G−D[5/[97 /A[− F]◦7− Σ(cm>), cad

27 M1.2 G− Cm/G−G7 − Cm−D[5/[97 /A[− arp↓

31 M1.2 G− Cm/G−G7 − Cm−D[5/[97 /A[−

35 (M1.1) (G− . . .− E[7)/G− trans, Seq(3×4m;R7), ped

39... A[− . . .−A◦7−

43 ⊥ B[− . . .−<(B[−A◦)/B[− P (b[)51 M2.1 E[m (E[m−B[7)/B[− Gr 2 (ab) PD(b[)59 ⊥ E[m/B[−A[7− (ab’)67 M2.1 D[ (D[−A[7)/A[− 2nd stat: (ab)

72... A[7 − . . .−D[m− F◦/C[− (b) Seq(3×4m;R7)

76... B[7 − . . .− E[m−B[m/D[− (b)

80... C7 − . . .− Fm− Fm7− (b)

84 ⊥ B[7 −B◦7 − Cm− Fm/A[− E[64 −B[ cad89 M2.2 E[ E[− . . .− E[7/D[−

93... A[/C − C7/B[− Fm/A[− F7/E[−

96... B[/D − Fm/C −B[m−B[7/A[− Σ(cm<)

98 ⊥ E[/G− E[+ −A[−B[7− cad



Table 5.5: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro (cont’d)

m M R H Comment

101 M2.2 E[ E[− E[7/D[− 2nd stat

105... A[/C − C7/B[− Fm/A[− F7/E[−

108... B[/D − Fm/C −B[m−B[7/A[− Σ(cm<)

110 ⊥ E[/G− E◦/G− Fm/A[−B[7− cad113 <(E[− Cm− Fm7 −B[)− trans121 M1.1 (E[− E[7 −A[−B[7)/E[− closing stat, P T (e[)125 ⊥ E[− E[∆7/D − Cm− E[/B[− clim, PB(↘)trem129 A[− Cm/G−1) D7/F]−G7− : ||2)D7/F]−

Tempo I. Trans133 M0 Gm Gm− C]−D −Gm/B[− (aa) Σ(cm<)135 ⊥ F]◦7/E[− Em6

4 −B7− (b) Σ(cm), cad

Allegro di molto e con brio Development137 M1.1 Em (Em−D]◦7 − Em)/E P T (e)140 M0’ Em− F]∅7/E − F]◦7/E[ (P T (e))143 M1.1 (D − C]−D)/D −D7− PD(d)147 M0’ Gm Gm/D −G◦/D[−149 M1.1 F C[9

7 − . . .− F − . . . LH, RH trem chr desc157 ⊥ B◦7 −G[9

7 − C[97 −

163 Fm Fm− . . .− F [97 /F]− . . .− trans

167 G <(G−D∅7 −A[)/G− arp↓, N6, P (g)171 M1.1 (G−Dm−G7/B − F]◦7)/G− (P (g))175 <(G−D∅7 −A[)/G− arp↓, N6, P (g)179 M1.1 (G−Dm−G7/B − F]◦7)/G− (P (g))183 <(G7 − F]◦7)/G− (P (g))187 <(G7 − . . .−B[7 − . . .)−G[9

7 − retrans

195 M1.1 Cm <(Cm− C7 − Fm−B◦7)/C− Rec/Gr 1, P T (c)

199... Cm−G7/D − Cm/E[−D◦/F− Σ(cm>)

201 ⊥ Cm/G−D[5/[97 /A[− F]◦7 −G7− Σ(cm>), cad

203 M1.1 <(Cm− C7 − Fm−B◦7)/C− 2nd st, lead asc, P T (c)

207... Cm−A[/C −D[−G[−D[64 −A[ tr, Seq(3×4m;R7),

211... B[7 − E[m−A[m− E[m6

4 −B[− Σ(cm>)215 ⊥ C7/B[− Fm−B[m− Fm6

4 −G[57 /D[− Σ(cm>)

219 C − . . .−



Table 5.6: Beethoven, Sonata Op. 13 Pathetique, Mvt. 1 Grave - Allegro (cont’d)

m M R H Comment

221 M2.1 Fm (Fm/C − . . .− C7 − . . .)/C− Gr 2 (ab) PD(c)229 ⊥ Fm/C − . . .− Fm/A[− . . .−G7− (ab’)237 M2.1 Cm (Cm− . . .−G7)/G− 2nd stat: (ab)

243... G7 − Cm7 − F7− (b) Seq(4×2m;R−7)

247... B[m7 − E[7 −A[−D

[5/[97 /A[−

251 ⊥ Cm64 −G− cad

253 M2.2 Cm− . . .− C[97 /B[− Fm/A[− C7/B[−

258... Fm/A[− C7/G− Fm− F7/E[−

260... G7/D − Fm/C −G7/B − C7/B[− Σ(cm<)

262 ⊥ Fm/A[− Fm− Cm64 −G7− cad

265 M2.2 Cm− . . .− C[97 /B[− Fm/A[− C7/B[−

270... Fm/A[− C7/G− Fm− F7/E[−

272... G7/D − Fm/C −G7/B − C7/B[− Σ(cm<)

274 ⊥ Fm/A[− Fm− Cm64 −G7− cad

277 <(Cm−A[m−D∅7/F −G−G7)− trans285 M1.1 <(C − C7 − Fm−B◦)/C− closing stat, P T (c)289 ⊥ Cm− Cm7/B[−A[− Cm6

4 − F]◦7− clim, PB(↘)trem

Grave Coda295 M0 Cm F]◦7 −G/B −B◦7 − Cm/E[− (aa) Σ(cm<)

297... E◦7 − Fm/A[− (a) Σ(cm<)

298 ⊥ Fm− Cm/E[−G7/D − Cm−D∅7/F −G7− (b) cad, lead chr↘

Allegro di molto e con brio299 M1.1 Cm <(Cm− C7 − Fm−B◦7)/C− Gr 1, lead asc, P T (c)

303... Cm− Cm7/B[−A[− Cm6

4 PB(↘)304 ⊥ F]◦7 − . . .− Cm6

4 −G7 − Cm climax, cad (310 m.)



Mvt. 1 Grave - Allegro di molto e con brio: sonata form (Cm,[

44

][22

], 310 m.)

Int Exposition (126 m.) Development (58 m.)

Recapitulation (100 m.) Coda

Mvt. 2 Adagio cantabile: ABA’ Coda form (A[,[

24

], 73 m.)

A B A’ C

Mvt. 3 Rondo Allegro: rondo form, ABACABA Coda (Cm,[

22

], 210 m.)

A B A C A’ B’ A” Coda

Figure 5.3: Beethoven, Sonata Op. 13 in C Minor Grande Sonata Pathetique

5.2.2 Mvt. 2 Adagio cantabile




5.2.3 Mvt. 3 Rondo Allegro

Form: rondo, ABACA’B’A” Coda. This is a template rondo, with one exact repetition of theA section, and two more slightly varied returns. The key relationships are straightforward.The C section acts as a contrasting middle section; its subject (M3) is repeated multiple times,with one beat delay time shifts in either right or left hand. The analysis is shown in Table 5.7and 5.8.





Table 5.7: Beethoven, Sonata Op. 13 Pathetique, Mvt. 3 Rondo Allegro

m M R H Comment

1 M1 Cm Cm−G7 − Cm− . . .−G−G7− A (a)

5... B◦7/F − Cm/E[−D

[5/[97 /A[− (b)

7... Cm6

4 −G− Cm cad

9... B◦7/F − Cm/E[−D[5

7 /A[− Cm64 −G− (b)

12... C7 − Fm−G

d− A[− C7/G− Fm−G− (c)

16 ⊥ G− Cm−G− Cm clim, cad Σ(cm<)18 C7/B[− Fm/A[− C7/E − Fm trans22 B[7/A[− E[/G−B[7/D−

25 M2.1 E[ <(E[−B[7/A[− E[/G−B[7/D)− B (a): RH, LH: arp

29... E[−B[7/A[− E[m/G[−B[/D− (a’)

31... E[m E[m−B[/D − C[∆7 − F [5

7 /C[− (b)33 ⊥ <(B[− E[m)/B[−B[−B[7 − . . .− trans, triplets37 M2.2 E[ <(E[−B[7)− E[− E[7/G− tripl imit: RH-LH41 ⊥ A[− E[64 −B[7 − E[ cad44 M2.3 B[7/A[− E[/G−A[/C − F [5

7 /C[−B[ (a) block chords48 ⊥ B[7/A[− E[+/G−A[−B[7− (a’): Σ(cm<)51 M2.2 <(E[−B[7/A[)− E[−A[−B[7− tripl imit: LH-RH54 M2.2 <(E[−B[7/A[)− E[−A[−B◦7/A[− repeat 8ba58 ⊥ Cm6

4 − . . .−G7 − . . .− climax, cad

62 M1 Cm (see m. 1–17) A

79 M3 A[ A[−D[−G◦ − Cm− C (a) hands linked

81... Fm−B[m−A[/C −B[m/D[−D◦ − E[ Σ(cm>), cad

83 ⊥ A[−D[−G∅7 − Cm− Fm−A◦ −B[− E[ (a’) RH beat shift85 M3 A[−D[−G◦ − Cm− (a) LH beat shift

89... Fm−B[m−A[/C −B[m/D[−D∅7 − E[ Σ(cm>), cad

91... A[−D[−G∅7 − Cm− (a’) RH beat shift

93 ⊥ Fm− E[/G− Fm/A[−A∅7 −B[− E[ cad95 A◦7 −B[m− E[7 −A[−B[7 − E[7− trans, imit LH-RH99 M3 A[−D[−G∅7 − Cm7− (a): RH 8va,,

101... Fm7 −B[m−B[/D − E[ LH: 8th notes, cad

103... A[−D[−G∅7 − Cm7− (a’): LH, RH: 8th

105 ⊥ Fm−D7/F]− cad107 <(G− Cm−G7 − Cm)/G trans, 16th arp, PD(g)



Table 5.8: Beethoven, Sonata Op. 13 Pathetique, Mvt. 3 Rondo Allegro (cont’d)

m M R H Comment

113 G− . . .−G7 − . . .− triplet arp (PD(g))117 Cm6

4 − . . .−G7 − . . .− cad

121 M1 Cm Cm−G7 − Cm− . . .−G−G7− A’ (a)

125... B◦7/F − Cm/E[−D

[5/[97 /A[− (b)

127... Cm6

4 −G− Cm cad129 ⊥ B◦7 − Cm− E◦7 − Fm−D[5

7 /A[−G7− (b): LH

135 M2.1 C <(C/E −G7/B − C −G7/F )− B’ (a)

139... C/E −G7/B − C−

141 ⊥ F − F+ −Dm/F −D7/F]−143 M2.2 G <(G−D7)−G−G7− tripl imit: RH-LH147 ⊥ C <(C −G7)− C − C7/E − F − C6

4 −G7 − C154 M2.3 G7/F − C/E − F]◦7/C −D7/C −G (a) block chords

158... Cm G7/F − Cm/E[− Fm/A[−B[7/A[− E[/G− (a’) repeat 8ba

162... F]◦7/C −G/B − F7/C −G7/B −G[9

7 /F− Σ(cm<)

164... <(Cm/E[−B[7/F )−

166 ⊥ B◦7 −G/B −Bm−G7− trans

171 M1 Cm Cm−G7 − Cm− . . .−G−G7− A” (a)

175... B◦7/F − Cm/E[−D

[5/[97 /A[− (b)

177... Cm6

4 −G− Cm cad

179... B◦7/F − Cm/E[−D

[5/[97 /A[− (b’): var 8th notes

181 ⊥ Cm64 −G7 − Cm− C7−

183 M2.2 Fm <(Fm− C7/G)− Coda, SD

185... Fm−D

[5/[97 /A[− Cm6

4 −G− Cm− C7/G−

187... <(Fm− C7/G)− repeat 8ba

189... Fm−D

[5/[97 /A[− Cm6

4 −D[97 /F] Σ(cm<)

191 ⊥ B◦7/D − Cm/E[−D◦/F −G−193 <(Cm−D∅7/F −G7)−197 Cm/E[−D[/F − E[7/G− . . . N6, climax203 (M1) A[ A[−B[m7/A[−A[205 (M1) A[−B[m7/A[−A[ repeat 8va207 Cm D

[5/[97 /A[− Cm6

4no 1 −G7 − Cm clim, cad (210 m.)


5.3. SONATA OP. 27 NO. 2 IN C] MINOR QUASI UNA FANTASIA

5.3 Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia - Mond-schein (1801)

Source: [8]. This piano sonata has the subtitle: Der Grafin Giulietta Guiccardi gewidmet, Sonataquasi una Fantasia per il clavicembalo o pianoforte. However, it is better known under its nick-name ‘Mondscheinsonate’. This sonata has three movements (slow-medium-fast). Analysis ofthe Beethoven piano sonatas is supported by the formal analyses and descriptions in [26].An overview of the formal analysis is shown in Fig. 5.4.

Mvt. 1 Adagio sostenuto: ABA’B’ Coda form (C]m,[

22

], 69 m.)

A B A’ B’ C

Mvt. 2 Allegretto – Trio: scherzo and trio form (D[,[

34

], 60 m.)

Allegretto Trio

Mvt. 3 Presto agitato: sonata form (C]m,[

44

], 199 m.)


Figure 5.4: Beethoven, Sonata Op. 27 No. 2 in C] Minor Quasi una Fantasia – Mondschein

5.3.1 Mvt. 1 Adagio sostenuto

Form: binary form, ABAB Coda form. There is no sonata form as the opening movement,which is unusual. Instead we find a slow first movement with binary structure. Characteris-tic are the continuous use of upward triplet 8th arpeggios in the right hand, the major-minormode changes and the frequent use of the Neapolitan 6th chord. The detailed analysis isshown in Table 5.9.

5.3.2 Mvt. 2 Adagio cantabile




Table 5.9: Beethoven, Sonata Op. 27 No. 2, Mvt. 1 Adagio sostenuto

m M R H Comment

1 C]m C]m− C]m7/B −A−D/F]−G]7− A, RH arp↑5 M1.1 C]m−G]7 − C]m− F]m− E6

4 −B−9 M1.1 E E − Em− major-minor

11... G7/D − C − Em/B − F]7/A]−

13 ⊥ Bm− C]∅7/E −Bm64 − F]− cad

15 M1.2 Bm Bm−B − C∆7/E − F][5/[97 − B, min-maj, N6, P T (b)

17... B B − C∆7/E − F]

[5/[97 −

19... B − C][97 /G]− C]/E]− F]m (P T (b))

21 ⊥ G/B −G][97 /B]− F]m64 − C]7− N6, cad

23 M1.1 F]m F]m− C]7 − F]−G]7−27 ⊥ C]m−D]◦ −D]7/F×−G][97 − . . .− PD(g])30 C]m C]m/G]− . . .− C]m/G]− trans (PD(g]))34 F×◦7 −G][97 − . . .−G]

[5/[97 −

40 G][97d− A−D]∅7/F]−G]7−

42 M1.1 C]m C]m−G]7 − C]m− F]m− E64 −B7− A’

46 M1.1 E E −B7 − E −G]7/D]− C]m−49 ⊥ G]7/B]− C]m−D/F]−G]7− N6, cad

51 M1.2 C]m C]m− C]−D∆7/F]−G][5/[97 − B’, min-maj, N6, P T (c])

54... C] D∆7/F]−G]

[5/[97 − C]− F]m− (P T (c]))

56... B7/D]− Em−

57... C]m A∆7/C]−D −G]7 − C]m−

58 ⊥ D]∅7/F]− C]m64 −G]7− cad

60 (M1.1) C]m−G]7/B]− C]m−G]7− Coda, LH64 ⊥ C]m−G][97 − C]m cad (69 m.)



5.3.3 Mvt. 3 Presto agitato

Form: sonata, The sonata closes with a fast movement, full of whirling, virtuoso 16th notearpeggios, either as main subject in the right hand (M1) or as left hand accompaniment(Alberti bass style in the second group subject M2.1 and in the transitions). There is sometension-relieving contrast in the second group theme M2.2, with its contrary motion 8th notechords in both hands. The coda contains tempo variations and quasi-improvised cadenzas.The analysis is shown in Table 5.7 and 5.8.





Table 5.10: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato

m M R H Comment

1 M1 C]m || : C]m− . . .−G]/B]− . . .− Exp/Gr 1 (a) RH arp↑,

5... C]7/B − . . .− F]m/A−D]

[5/[97 /A− PB(↘)

9 ⊥ <(G][97 − . . .−D]7)/G]−G]− (b), PD(g])15 M1’ C]m− . . .− F×◦7 − . . .− (a), trans19 ⊥ D]/F×− . . .−21 M2.1 G]m G]m−D]7/A]−G]m/B −D]/F×− Gr 2 (a): RH

25... G]m−D]7/A]−G]m/B −D]/F×− (a’) repeat 8va var

29... G]7/F]− C]m/E − F]7/E −B/D]− (b) Seq(2×2m;R3), PB(↘)

31... E7/D −A/C]−D]7/C]−G]m/B−

33 ⊥ A/C]− . . .− trans, N6

36 G]m64 −D]7 −G]m−A/C]− . . .−

41 A/C]−A][97 /C×−G]m64 −D]7− cad

43 M2.2 <(G]m−D]7)− (aa): RH, Σ(cm)47 ⊥ G]m− C]m−G]m6

4 −D]7− (b)49 M2.2 <(G]m−D]7)− (aa) repeat 8va

53... G]m− C]m−G]m/D]−D]7/C]− (b’) PB(↘)

55 ⊥ G]m/B −A/C]−G]m64 −D]7− cad

57 M2.3 <(G]m−D]7)/G]− retrans, P T (g])61 ⊥ <(G]m−D])/G]−63 G]m−G]7 −1) C]m : ||2)C]

66 M1 C]− . . .− C]7/B − . . .− Dev (a): RH arp↑69 ⊥ F]m/A− C]7/E]−71 M2.1 F]m F]m− C]7 − F]m− C]/E]− (a): RH75 ⊥ F]m− C]7/E]− F]m−D7/F]− (a): LH 8ba79 M2.1 G−D7/F]−G−Bm/D − C][97 /E]− (a): LH N/I key

83... F]m−D −G]7/B]− (b’): LH

85 ⊥ C]m−A−D]∅7 −D]/F×− (b’): LH87 G]− . . .−G]7 − C]m/G] retrans, PD(g])91 G]− . . .−G]7 − C]m/G]− repeat 8va (PD(g]))95 G]− . . .−

99 G]d− A−D]∅7/F]−G]− cad

102 M1 C]m C]m− . . .−G]/B]− . . .− Rec/Gr 1 (a) RH arp↑,

106... C]7/B − . . .− F]m/A−D]

[5/[97 /A− PB(↘)

110 ⊥ <(G][97 − . . .−D]7)/G]−G]− (b), P (g])



Table 5.11: Beethoven, Sonata Op. 27 No. 2, Mvt. 3 Presto agitato (cont’d)

m M R H Comment

116 M2.1 C]m−G]7 − C]m−G]/B]− Gr 2 (a): LH

120... C]m−G]7 − C]m−G]/B]− (a’): repeat 8va var

124... C]7/B − F]m/A−B7/A− E/G]− (b) Seq(2×2m;R3), PB(↘)

126... A7/G−D/F]−G]7/F]− C]m/E

128 ⊥ D/F]− . . .− trans, N6

131 C]m64 −G]7

d− A−D/F]− . . .−

135 D/F]−D][97 /F×−C]m64 −G]7− cad

137 M2.2 <(C]m−G]7)− (aa): RH, Σ(cm)141 ⊥ C]m− F]m− C]m6

4 −G]− (b)143 M2.2 <(C]m−G]7)− (aa) repeat 8va

147... C]m− F]m− C]m/G]−G]7/F]− (b’) PB(↘)

149 ⊥ C]m/E −D/F]− C]m64 −G]7− cad

151 M2.3 <(C]m−G]7)/C]− trans, P T (c])155 ⊥ C]m− . . .− C]7/B−159 M1 F]m/A− . . .− C]m/E−163 F×◦7 − . . .−B]◦7 − . . .− LH-RH arp↑ imit

167 M2.1 <(C]m−G]7) Coda (a): LH

171... C]m−G]7/F]− C]m/E −G]/B]− (a): RH 15va

175 ⊥ C]m− C]7/B − F]m/A− C]/G]− Σ(cm<)177 F]m− . . .−D/F]− . . .− ‘solo’ RH arp, N6

181 D][97 /F×− . . .− C]m64 − . . .− cad

185 G]− . . .−G][97 − chr sc, Adagio190 M2.3 <(C]m−G]7)− C]m Tempo I, cad196 (M1’) C]m arp↗↘ (199 m.)



5.4 String Quartet in B[ Major, Op. 130 (1826)

Source: [4]. This string quartet has the dedication: “Dem Fursten Nicolaus von Galitzin gewid-met”. It is unusual in the sense that it consists of six movements, including two dances. Anoverview of the formal analysis is shown in Fig. 5.5.

Mvt. 1 Adagio ma non troppo – Allegro: sonata form (B[,[

34

][44

], 233 m.)

Exposition (93 m.) Dev (38 m.)

Recap (81 m.) Coda

Mvt. 2 Presto: scherzo and trio form (B[m−B[,[

22

][64

], 106 m.)

Presto Trio (Presto) C

Mvt. 3 Andante con moto ma non troppo: ABCABC Coda form (D[,[

44

], 88 m.)

A B C A B C Coda

Mvt. 4 Alla danza tedesca, Allegro assai: ABA’ Coda form (G,[

38

], 150 m.)

A B A’ Coda

Mvt. 5 Cavatina, Adagio molto espressivo: ABA’ form (E[,[

34

], 66 m.)

A B A’

Mvt. 6 Finale allegro: sonata form (B[,[

24

], 493 m.)


Recapitulation (130 m)

Coda (140 m.)

Figure 5.5: Beethoven, String Quartet in B[ Major Op. 130

5.4.1 Mvt. 1 Adagio ma non troppo – Allegro

Form: sonata form, The detailed analysis is shown in Table 5.12 to 5.15. This movement hasa number of characteristics: first there is the contrast between the slow (Adagio) and fast(Allegro) tempos. The Introduction section theme (M0) returns several times, together withthe tempo and meter juxtaposition. The Exposition main theme (M1) is accompanied by acountersubject (Mc), with its characteristic upward fourth leap. Both these subjects return inthe Development. And, by the way, the main theme already is developed (in a varied formM1’) in the exposition and the recapitulation. The key relationships are another remarkable


5.4. STRING QUARTET IN B[ MAJOR, OP. 130

feature: the second group theme (M2) is not in the usual dominant key (F , although that issuggested by the return of the introductory material in the exposition), but in the loweredsubmediant degree key G[. Then the development start in D, yielding the symmetric rootdivision B[ − G[ − D (the interval of the major third, 4i). In the Recapitulation there isthe regular sidestep towards the subdominant axis (E[). Finally, the movement is full ofimitation and contrary motion.

5.4.2 Mvt. 2 Presto




Table 5.12: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 1 Adagio ma non troppo –Allegro

m M R H Comment

Adagio ma non troppo[

34

]Introduction ([[)

1 M0 B[ || : B[− Cm−B[/D − F −B[− Exp/Gr 1 (a): unis, chr↘

3... F7/C −B◦7/D − Cm/E[− F7− (a’) Vi1, Σ(cm)

4... F7 −B[− F/A−

5 ⊥ Gm− C7 − F− (b), halfcad

8 Mt G7 − Cm− C7/B[− F/A−Dd− trans, imit: Vc-Vi2-

10... E[−B◦ − Cm− C7/E− Va-Vi1

11... F − F7 −B[/D −D◦/D−

12... Cm/E[− C7/E − Fm− Σ(cm>)... C7/G− Fm/A[−A◦7− PB(↗)

13 ⊥ B[− F7/C −B[7/D − E[− F [97 − halfcad

Allegro[

44

]15 M1/c B[− F7 − Cm− F7− VI1/Vi2, Seq(2×2m;R7)18 B[/D − . . .−A◦ −B[ Σ(cm<)

Tempo I.[

34

]20 M0 F F − C7/E −B[/D −G◦− (a): Vc, chr↘

22... F/A− C7/G− F − E◦ − F −B[− E◦

24 ⊥ B[− F − C7−

Allegro[

44

]25 M1/c F − C7/E − . . .− F/A− tutti, Seq(2×2m)29 ⊥ F/A− E◦7 − F7− Σ(cm)31 M1/c B[ B[− C7/E − F − Cm7 −B◦7− tutti, Seq(2×2m;R7)35 ⊥ B◦7 − Cm−B[/D − E◦7 −B[/F − F7− Σ(cm<), cad37 Mt B[− E[/G− C7/E − F − F7− trans, imit, Σ(cm>)39 Mt B[− Cm/E[− C7/E − F − F7/A− repeat, var41 <(B[− F − F7)−43 B[− F]◦7 −Gm7 − C7− tutti climax, Σ(cm)45 F − F7 −B[/D − E◦ − F − F7 −B[/D unisono49 F − C7 − F Σ(cm), unis53 M1’ G[−B[m7− Vc55 M2 G[ G[− C◦ −D[− Gr 2, Vi1 ([V I)57 M1’ G[− . . .− Vc



Table 5.13: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 1 Adagio ma non troppo –Allegro (cont’d)

m M R H Comment

59 M2’ C◦/G[−B[m/D[−A[7−

61... F◦7/A[−B[m−A[m7/C[−A[7/C−

63 ⊥ D[−D[7/F −G[− . . .−D[7−66 (M1) G[−B[[97 − E[m−A[7− trans

69 ⊥ D[−D[7d− E[m−A[m7/C[−A[7 −D[7−

71 M1 G[− E[m7/G[−D[/A[−G[/B[−D[7− ([[[[[[), Vi1 (dev)’

73... G[−D[7/F

d− E[mD[− C◦ −D[/C[−

75 ⊥ G[/B[−A[m/C[−G[/D[−D[7− cad

76 M1’ G[−A[m−D[7 −B[m7 −D[7d− imit

78... E[m− . . .−A[−D[

80... E[m−D[7 −G[− F◦ −G[/B[−D[7/A[−

82... B[[97 /D − E[m7 −A[7/C− stretto, cresc

83... D[−G[− Cm7 − F7−

84... B[[97 /D − E[m7 −A[m7− Σ(cm<)

85... F◦ − Fm7/E[−D[−D[7/C[−D[/F− Σ(cm<)

87... G[− C[−G[/B[−A[− tutti climax

89 ⊥ G[−A[m7 −D[7−90 <(G[7 − E[m7)− unisono92 1)C[−G[/B[−A◦ : ||2)C[−G[− F

Tempo I. – Allegro[

34

][44

]94 M0 G[7 − C[−D[/F −G[ = Dev, Vc96 M1/c F] Vi2/Vi1, tempi

Adagio – Allegro[

34

][44

](]])

97 M0 D D −D7/C −G/B − C]◦ −D− Vc99 M1/c D − . . .−<(C]◦ −D)− Vi2/Vi1

106 M3/c D − . . .−<(G/B −D7/C) M3: Vc, Mc: Vi1110 M3/c <(Am/C −D)−<(Am−D7)−G/B− Vc/V1113 Mc G <(G/D −D7)−D7/F]−G−116 M3/c Am7 −G− . . .−Re(A7/G−D/F])− Vc/Vi1119 Mc D7 −<(G−D7)−<(Dm7/F −B◦/D)−123 M3/c Cm− . . .− imit: Vi1-Vc125 ⊥ Cm− . . .− C/E − . . .− Cm− F7 − . . .




m M R H Comment

132 M1/c B[ B[− F7/A− F7/E[− Rec/Gr 1, Seq(2×2m;R7),134 ⊥ B[/D − F7 −B[− . . .− tutti, Σ(cm)136 F − Fm− Cm/E[−G−Gm−G◦− climax137 E[ D[/F −B[7/D − E[ SD138 M1/c A[/E[− Fm7/E[− E[+− Vi1/Vc140 M1/c B[7 − E[−A[/E[− E[− Vi1/Vc

141... A◦7 −B[[97 /A[− E[/G− Fm7 − E[+−

143... A[− E[/G− Fm7 −B[7 Σ(cm<)

144 ⊥ E[−B[7 − E[−B[/D −B[7 − E[ climax146 Mt E[−→B[7/D −<(E[m−B[[97 )− trans, imit149 (M1) E[m− E[7/G−A[−A[7/G[−

150... <(D[/F −A[−A[7/G[)− climax, Σ(cm)

152 ⊥ D[/F −B[m7 − E[/B[− E[7−153 <(A[−A[7 −D[/F )− climax, Σ(cm)157 A[−A[7 −D[−D◦7 −A[/E[−158 D◦/F − E[∅7/G[−159 (M1) A[[97 /G[− . . .− ([[[[) Vc161 M2 D[ D[−G[/D[− C[−A[7/C− Gr 2, Vi1163 M1’ D[− . . .− imit: Vc-Va165 M2 D[−D[+ −G[/D[− C[/E[− E[7− Vi1

167... C◦7 −D[/F − E[m7/G[− E[7/G−

169 ⊥ A[−A◦7 −B[m−Gm7 − E◦7−171 (M1) F − F7/E[− Vc173 M2’/1’ B[ B[− F7 −B[− . . .− imit: Va-Vi2-Vi1177 ⊥ F7 −B[− F/C − C−179 F7/C −B[/D − Cm7/E[− C7/E−180 F − F7− cad182 M1’ B[− F − F7 −B[−D −D7− tutti, Σ(cm)

186... Gm−G7 − F − F7

d− Gm−

188... Cm7/E[− F −B[/F−

189... B[− C/G− F/C− Vi1

190 ⊥ F7 −B[/D − Cm7/E[− C/E − F7−




m M R H Comment

191 M1’ B[− F/A− C7/G− F − C7/E − F7/E[− imit (dev)

193... B[/D − E[− F7 −B[− F7−

195... B[/D − F7 − E[/G−Dm7/A−B[− F7/C−

197... B[− C7

d− Dm/F − F/A−

198... B[/F − F7/C −B[−

199... Cm/E[−Dm/F −Gm7 − Cm7−

200... D[9

7 /F]−Gm7 − C7/E− stretto, cresc

201... F −B[− E∅7/G− F7/A−

202... D[9

7 /F]−Gm7 − C7− Σ(cm<)

203... F − F7 −B[− F − F7− Σ(cm<)

205 ⊥ B[− E[−B[//D −A◦7 − F7/C− tutti climax207 B[− F7− cad208 <(B[7/A[− E[/G)−Gm/Dno 1 − . . .− C7/G− unis

Adagio – Allegro[

34

][44

]213 M0 F F −D◦7 − Cm−B[/D− Coda, Vi1

215... A∅7/C −D◦ − Cm/E[− F7−

216 ⊥ A◦ −B[− F]◦−217 M1 Gm− C7/G− F/A− E[+/G− F/A−220 ⊥ B[ F+ −B[− F+ −B[/F − F7− tempi, PD(f)222 (B[− E◦7 − F − F]◦ −G−G7 − Cm− E◦7)/F− (PD(f))224 (F − F7 −B[7 − E[− E[m)/F (PD(f))226 B[/F −A◦/C −B[− Cm/E[− C7/E − F − F7− cad228 M1/c <(B[− F7)−B[− F −B[ imit, cad (233 m.)



Table 5.16: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 3 Andante con moto ma nontroppo

m M R H Comment

1 5 D[ C∅7 − C◦7 −B[m/D[− C◦ −A[7/E[− A, chr, imit: Vi2-Va3 M1 D[6 −A[7/C −D[−G[−D[64 −A[7− Va, Vc: 16ths

5 M1 D[−A[7/C −D[−G[−A[7d− B[m−A[/C− V1

7... <(B[m7 − E[7/B[−A[/C)

d− Vc: 16ths

8... B[/D[− E[m−A[m−B[/D−

9 ⊥ E[m−A[/C −D[− E[m/G[−A[−D[ cad10 A[−D[− E[−A[ trans, pizz imit

11 M2 A[ A[/E[− E[7 −A[− E[7 −A[ B, Vi1, imit13 ⊥ F7 −B[m−A[7−→E[7/G−A[/C−15 Mt B[m/D[−A[/C −D[−A[/C− imit: Bi1-Vi2-Va16 ⊥ E[7/D[−A[− E[7/G−A[−A[7−17 E[7/B[−A[− C/E − C7−18 C7 − F − C7 − F −B[m/D[− C7/E− tutti: 16ths19 F − C∅7/B[−G7/B − F/C − C− cad, Σ(cm>)

5.4.3 Mvt. 3 Andante con moto ma non troppo

Form: binary, ABCA’B’C’ Coda, A ternary structure is suggested by the key signatures (D[−A[ − D[) in the score: this corresponds to the sections A-BC-ABC. However, based on thethematic material, the six section structure (and therefore the binary division) is equallylikely. This slow movement is harmonically very rich, with many passing harmonies. Basspatterns for violoncello are outspoken: continuous series of 16th notes, wide open voicingarpeggios, ‘walking bass’ in 8th notes. The analysis is shown in Table 5.16 to 5.18.

5.4.4 Mvt. 4 Alla danza tedesca, Allegro assai




Table 5.17: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 3 Andante con moto ma nontroppo (cont’d)

m M R H Comment

20 M1 C C −G7 − C − F/C − C7 − F − C7/G− F/C C, imit: Vi1-Va-Vc

23... A[ B[m−B[m7/F −A[64 − E[7 −A[− E[7−

25 ⊥ A[− E[]57 /D[−A[/C − E[7 −A[− E[7/D[− climax26 M3 A[/C −D[−A[/C − E[7/B[− Vi1, Vc: arp

27... A[−D[−A[64 − E[7−

28 ⊥ A[/E[− E[7/D[−A[/C − E[7/B[−29 M3 D[ A[/C −D[−A[7/E[− Vi1, Vc: arp

30... D[/F −G[−D[/A[−A[−A[m−

31 ⊥ B[7/D − E[m− tutti: 16thsB[−A[7/C −B[m7/D[−A[7/E[−

32 (M3) D[−A[−A[7 −D[− F −Gm7/F − F7/A− trans34 ⊥ B[[97 − E[− E[7/D[−A[/C − E[7−36 5 <(E[[97 −B[∅7/F[− E[7)−A[7/E[− imit: Vi2-Vi1

38 M1 D[ D[−A[7/C− A’, Vi1, Vc: 16ths

39 ⊥ D[6 −G[−A[7d− B[m7 −A[7/C−

40 M1 D[− E[m−A[7/G[− Va+Vc

41 M1 D[−G[−A[7 −G[/B[−A[7/Cd− Vi1, Vc: 16ths

42... <(B[m7 − E[7/D[−A[/C)

d−

43... B[m7/D[− E[7/B −A[m−B[/D−

44 ⊥ E[m−A[/C −D[−D[/F−E[m/G[−A[7 −D[ cad

45 E[−A[− E[−A[7− trans, pizz imit

46 M2 D[/A[−A[7 −D[−A[7 −D[ B’, Vi1, imit48 ⊥ B[7/F − E[m−D[7−→A[7 −D[50 Mt E[m/G[−D[/F −G[− Fm7 −D[/A[ imit: Vi1-Va-Vi251 ⊥ E[m/B[−A[7/C −D[− E[m−A[/C −D[52 A[7/E[−D[− F/A−53 B[ F7 −B[− F7/E[−B[/D − E[/G− F7− tutti: 16ths54 B[− C7/E −B[/F − F− cad, Σ(cm>)



Table 5.18: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 3 Andante con moto ma nontroppo (cont’d)

m M R H Comment

55 M1 F F − C7 − F −B[/F − F7 −B[− F7/C −B[/D− C’, imit: Vi1-Vi2-Va

58... F [9

7 /E[d− E[m−A[7no 3 − E[m/B[−B[m

59... D[ D[64 −A[7D[−A[7/C− climax

60 ⊥ D[−A[7/G[−D[/F −A[7/C −D[−A[7/E[−61 M3 D[/F −G[−D[/F −A[7/E[− Vi1, Vc: arp

62... D[−G[−D[64 −A[7−

63 ⊥ D[−D[7/A[−G[−D[7−64 M3 G[− C[−G[/B[−D[7/A[− Va, Vc: arp65 ⊥ G[− C[−G[/D[−D[

66 M1’ A[m7/C[−G[/B[− F∅7/A[−G[/B[− Coda, imit: Vi1-Vi267 ⊥ F∅7/A[−B[m7 − E[m−A[m7/C[−D[−G[68 B[/F −A[m7/E[−Gm7/D − E◦7/D[− Vc: 8ths, P i

B(↘)69 C7 − F7/C − F◦7/D − E◦7/B[−70 C]◦7/B[− C7/G−71 M1’ C]◦7/B[−A−A7 − C]◦7/G−A[ Vi2+Va, N/V

73... C∅7/G[− F7−

74... B[[97 − E[[97 −A[97 −D[97− Seq(5×R5)

76... G[/D[−D[−

77... A[7/C −D[/A[−A[7/G[−D[/F−

78... G[−A[/C −D[−

C[∆7/G[−B[7/F − E[m−A[7−79 ⊥ D[/F −A[7 −D[−A[−D[−A◦ −B[80 E[m− C◦ −D[−G[/B[− C◦ −D[7 −B[/D−82 E[m−83 B[/D − E[m− C◦ −D[−

G[/B[− C◦ −D[7/C[−84 G[/B[−A[−D◦7 − E[m−D◦/F − E[m−A[7−85 M3 D[−G[−D[/F −A[7/E[− Vi1, Vc: arp

86... D[−D[7 −G[/D[−D[

87... D[7/C[−D[7/F −G[− tutti: 32ths, Σ(cm<)

88 ⊥ A[7d− B[m−A[/C −D[− climaxE[m7/G[− E[7/G−D[64 −A[7 −D[ cad (88 m.)



5.4.5 Mvt. 5 Cavatina, Adagio molto espressivo

Form: ternary song, ABA’, This slow movement plays with short term dynamics. Undera first violin lead there are many one- and two-measure crescendi-decrescendi. Most of themovement is in slow quarter and 8th notes, with occasional contrary motion and a somewhatlonger crescendo towards a climax. The retransition changes the rhythm to triplet 8th notesand touches upon a number of passing key centres. The analysis is shown in Table 5.19.

5.4.6 Mvt. 6 Finale Allegro




Table 5.19: Beethoven, String Quartet in B[ Major Op. 130, Mvt. 5 Cavatina, Adagio moltoespressivo

m M R H Comment

1 M1a E[ E[− C7/E − Fm−B[7 − E[−B[7/F − E[/G− A, Vi1

3... Fm/A[− F7/A−B[− E[−B[7/F−

5... E[/G−B[7/F − E[−B[/D −B◦7 − Cm Σ(cm)

7... Fm/A[− C7/E − Fm− E[/G− Cm7 −B[/D−

9 ⊥ E[− Cm7 −B[/D−10 M1a E[−B[7 − E[−B[/F − E[/G−G7 − Cm Vi1

13... D∅7/F − C7/G− Fm/A[− F/A−D

[5/[97 /A[−

15 ⊥ Cm/G− Fm7 − Cm/G− Fm7−17 M1b G[9

7 − C[97 − F [9

7 − Seq(3×R5)19 ⊥ B[−B[97 − . . .

23 M2 E[/G− Cm−A[− E[/B[−B[−B[7/A[− B, Vi2

25... E[/G− Cm−A[− E[/B[−B[−B[7/A[− repeat Vi1

27... E[/G− E[− Cm−A[− F7/A

d− E[64 −B[7− climax, cad

30 ⊥ E[−B[7 − E[−B[7/F32 M2 E[/G− Cm− Fm7/A[− E[/B[−B[7/A[− 2nd stat, Vi2

34... E[/G− Cm−A[− E[/B[− F7/A−B[7/A[− repeat Vi1

36... E[/G− E[− Cm−A[−G7 − Cm− climax

38 ⊥ F/A− E[64 −B[7 − E[ cad40 M3 C[ E[− E[m7/D[− C[−D[m7/F[− trans, Vi1, triplets

44... A[m G[−G[7 − E[7/D[−A[m− E[/G−A[m P i

B(↗)47 ⊥ D[m/F[− E[−D[m/F[ climax

49 M1a E[ E[− C7/G−B[7 − E[−B[7/F − E[/G− A’, Vi1

51... Fm/A[−A◦7 −B[− E[/G−B[7/A[−

53... E[/G−B[7/F − E[−B[/D −B◦7 − Cm Σ(cm)

55... Fm/A[− C7/E − Fm− E[/G− Cm7 −B[/D−

57 ⊥ E[− Cm7 −B[/D−

59 M1b’ E[−B[7 − E[−B[7d− Cm− Fm/A[−B[7 Σ(cm), climax

61... E[64 −B[7/F − E[/G−B[7/D−

63... E[7/D[−A[/C −A[m/C[−B[7− climax

64 ⊥ E[−B[7 − E[ cad (66 m.)




The key relationship diagram of this late string quartet is shown in Fig. 5.6. The outer sonataform movements have the widest key scope and require the equivalence property in thedevelopment section (Mvt. 1: G[ = F], Mvt. 6: F ). The roots of the movements lie on thevertical symmetry axis B[ − B[m −D[, with the exception of the Cavatina (Mvt. 5), whichis in the subdominant key E[. Note the limited span and the major third 4i symmetry axisrelationships in all four middle movements, where we see B[−Dm (1) and F −D[, C−Em(1) and E[−C[ (1) respectively. There are two such moves in the opening movement: B[−G[(2) and F]−D (3).

Mvt. 1 Adagio – Allegro

G[

E[m

E[

Cm

C

Am

A

D[

B[m

B[

Gm

G

Em

E

A[

Fm

F

Dm

D

Bm

B

E[

Cm

C

Am

A

F]m

F]

� -1,7

��2

t

t

��

�� 3�4

�5

AAAAAU 6

Mvt. 2 Presto

B[m

B[

Gm

Fm

F

Dm

6?

��

1

Mvt. 3 Andante

D[

B[m

B[

A[

Fm

F

-� 1

-2

��

Mvt. 4 Alla Danza

C

Am

G

Em

�1��*

2

?

Mvt. 5 Cavatina

C[

A[m

A[

G[

E[m

E[��

6 1

��

Mvt. 6 Finale – Allegro

A[

Fm

F

E[

Cm

C

B[

Gm

G

F

Dm

D

- 1t

t2

@@@R -3,5

�� -�4,6,8

6HHHj 7

Figure 5.6: Beethoven, String Quartet in B[ Major Op. 130, key relationship diagram

5.5 Symphony No. 5 in C Minor, Op. 67 (1807-8)


5.5.1 Mvt. 1 Allegro con brio

Form: sonata form. This symphony movement is another element in the classical musiccanon. The two fermatas in the opening phrase are exercises in every conductor’s crashcourse. The detailed analysis is shown in Table 5.20 and 5.21. The key motif from the maintheme, also known as the ’Fate motif’ (‘Schicksalsmotiv’) will return in later movements of this


5.5. SYMPHONY NO. 5 IN C MINOR, OP. 67

Mvt. 1 Allegro con brio: sonata form (Cm,[

24

], 502 m.)


Recap (55 m.) 2nd Dev (71 m.) Coda - 3rd Dev (109 m.) Coda

Mvt. 2 Andante con moto: theme and variations form (A[,[

38

], 247 m.)

Theme Var 1 Var 2 Var 3 Coda

Mvt. 3 Allegro: scherzo and trio form (Cm,[

34

], 373 m.)

Scherzo Trio

Scherzo Coda


44

], 446 m.)

Exposition (88 m.) Development (67 m.) Tempo I (54 m.)

Recap (88 m.) 2nd Dev (67 m.) Coda (82 m.)

Figure 5.7: Beethoven, Symphony No. 5 in C Minor

symphony.1 Note that the movement has a secondary development in the coda.



1Beethoven is even praised for his visionary view on Morse signals: ‘Ve Von ze Var!’.



Table 5.20: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio

m M R H Comment

1 M1.a Cm Cm−B◦− Exp, Gr 1/Th 1, Cl+Str7 M1 A[/C − Cm−B◦7 −<(G7/B − Cm) imit: Str

18 ⊥ G7/B − Cm−D[57 /A[−G halfcad, tutti climax

22 M1.a B◦7 imit: Str25 M1 <(B◦7 −G7 − Cm)

34... (D∅7 −B◦7 − Cm−B◦7 − C7)/C− T cad, P T (c)

40 ⊥ (Fm−B◦7 − C7 − Fm−B◦7)/C− (P T (c))44 M1.a’ Cm −G7 − Cm tutti climax, cad53 (A◦7 − F [9

7 )/C −B[/D− trans to M, P (c)59 M1’ E[ B[4 Motto: Hns63 M2 E[/B[−<(B[7 − E[) Gr 2, dolce th: Str

75... C7/E − Fm−D[/F − E[/G− E[7 −A[

83 ⊥ F [97 /A−B[4 − F [5

7 /C[− F [97 /C− cresc, P i

B(↗), P (e[)94 <(<(B[7 − E[)− Fm7 − E[64 −B[) cad, tutti climax

110 M1.a E[− . . .−<(B[− E[) closing cad

125 M1.a Fm C[97 Dev, Gr 1, Hns

130 M1 Fm− . . .−<(C[97 − Fm) imit: WW+Str

143 ⊥ D◦ −D7/F]−G7−146 M1’ Cm Cm−<(G7 − Cm) imit: Str, PD(g)

151... A◦ −A7 −D7−

154... Gm Gm−<(D7 −Gm) imit: Str+WW

158 ⊥ Gm−D[97 /A−Gm/B[− F]◦7/C − C]◦7− cresc, PB(↗)

175 Gm/D − C]◦7/E −D/F]− tutti, cad179 M1’ G D7sus4 −D7 −G7sus4 −G7 − C7sus4− Motto, climax, imit195 Fm <(Fm/A[−G◦/B[− E◦/G− Fm/A[) trans204 Fm/A[−G[/B[−A◦/C −B[m/D[− PB(↗)211 C[/E[−D[/F−215 F]m− . . .−D/F]− . . .−228 M3’ D/F]− . . .−B◦7 − . . .− Motto, tutti climax240 M1.a B◦7 Retrans

248 M1.a Cm Cm−G/D Recap, Gr 1. tutti253 M1 A[/C − Cm−<(G[9

7 /B − Cm) imit: Str265 ⊥ G7 − Cm−D[5

7 /A[−G halfcad, climax269 M1.a G[9

7 − imit: Str273 M1 Cm−G7 − Cm cresc

277... (Fm−B◦7 − Cm−B◦7 − C7)/C− T cad, P T (c)

284 ⊥ (Fm− C7 − Fm−B◦7)/C− (P T (c))



Table 5.21: Beethoven, Symphony No. 5, Mvt. 1 Allegro con brio (cont’d)

m M R H Comment

288 M1.a’ Cm− . . .−G7 − . . .− Cm cad, tutti climax296 ⊥ F]◦7 −G/D− trans, cad303 M1’ C G7sus4 Motto: Bsn307 M2 C −<(G7 − C) 2nd Dev, Gr 2, PD(g)

323... C[9

7 − F −D[97 −G− Fm/A[−G[9

7 /B− Seq(2×4m;R7), cresc338 ⊥ D[5

7 − . . .−<(D −G7/D)−346 <(<(G7 − C)−Dm/F − C6

4 −G)− cad, tutti climax362 M1.a C − . . .−<(G− C) closing cad

374 Fm C − Fm/A[− C/E − Fm Coda, 3rd Dev, epis 1382 D[/F − . . .−D[9

7 /F] tutti climax398 M1’ E[ <(E[/G−B[[97 ) motto: Bsn+LoStr

407... E[− . . .− Cm motto dim: Str

416 ⊥ G7/B − C/E − Fm−G7

d−

421 Fm/A[−G7 − F/A−G/B− cad423 M3 Cm Cm−D∅7/A[− Cm/E[− Fm− F7/E[− theme: Str, P T (c)431 ⊥ G7 − Cm/E[−A[/C −D∅7/F −G4 −G− cad439 I(M3) Cm−D∅7 − Cm/E[− Fm−<(G− Cm) Epis 2, imit: WW-Str

453... Cm−Gm−A[− E[−<(Fm− Cm)

459... <(Cm6

4 −G)− cad461 ⊥ Cm−Gm−A[− E[−<(Fm− Cm)468 <(Cm6

4 −G)− Cm cad470 M1.a G− . . .−<(G7 − Cm)−G tutti climax

483 M1 Cm Cm Real coda, imit: Str491 M1.a <(G− Cm) closing cad496 <(Cm−G)− C (502 m.)




Form: ternary song form, scherzo and trio form. The analysis is shown in Table 5.22 and5.23. The scherzo is repeated in a varied form and leads directly (attacca) into the final fourthmovement.





Table 5.22: Beethoven, Symphony No. 5, Mvt. 3 Allegro

m M R H Comment

1 M0 Cm Cm−D/F]−G7 − Cm Scherzo, Intro: Str9 M0 Cm−D/F]− C]◦ −D −D7/C−

15 ⊥ G7/B − Cm−G/B − Cm− F]◦7 −G− halfcad

19 M1 Cm−<(G7 − Cm)− Horn theme24 ⊥ Cm7 − Cm7/B[− Fm7/A[−B[−27 M1 E[m E[m−<(B[− E[m)− E[m7− repeat: WW+Str

33... A[m−D[−G[− C[− C[∆7 − Fm

38 ⊥ <(B[− E[m)−B[ cad, ambiguity45 M0 B[m B[m− C/E − F7 −B[m− F−

53 M0 B[m− C/E − Fm− 2nd stat: Str57 ⊥ Cm G/B − Cm−D/F]−60 C]◦7 −D −<(Em7/D −G[5

7 /C])− trans, PD(g)

71 M1 <(G− Cm)− Cm7 − Fm−B[− Horn theme79 M1 Fm <(C − Fm)− Fm7 −B[m− repeat: WW+Str

86... E[−A[−D[−D[∆7 −Gm

90 ⊥ <(C[97 − Fm)− C−

97 M0 Cm Cm−D/F]−G 3rd stat: Str101 M1’ <(G7 − Cm) Σ(cm), PD(g)

109 ⊥ A[− Cm64 −D[/A[−G[9

7 − (PD(g))116 Mt <(G7 − Cm− Fm− Cm/G−G7 − Cm) trans, Str123 ⊥ <(G7 − Cm− Cm7 − Fm)− F]◦7−131 M1’ Cm/G−<(G− Cm)−137 ⊥ C7/E − Fm−G− Cm closing cad (120 m.)

141 M3 C G− C −G7/F− Trio, A imit: Str144 ⊥ C/E −B◦/D − C/E −Am/C147 M3 G D7/C −G/B − C]◦ −D7− (imit: Str+Bsn)150 ⊥ G− E − F −G− C153 M3 C G7 − C − Em7/B −D7/A−G/B − C/E− (imit: tutti)157 ⊥ G D7 −G−<(D/A−G)−D− (repeat ending)161 M3’ G−G7− trans



Table 5.23: Beethoven, Symphony No. 5, Mvt. 3 Allegro (cont’d)

m M R H Comment

169 M3 C C −G7/F − C/E − Em/B −G7 − C B, imit: Str+WW174 M3 F C7/E − F − C7/B[− F/A (imit)178 M3 G7 − C − C7 − F stretto imit182 M3 C <(G−G7 − C)/G tutti climax, PD(g)189 (C − F −G− Em−Am7 −Dm−G7)/G trans, (PD(g))194 M3’ <(C −G)− C −G−G7− cad+trans

206 M3 C G7/F − C/E − Em/B −G7 − C repeat, imit: Str210 M3 F C7/E − F − C7/B[− F/A (imit)214 M3 G7 − C − C7 − F stretto imit218 M3 C <(G−G7 − C)/G WW, PD(g)224 G7− retrans229 G[9

7 −D −G7 − Cm−D◦ − Cm64 −G− PB(↘)

237 M0 Cm Cm−D/F]−G7 − Cm−G− Scherzo repeat245 M0 Cm−D/F]− C]◦ −D −D7/C− Str251 ⊥ G7/B − Cm−G/B − Cm− F]◦7 −G halfcad

255 M1 Cm−<(G7 − Cm)− Cm7 − Fm7 −B[− WW theme262 M1 Fm C −<(Fm− C7)− Fm repeat: WW

269... D[− E[−A[−D[−D[∆7 −B[m

274 ⊥ <(C − Fm)− C cad, ambiguity281 M0 Cm Cm−D/F]−G− 2nd stat: Str+Bsn285 ⊥ <(G7 − Cm)/G P (g)

294 M1’ G[97 −D◦/A[−G7− motto: Hn (PD(g))

300 <(Cm− Fm/A[−G7)− trans, cad308 Cm− Cm7 − Fm−G−G7 − Cm−B◦− PB(↘)312 Cm− Cm7 − Fm− F]◦7 − Cm6

4 −G7− cad

316 M1’ <(Cm−G)− C7/E − F −Gd−

324 M1’ A[ A[ Coda, P (a[−c)339 M0 A[−D[5

7 /A[− Cm/G−G−D7/F]− 3rd stat: Vi1 (P T (c))

344... Cm Cm6

4 −G−D[57 /A[− Cm6

4 −G4− trans (P T (c))

355... C (C −G7sus4 −Am7 − F )/G major (P (c−g))

360 ⊥ (G− C − F )/G−G7− P (g) (373 m.)


5.6. SYMPHONY NO. 6 IN F MAJOR PASTORALE, OP. 68

5.6 Symphony No. 6 in F Major Pastorale, Op. 68 (1808)

Source: [5]. An overview of the formal analysis is shown in Fig. 5.8. Note that this symphonyhas five movements.

Mvt. 1 Allegro ma non troppo: sonata form (F ,[

24

], 514 m.)

Exposition (138 m.)

Development (141 m.)


Mvt. 2 Andante molto moto: ABBA Coda form (B[,[

128

], 140 m.)

A1 B1 B2 A2 Coda

Mvt. 3 Allegro: scherzo and trio form (F ,[

34

][24

], 264 m.)

Scherzo Trio Scherzo Coda

Mvt. 4 Allegro: ABCABCBD form (D[− Fm,[

44

], 155 m.)

A1 B1 C1 A2 B2 C2 B3 D

Mvt. 5 Allegretto: ABACABAD Coda form (F ,[

68

], 264 m.)

A1 B1 A2 C1 A3 B2 A4 D1 C1 D2 C2

Figure 5.8: Beethoven, Symphony No. 6 in F Major Pastorale


Form: sonata form. Movement 1 has the descriptive title ‘Erwachen heiterer Empfindungen beider Ankunft auf dem Lande’.2 The analysis is shown in Table 5.24 and 5.25.

5.6.2 Mvt. 2 Andante molto moto


2For many years this opening motif was the radio station signature tune of the West-Deutscher Rundfunk(WDR). It returns, somewhat in disguise though, in Alban Berg’s opera Wozzeck.



Table 5.24: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo

m M R H Comment

1 M1.a F F − C7 − F − C − F Exp, Gr 1, Vi19 M1.b <(F − F/A− C7/G− F −B[− F − C)

16 Mt1 <(C −B◦) −B[− F trans motif: Vi1, PD(c)29 M1 F − . . .− 2nd stat: Ob, P (f−c)

32... <(E∅7 − F −Gm7 − F − C − F )/F−

43... (C − F − C7)/C− PD(c)

47 ⊥ <(F − C7)− cad, PD(f)53 M1.a’ F −Dm − F/C −G7/B− trans: Vi1, mod to D67 M2 C <(G7 − C6) Gr 2, imit: Vi84 M2 G7 − C6 −G7/B − C −G7/D− cresc: WW93 M3 <(C − F − C −G7−) Str, climax

111 C − F − C −G7− cad, triplets115 Mt2 <(C − F]∅7 − C −G7)/C− retrans to T, P T (c)127 ⊥ <(C −G7)/C− dim, closing135 M1.a F − C − F −B[ trans motif: Vi1

139 M1.a F C7 − F − F7− Dev, Gr 1, imit: Str-WW151 M1’ B[ B[ arp down motif, P T (b[)163 M1’ D D (motif on 1,3,5) P T (d)175 M1’ D (repeats) tutti climax182 M1’ D dim, trans191 M1.a G D7 −G−D −G−D7− main theme: Vi1197 M1’ G arp motif, P T (g)209 M1’ E E (motif on 1,3,5) P T (e)212 M1’ E (repeats) WW+Str climax228 M1’ E dim, trans237 M1.a A E7 −A− E −A− E7− main theme: Vi1243 M1.b A−D −A− E7−247 M1.b A −G]∅7 −A7−255 M1.b D D −Gm−D7 −G7− also I(M1.b): WW+Str

263 M1.b F C − F 6 − C7 − F − C7

d− − tutti climax, PD(c)

275 Mt3 (B[)/C retrans (PD(c))

280 M1.a F F − C7 − F Recap, Gr 1, Str283 ⊥ C solo arp289 M1.a/b <(F −B[/D − C7)− both themes as ctp291 M1.a/b <(F −B[− F − C7−) triplets300 ⊥ C trans, PD(c)308 C − F −B[− F/A− C7/G− cresc



Table 5.25: Beethoven, Symphony No. 6 Pastorale, Mvt. 1 Allegro ma non troppo (cont’d)

m M R H Comment

312 M1 F F −<(C7 − F )/F− final stat, tutti clim, P T (f)

318... (C − F − C7)/C− PD(c)

322 ⊥ <(F − C7)/F− P T (f)328 Mt1 F Dm F/C −G7/B − C7/B[− B◦− trans: Vi1, triplets346 M2 <(C7 − F 6) Gr 2, imit: Str362 M2 C7 − F − C7/E − F − C7/G− triplets, cresc372 M3 <(F −B[− F − C7)− WW+Str, climax392 F −B[− F − C7− cad, triplets396 Mt2 <(F −B◦ − F − C7)/F− trans to SD, P (f)404 ⊥ <(F − C7)/F− dim, closing416 M1.a F − . . .− F7− trans motif: Fl

424 M1.a B[ E[−B[/D − F7 −B[− F7

428 ⊥ B[− F7 cad430 Mt2 <(B[− E◦ −B[− F7−)/B[ trans triplets, P T (b[)438 ⊥ B[− C7−442 Mt2 F <(F −B◦ − F − C7−)/F trans, P T (f)450 <(F −Dm− F/C − C7−) tutti climax462 <(C7 − F )/C − C− dimin470 M1’ <(C7 −G7/D − C7/E − F − C)− arp down motif: Vi1478 <(F − C7)− closing cad494 M1.a F − C7 − F final stat: Vi1, imit: WW507 B[− F − C − F closing cad (514 m.)




Form: scherzo and trio form or, alternatively, ternary song form. Movement 3 has the de-scriptive title ‘Lustiges Zusammensein der Landleute’ (The cheerful peasant meeting). The analysisis shown in Table 5.26 and 5.27.





Table 5.26: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro

m M R H Comment

Allegro [Scherzo][

34

]1 M1 F || : F − . . .−Dm−A A1, Str unis, imit9 M2 D D − . . .−A−Bm−A− Str+Fl, P T (d)

13 M1 D − . . .−A−D − C−17 M1 F F − . . .−Dm−A 2nd stat., Str unis, imit25 M2 D D − . . .−A−Bm−A− Str+Fl, P T (d)29 M1 D − . . .−A7 −D33 M1 D − . . .−G− . . .− trans to D41 M2 C C − . . .−G−Am−G Str+Ob, P T (c)45 M1 C − . . .−G7 − C49 M1 F F − . . .− C7− final stat: Str53 M1 F − . . .− C climax, WW+Str60 ⊥ C − C7/B[− F/A− tutti64 Gm7/B[− F 6

4 − C − F cad68 C − C7/B[− F/A− repeat72 Gm7/B[− F 6

4 − C− cad75 <(F − . . .− C7)− F trans, Str arp

87 M3 F F − . . .−<(C7sus4 − F − C7 − F ) B, Ob107 M3 F −<(C7sus4 − F − C7 − F ) 2nd stat: Ob123 M3’ C C −G7sus4 − C −G7 − C − C7 Cl133 M3’ F F − C7sus4 − F − . . .−<(C7 − F )− C7 FHn-Ob

143... (F − C7 − F − C7)/F − C7

d− Ob+Cl+FHn, P T (f)

151 ⊥ B[/F − F/C − C7/G−155 M1 F trans

a Tempo Allegro [Trio][

24

]165 M4 B[ <(F −B[− F7 −B[) C, Vi (2x), PD(f)173 M4 <(F −B[− F7 −B[) Vi (2x), Fl

181 M4/5 <(F −G7 − C7 − F − C7 − F ) D, M4: Bsn+Va, M5: Vi189 M4’/5’ C C −G7 − C −B∅7− M4’: Va+Vc, M5’: WW191 ⊥ C/E − F − C6

4 −G7− P T (c)193 M4’/5’ C −G7 − C −B∅7− repeat195 ⊥ C/E − F − C6

4 −G7− P T (c)197 M4’ C −G− C − . . .−G− C − . . .− : || trans, Va+Vc, P (c−g)



Table 5.27: Beethoven, Symphony No. 6 Pastorale, Mvt. 3 Allegro (cont’d)

m M R H Comment

Tempo 1 [Scherzo][

34

]205 M1 F F − . . .−Dm−A A2, Str unis, imit213 M2’ D D − . . .−A−Bm−A−Gm/B[− Str, P T (d)217 ⊥ <(F −Gm)− F 6

4 − C7−223 M2 F F − . . .−B[− F− WW, P T (f)227 M1 F − . . .− C− WW (P T (f))231 M1 F − . . .− C− Str unisono

Presto Coda235 M1’ F F − . . .− climax, tutti unisono241 ⊥ F − C − . . .− C7/B[− F/A−246 Gm7/B[− F 6

4 − C7− cad249 F − C − . . .− C7/B[− F/A− repeat254 Gm7/B[− F 6

4 − C7−

257 F − . . .− C7 − F − . . .− C7

d− Str arp (264 m.)


5.7. SYMPHONY NO. 7 IN A MAJOR OP. 92

5.7 Symphony No. 7 in A Major Op. 92 (1811-1812)

Source: [5]. An overview of the formal analysis is shown in Fig. 5.9.This glorious symphony is very much about rhythm and rhythmic grooves (‘Beathoven’).

Riff-like patterns are processed extensively, being varied, used in imitation, augmentation ordiminution, etc. The main key A major and various instrumentation effects (tutti climaxesand accents, brass and timpani pedal points) create a triumphant mood.

All movements show that the sections are balanced when considering measure counts.The exceptions are the shortened B2 section in the slow second movement, and the longcoda in the closing fast movement. The scherzo and trio movement has a nice symmetry(bridge form), as does the opening movement (where introduction and exposition balancethe recapitulation and coda). The second scherzo seems longer than the other two, but thathas to do with the fact that in the score the repetition signs have been omitted (repeats arewritten out in full in this section).

5.7.1 Mvt. 1 Allegro ma non troppo - Vivace




Mvt. 1 Allegro ma non troppo - Vivace: sonata form (A,[

44

][68

], 450 m.)

Inroduction (62 m.) Exposition (114 m.)



Mvt. 2 Allegretto: ABBA Coda form (Am,[

24

], 278 m.)

A1 (101 m.) B1 (48 m.)

A2 (75 m.) B2 (23 m.) Coda (30 m.)

Mvt. 3 Presto - Assai meno presto: scherzo and trio form (F ,[

34

], 653 m.)

Scherzo (149 m.)

Trio (88 m.)

Scherzo (172 m.)

Trio (88 m.)

Scherzo (144 m.) Coda (13 m.)

Mvt. 4 Allegro con brio: sonata - rondo form (A,[

24

], 469 m.)

Exposition (125 m.)



Coda (124 m.)

Figure 5.9: Beethoven, Symphony No. 7 in A Major



5.7.2 Mvt. 2 Allegretto




5.7.3 Mvt. 3 Presto - Assai meno presto

Form: scherzo and trio form. The trio is played twice, juxtaposed with three scherzo sections,and concluded with a coda. The analysis is shown in Table 5.28 to 5.30.

The presto Scherzo section main melody has M(abbb’cc’) (2 + 4 + 4 + 6 + 4 + 4 m.) struc-ture. The a-phrase consists of the tutti fortissimo (ff ) arpeggio accents over the tonic majorchord F with upbeat. The b-phrase continues the melody as two-part parallel consonantsS(2p), with both lead voices and background as a continuous quarter note staccato ‘groove’.The b’-phrase acts as an inner transition into the final c-phrase arpeggios over closing fullcadences in the key of A major (mediant degree key with third relationship to tonic). Thelong transition, starting in m. 25, may also be considered a small scale development of theM1 a- and b-phrase. The former is set as a string section imitation, rising from the lowerstrings to the first violins (m. 25, later in m. 137) or in the original tutti accent setting (m. 41,later in m. 141). The b-phrase receives sequential treatment and moves from woodwindsto strings and back. There is a remarkable kind of ‘false start’ in m. 60 with M1’(ab) (1 + 4m.), pushed away so-to-speak, by the real theme statement starting in m. 63, although beit in the subdominant major key B[. The b-phrase then (m. 82, with strings playing a se-ries of 1st inversion chords [S6] ) leads into the closing statement, a tutti climax with variedM1(abbb’b’) structure, with contrary motion in the b’-phrases. This statement is interruptedby a brief development of the b-phrase (m. 107 ff.), before the cadential c-phrases are playedtwice (m. 117 ff), ending in a tutti climax, and a (re)transition on the tonic major chord.

The Trio presents theme M2.1 in a quasi-chorale setting. This has regular M2.1(abab’)(4 + 4 + 4 + 4 m.) period structure. It is played by clarinets, bassoons and horns, againin two-part diatonic parallel S(2p) (like the presto), with contrary motion between voicegroups (compare clarinets with horns). There is extended dominant pedal point in violins(lower strings absent for most of the trio). A repeated statement with imitation phrasesin woodwinds leads into the bridge section (m. 181 ff.). The melody M2.2 continues theprominent role for woodwinds in two-part, consonant diatonic parallel chorale setting. Thismelody subdivides as M2.2(abcdd) (4 + 4 + 6 + 2 + 2 m.). The sustained dominant pedalpoint in violins is joined by a two-measure ‘riff’ for horn. The theme M2.1 returns as a tutticlimax (m. 207 ff.), with the dominant pedal point now in trumpets and timpani. The hornriff provides the groove over the sustained string harmonies in the (re)transition.

The scherzo and trio are repeated. The final repeat of the scherzo leads into the briefcoda (m. 641 ff.), that juxtaposes the essential elements from the trio (M2.1 a-phrase, note thesubtle major-minor change) and the scherzo (M1 a-phrase tutti accents).





Table 5.28: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto

m M R H Comment

Presto [Scherzo][

34

]([)

1 M1 F || : F − . . .− a): tutti accts

3... (F −B[∆7 −Gm7)/F − C b): WW+Str S(2p)

7... C − C7 − F b)

11... <(C7/B[− F/A− C7/G− F ) b’): Str+Fl

15... E[5

7 no 1/B[−A−G]◦7/D −A/C]17 ⊥ A <(E7 −A) : || cc’): tutti cad25 (M1) || : A− . . .−A/C]− a’): Str Lo-Hi imit29 (M1) <(Bm/D −A/C]−G]◦7/B −A) trans, b’): Fl+Cl

33... <(G]◦7 −A− /C])− Seq(3×4m;R5)

37... <(C]◦7/E −D)− HiStr

41... <(D∅7/A[−G7)− Bsn+LoStr

44 ⊥ G7− a’): tutti accts45 (M1) <(F/A− C/E −B◦/D − C) b’): Fl+Ob

49... <(B◦/D − C)− Seq(2×4m;R5)

53... <(E◦/G− F )− HiStr

57 ⊥ <(C∅7/G[− F7)− Bsn+LoStr60 M1’ B[ F7− a’): tutti accts, ‘false start’61 ⊥ <(E[/G−B[/F − E −B[/D)− b’): Str63 M1 E[/G−B[/F −Gm7/D −B[ a): Ob+Bsn+Va

66... B[− . . .− F − . . .− F7− bb): Ob, Bsn offbeat

74 ⊥ B[− . . .− F − . . .− F7− bb): Fl+Ob, cresc82 B[− . . .− trans, Str, WW P (f)84 Gm/B[−→Gm/B[− Str [S6]↘, WW offbeats87 C7 − . . .− Str Σ(cm<)89 M1 F F− clos stat, a): accts

91... (F −Dm−B[∆7)/F − E◦− b): Vi, tutti clim

95... E◦ − C7 − F b)

99... F − Cno 3− b’): WW Σ(cm<), Str sust bg

103 ⊥ C − C7 − F107 (M1) <(C7/B[− F/A− C7/G− F )− ‘interrupt’, Str-WW imit

113... B[− F/A−B◦/D − C Str PL(↗), cresc

115 ⊥ F − C/E −B◦/D − C Σ(cm<)



Table 5.29: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto (cont’d)

m M R H Comment

117 M1 C <(G7 − C) cc’): Vi1, WW accts

125... F <(C7 − F ) cc’): WW+Str, Brs accts

134 ⊥ F − . . .− WW+Str arp↘137 (M1) F − . . .− a’): Str Lo-Hi imit141 (M1) F − . . .− : || a’): tutti accts

Assai meno presto [Trio] (]])149 M2.1 D <(D −A−D) a): Cl+Bsn+Hn S(2p), Vi PD(a)

153... D −A/C]−D −A7 −D −A b): halfcad

157... <(A−B]◦7)− a)

161 ⊥ <(A7 −D) cad165 M2.1 <(D −A−D) 2nd st, WW-Hns im, Vi PD(a)

169... D −A/C]−D −A7 −D −A halfcad

173... <(A−B]◦7)− a)

177 ⊥ <(A7 −D) cad181 M2.2 || : F]m−G]◦ −A7no 3− a): WW S(2p), Hn+Vi PD(a)

185... D −A7no 3/E −D −A halfcad, Hn ‘riff’

189... F]m−A7no 3 −D a’):

195 ⊥ <(A−D) b’)199 A−B7/A− C]◦7 − . . .− tr, Vi PD(a), WW offbt accts207 M2.1 <(D −A−D) a): tutti clim

211... D −A−D −A7 −D −A b), halfcad

215... <(A−B]◦7)− a)

219 ⊥ <(A7 −D) : || cad223 D −A7/C]− retrans, Hn ‘riff’, Str bg227 D −A−D −A7 − C7−



Table 5.30: Beethoven, Symphony No. 7, Mvt. 3 Presto - Assai meno presto (cont’d)

m M R H Comment

237 Presto [Scherzo] ([) See m. 1 ff.409 Assai meno presto [Trio] (]]) See m. 149 ff.497 Presto [Scherzo] ([) See m. 1 ff.

Coda641 F F − . . .− WW+Str sust

Assai meno presto645 M2.1 (D −A−D)/A− a): Cl+Bsn+Hn, Str PD(a)647 ⊥ Dm (Dm−A−Dm) maj-min

Presto649 (M1) F (B[−B◦ − F 6

4 )− C7 − F a’): Str unis, tutti accts (653 m.)


5.8. SYMPHONY NO. 8 IN F MAJOR, OP. 93

5.8 Symphony No. 8 in F Major, Op. 93 (1812)


Mvt. 1 Allegro vivace e con brio: sonata form (F ,[

34

], 372 m.)



Figure 5.10: Beethoven, Symphony No. 8 in F Major, Op. 93

5.8.1 Mvt. 1 Allegro vivace e con brio

Form: sonata form. The coda contains a secondary development. The analysis is shown inTable 5.31 and 5.32.





Table 5.31: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio

m M R H Comment

1 M1 F || : F − C − C7 . . .− F − C − F Exp, Gr 1, Vi, PD(c)9 ⊥ F/C − C − C7 − F 6

4 − C7−12 F −B[/D −Gm7/B[− C7 − F −B[/D− Vi1, T cad, P T (f)

24 B[7/F − . . .−B[7/F = E[5/[97 /F tutti climax (P T (f))

34 A7/E trans, mod38 M2 D <(D −A)−G7/B − C − F]◦7 −G−G7− Gr 2, Vi46 M2 C <(C −G7)−D −B◦7 − C −A◦− 2nd stat: WW52 F]◦7 − . . .− D cad59 F]◦7 −B◦7 − E◦7 −D◦ − F]◦7− cresc to climax65 G−G7/F − C/E −Am−Dm−G− tutti climax, cad70 C −D◦/F −<(C − F ) (climax)73 Mt1 G7 − C G− C7 − F −Dm− C6

4 −G− trans, ctp, dolce80 C −D◦/F −<(C − F ) repeat83 Mt1 G7 − C G− C7 − F −Dm− C6

4 −G− trans, ctp, dolce90 Mt2 <(C −G7)− cresc to climax96 C − . . .− : || tutti climax, closing cad

103 C C Dev, P T (c)107 M1 G7− Gr 1, imit: WW, P T (c)111 C tutti climax115 M1 Cm− . . .− F7/C − . . .− mod, imit: WW, P T (c)123 B[ B[ tutti climax, PD(f)

127 (A[97 ) P (b[)

131 M1 A7 −Dm/A imit: WW, PD(a)135 Dm A tutti climax, cad143 (M1) Dm−Gm−A7 −Dm−A−Dm−D7− main th motif: DB, mod

150... Gm Gm−G− Cm−A∅7 −G7 mod, imit: Str-WW

156 ⊥ Cm Cm−G7 − C − C7 − Fm64 − C7− mod, imit: Str-WW

159 (M1) Fm Fm −D◦/F −B[m tutti climax

163... G∅7 − C7 − Fm− C◦ −D[−A[7−

167 ⊥ D[ D[− . . .−B[m− . . .−B◦7/C− retrans, climax179 B◦7/C − . . .−183 (Fm− F]◦7 − C7)/C− tutti climax, cad, PD(c)



Table 5.32: Beethoven, Symphony No. 8, Mvt. 1 Allegro vivace e con brio (cont’d)

m M R H Comment

189 M1 F F C7 − F − C7 − F Recap, Gr 1, Bsn+DB, climax197 M1 F C7 −<(F − C − 7− F ) 2nd stat: WW, dolce208 (F −B[−G7 − C)/F− cad, P T (f)214 C/E − C7− cad216 F −B◦7 − . . .−B◦7/F− T cad, climax, P T (f)

230 C[97 − F7− cad

234 M2 B[ <(B[− F7)−G7− Gr 2, Str238 ⊥ C − F7 −B[− C[9

7 −242 M2 F F − C7 − F− 2nd stat: WW T245 ⊥ C −Am−D7 −Gm− C − F247 B◦7 − . . .− T cad255 B◦7 − C]◦7 − F]◦7 −Gm−B◦7 − C− cresc to climax261 C − C7 − F −Dm−Gm7 − C− tutti climax266 F − E◦7 −<(F −B[) cad269 Mt1 C7 − F − . . .− F7− trans, ctp: WW+Str, dolce273 ⊥ B[−Gm7 − F 6

4 − C− cad275 F − E◦7 −<(F −B[) repeat279 Mt1 C7 − F − . . .− F7− trans, ctp: WW+Str, dolce284 ⊥ B[−Gm7 − F 6

4 − C− cad286 Mt2 <(F − C7)− cresc to climax292 F − . . .− tutti climax, closing cad

300 F F − . . .− Coda, 2nd Dev, P T (f)303 M1 D[ D[ −<(A[7 −D[) WW, SD, P T (d[)310 Mt3 D[ −B[7 − E[m− C7 − Fm− F− trans, cresc322 (M1) F (F − . . .−B[m− . . .−B◦7)/F− motif, climax, P T (f)327 F − C7 − F − C − F − C − C7 cad332 Mt4 F − . . .− C7 − F/C− trans, imit: Str, cresc

340... Gm7/F − . . .−G− . . .− tutti climax

344... B[/D − F −B◦7 − C− cad

346... F − C7 − F −B[/D−

348 ⊥ G[5/[97 /D[− F/C− cad

350 <(F − C)− F − . . .− closing cad357 C − F C7 − F dimin (372 m.)


Chapter 6

Franz Schubert

1600 1700 1800 1900 2000

∗ 31-1-1797 in Lichtental (Wien)† 19-11-1828 in Wien

6.1 Symphony No. 8 Unvollendete, D759 (1822)

Source: [59]. This symphony received the nickname Unvollendete (‘Unfinished Symphony’),since it consists of two movements only. An overview of the formal analysis is shown inFig. 6.1. The opening sonata form movement is in the tonic minor key Bm, the binary formclosing movement is in the major key E. Both movements have roughly the same numbe rofmeasures, with balanced length subsections.

6.1.1 Mvt. 1 Allegro moderato

Form: sonata form. See Table 6.1 to 6.3 for the analysis. The opening melody M0 withdescending character in the low strings (celli and basses) in the introduction supports thesinister character of the movement. It later becomes the main element of the development.

Mvt. 1 Allegro moderato: sonata form (Bm,[

34

], 368 m.)


Recap (110 m.) Coda (40 m.)

Mvt. 2 Andante con moto: ABAB-Coda form (E,[

38

], 313 m.)

A1 (64 m.) B1 (78 m.) A2 (63 m.)

B2 (63 m.) Coda (44 m.)

Figure 6.1: Schubert, Symphony No. 8 Unvollendete, D759


CHAPTER 6. FRANZ SCHUBERT

The Exposition main theme M1 is played by unisono oboe and clarinet; it has sentencestructure M1(aab) (2 + 2 + 4 m.). In the background there is a continuous 16th note groovein the violins (m. 9-35). The secondary theme M2(aa’) (4 + 5 m.) is played by celli andrepeated by the violins. The background now contains woodwind (clarinet and bassoon)and horn afterbeat syncopes (m. 42-61). After a tutti climax bridge, the third measure fromthe a-phrase becomes the main element in the imitiation section in m. 73 ff, the first measurein the string-woodwind imitations in m. 94 ff.

The Development (m. 110 ff.) repeats the somber mood from the introduction. Whenthe opening theme M0 is passed on to the violins (in octaves), and later bassoon plus violas,the celli and contrabasses change to an extended chromatically ascending tremolo, startingin the extremely low pitch register. The lead part pitches rise to a climax (m. 134); note therhythm in the clarinets and trombones, which play repeated 4-beat rhythm patterns (cross-rhythm effect in

[34

]meter). A sequence with descending lead arpeggios (flutes, clarinets

and violins, m. 146 ff.) leads to the the next tutti climax with a unisono M0 statement (m. 170ff.). Then there are more sequences (m. 176 ff.), with first 16th note violin and viola runs, andthen oboe and brass dotted rhythms in the background.

The Recapitulation section (m. 218 ff.) repeats both exposition themes, in the same set-ting as the opening (same instrumentation, 16ths groove as background to M1, woodwindsyncopes as background to M2). The Coda shows similarities with the start of the develop-ment section, using M0 as the main element.




6.1. SYMPHONY NO. 8 UNVOLLENDETE, D759

Table 6.1: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato

m M R H Comment

Allegro moderato[

34

](]])

1 M0 Bm || : Bm− . . .− F]− . . . Introduction, LoStr solo9 <(B − Em)/B− Exp, Gr 1, Str, Vi 16ths, P T (b)

13 M1 <(Bm−A]◦7/G)− C]◦7− 1st stat, aa): Ob+Cl16 ⊥ D − Em/G−A[9

7 −D − F][97 − b)22 M1 <(Bm−A]◦7/G)− C]◦7− 2nd stat, aa): WW

26... D −D7 −G− E7 −A− F]7− b’)

29 ⊥ F][97 tutti clim31 D7 −G− E7 −A− trans 1, Seq(3×1m;R7)34 <(F]7 −Bm)− tutti clim36 F]7 −Bm− . . .−A−D7−42 M2 G G− . . .−D7 − . . .−G Gr 2, 1st stat: Vc49 ⊥ E7 −Am−D7−53 M2 G−D7 −G− E7 −Am−D− 2nd stat: Vi63 Gm Cm−Gm/D− trans 2, tutti clim, Str trem67 E[−A

[5/[97 /E[− C]◦7/E− WW sync

73 M2’ A7/C]−Dm−D◦ −G7 − C Str, Seq(3×4m;R−5)

77... E7/G]−Am−A∅7 −D7 −G imit legato

81 ⊥ <(C]◦7/E −A7)− imit staccato85 G/D − C −G− C −G6

4 −D7− tutti climax, cad89 G− C − E7−92 Am−G6

4 −D7 −G cad94 M2’ G− (D7 −G7 −G]◦7)/D− Str-WW imit, LoStr PD(d)

97... Am/D −D7−

99... G− (D7 −G7 −G]◦7)/D− repeat, WW, Vi sync

102 ⊥ Am/D −A[57 −D7−

104 G− . . .− climax, trans 3, PB(↘)106 Bm6

4 − F]7/C]−Bm : || cad

110 Em B7 − C −Am−B7/F] Development114 M0 Em− . . .− LoStr solo122 (M0) <(C − F][57 )/C − F]7/C]− Vi-(Bsn+Va), LoStr trem130 ⊥ D7 −B7/D]− E7 − C]7/E]− Seq(3×2m;R7), P i

B(↗)134 (M0) F]7 − . . .− (Cl+Vi)+(Hns+Vc) Σ(cm), cresc142 ⊥ F]7 − . . .−D][57 /A− diminution, tutti climax



Table 6.2: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato (cont’d)

m M R H Comment

146 C]m/G]− . . .− tr 2, WW+Vi arp↘, Seq(3×8m;R7)151 A−D]m7/F]−G]7− WW sync154 G]◦7/B − . . .− WW+Vi arp↘, tutti158 Dm/A−B[− Em−A7− WW sync162 C]◦7 − . . .− WW+Vi arp↘, tutti166 Em/B − C − F]m7 −B7− WW sync170 M0 Em Em− . . .−B7/F]− WW+Str unis, tutti climax176 (M0) Em− F]m− F]7− LoStr-WW im, Seq(2×4m;R−5),180 ⊥ Bm− C]m− C]7− Vi+Va 16ths184 (M0) F]m−D∆7− tutti clim, Seq(3×4m;R5),

186... F]m/A− C]7/G]

d− Ob+Brs dotted rh

188... Bm−G∆7 −Bm/D − F]/C]

d−

192 ⊥ Em− C∆7−194 C/G−A]◦7/G−A[9

7 /G− tutti climax, HiStr trem202 D/F]−A−D − F]− retrans, Str unis runs↗206 D/F]−A−208 D − F]− . . .− F][97 − . . .− Hns+Str PD(f])

218 Bm <(Bm− Em)/B− Recap, Gr 1, Str222 M1 <(Bm−A]◦7/G)− C]◦7/G− stat 1, aa): Ob+Cl, Vi 16ths

226... D −G− E7/G]−A[9

7 − b)229 ⊥ F]∅7/A−B7−231 M1 Em− F]∅7/C− 2nd stat, aa): WW

233... Em− E − F]∅7/C−

235 ⊥ G−Am/C −D− b’)238 Dm7 −B∅7/D − E7− trans 1, WW+Str240 A−A7−242 D −B7 − Em− C][97 − tutti clim245 A7 −D −B7 − Em− Seq(3×1m;R7)248 F]m <(C]7 − F]m)−250 C]7− tutti clim252 F]m− . . .− E7 −A7 −D trans256 M2 D D − . . .−A7 −D Gr 2, 1st st: Vc, WW sync bg263 ⊥ B7 − Em−A−


6.1. SYMPHONY NO. 8 UNVOLLENDETE, D759

Table 6.3: Schubert, Symphony No. 8 Unvollendete, Mvt. 1 Allegro moderato (cont’d)

m M R H Comment

267 M2 D −A7 −D −B7− 2nd stat: Vi

273... Em−A7 −D −G7− Seq(3×2m;R−7)

277 ⊥ C/G− Em− F]7−281 Em−Bm/F]−G− . . .− trans 2, climax, Str trem291 M2’ C]∅7/E − F]m− F]∅7− Str, Seq(3×4m;R−5)

293... B7 − E imit legato

295... G]7 − C]m− F]∅7/A−B imit staccato

299 ⊥ G]∅7 − C][97 −G]◦7 − C]7−303 B B/F]− E −B7 − E− tutti climax306 B6

4 − F]7− cad308 B − E −G]7− repeat, WW, Vi sync309 C]m−B6

4 − F]7 −B cad312 M2’ B − (F]7 −B7)/F]− Str-WW imit315 ⊥ (G]∅7 − F])/F]−317 M2’ B − F]7 − . . .− 2nd stat: WW322 B −G− trans 3, PB(↘)325 F]−Bm/D − F]7/C]−

328 M0 Bm Bm− . . .− Coda, LoStr solo334 ⊥ Bm6

4 − F]7− cad336 M0 Bm− LoStr-VI imit

340... <(Bm/D − C][97 )− cresc

347 ⊥ Bm/D − . . .− Σ(cm<), HiStr 16ths350 Bm6

4 − F]7− tutti climax, cad352 (M0) <(Bm− . . .− Em/B)− WW+Str364 Bm/D − F]7 −Bm LoStr arp↗, cad (368 m.)


6.2. STRING QUARTET NO. 14 IN D MINOR DEATH AND THE MAIDEN, D810

Mvt. 1 Allegro moderato

Gm

G

Em

E

Dm

D

Bm

B

Am

A

F]m

F]

��

?

-

1

-�� 2

?

3


F

Dm

D

Bm

B

C

Am

A

F]m

F]

G

Em

E

C]m

C]

D

Bm

B

G]m

1

6?

6?2

BBBBBBBN

�� 3

@@I

?

?

4

6-

5

Figure 6.2: Schubert, Symphony No. 8 Unvollendete D759, key relationship diagram


The key relationship diagram is shown in Fig. 6.2. The opening movement is characterisedby the motion along the R3i symmetry axis (vertical), towards the lowered submediant, seeBm − G (1) and F]m −D (2) and towards the parallel minor G − Gm (1) and B − Bm (2).The andante also shows the minor third key movement E−G−E−C] (1-2) and F]m−Am(4). This piece also reaches the lowered submediant key C = [VI (3) and the Neapolitanlowered second degree key F (5). The shift from the relative minor key C]m − D (3) isanother Neapolitan relationship.

6.2 String Quartet No. 14 in D Minor Death and the Maiden, D810(1826)

Source: [58]. The string quartet Death and the Maiden (in German: ‘Der Tod und das Madchen’)is a chamber music masterpiece. An overview of the formal analysis is shown in Fig. 6.3.Note the length of the outer movements, and in particular of the closing Presto movement,which more than doubles the number of measures in the opening sonata form movement.The latter has a fairly limited length development section.


Form: sonata form. See Table 6.4 to 6.8 for the analysis. The Exposition opens with the maintheme M1 is in the tonic minor key Dm. It has the structure M1(aaa’bb) (2 + 2 + 2 + 4 + 4 m.).The characteristic element in this movement is the a-phrase, the stepwise descending motifwith rhythm 3 + 8t + 8t + 8t + 1 (three-quarter note, 8th note triplet and quarter note, withstrong articulation and often simultaneously in all string parts). This is stated in tonic anddominant, a completion phrase a’ and followed more smooth b-phrase (longer note durationrhythm, also see the dynamic contrast). In the transitory character section (m. 15 ff.), the a-phrase immediately is picked up in an imitation setting in lower parts, with the inverteda-phrase I(M1a) in the upper parts. The triplet rhythm is played by all parts, and there is abuildup to a climax, the formal 2nd statement in m. 41.

This transition also is a piece of harmonic fireworks. Partly guided by voice leadingprinciples (chromatically descending bass, ascending leading voice), this leads to quite a



Mvt. 1 Allegro moderato: sonata form (Dm,[

44

], 341 m.)



Mvt. 2 Andante con moto: theme and variations form (Gm,[

22

], 172 m.)

Theme Var 1 Var 2 Var 3 Var 4 Var 5 C

Mvt. 3 Scherzo – allegro molto: scherzo and trio form (Dm,[

34

], 164 m.)

Scherzo (69 m.) Trio (95 m.)

Mvt. 4 Presto: ABCABCA form (Dm,[

68

], 754 m.)

A1 (89 m.) B1 (163 m.)

C1 (66 m.) A2 (129 m.)

B2 (163 m.) C2 (42 m.)

A3 (55 m.) Coda (47 m.)

Figure 6.3: Schubert, String Quartet No. 14 in D Minor Death and the Maiden, D810

few ambiguities (multiple occurences of A◦7, D]◦7) and remote intermediate keys (Cm,F]m)over a very short time span. Here is an effort to interpret this set of measures:

m. 28 m. 29 m. 31 m. 32H: Dm/A−A−A◦7 A◦7 −B[ Gm−Dm6

4 −A− A◦7−Heq: Dm6

4 −A− F [97 /A− F [9

7 /A−B[ G[97 =D[9

7

i64 − V − (V/[VI) (V − I)/[VI (vi= iv)− i64 − V V7 =II7

R: Dm B[ Dm Gm

m. 33 m. 34 m. 35 m. 36H: A[7− Cm/G A[7/G[− D[/F−Heq: D

[5/[97 no 1/A[− Cm6

4 D[5/[97 no 1/A[−

II7 i64 II7 N6

Cm

m. 37 m. 38 m. 39 m. 40H: D]◦7 − F]m/C]− D]◦7/C −B7− A]◦7 −B[7− Dm6

4 −A7−Heq: G]

[5/[97 no 1 − F]m6

4 B[97 no 1 F][97 − E

[5/[97 no 1/B[−

II7 − (i64 = ii64) V7/II7 II7 − I7 i64 − V7

F]m E Dm

The diminished 7th chords may be replaced by equivalent augmented sixth chords on the2nd degree. There are three cadences towards the tonic minor key, the last with a longpreparation of the augmented 6th chord B[7 = E

[5/[97 . After the varied M1(a) 2nd statement



(m. 41), another transition leads to the third and also varied statement of the main thememotif in the relative major key F (m. 52 ff.).

This provides a smooth introduction of the lyrical secondary theme that has sentenceM2(aab) (1 + 1 + 2 m.) structure, in 2-part voicing S(2p) for the violins over an extendedtonic-dominant pedal point in the lower parts. There is a number of M2 statements beforethe movement switches gear in m. 83. Over a set of sequences, all with negative root cyclesR−7 (up a 2nd), Motif M2a is set in imitation for the three lower parts, with a 16th notecountermelody Mc in Vi1. Roles are swapped in m. 90 ff., with violiins playing M2a unisonoand the 16th note countermelody distributed over the viola and cello. We reach the dominantmajor key A in m. 102, where there is a combination of all the melodic material: There is anabbreviated version of M1a (stepwise descending triplets) in viola, a 2-part setting of M2a) in2nd violin and cello, and the 16th note countermelody idea in 1st violin. These elements areused to conclude the exposition section: unisono 16ths in m. 112-113, parallel inversion triadS(3p) statements of M2a (m.115 ff.) and a set of climaxes. The key now alternates betweenF = [VI and the dominant minor key Am. The exposition by itself is already a mini-sonata,with both themes M1 and M2 varied and developed so early in the movement.

The Development section (m. 141 ff.) focuses on M2a as the central element. Two-partparallel third S(2p) statements move through the voices. The key runs along the dominantaxis D: C − A(m) − F]m. The stepwise descending triplet motif M1a’ joins in m. 152 ff.,in both original form and as melodic inversion I(M1a’) (ascending triplets). The 8th notetriplet rhythm is taken over in the cello pedal point (m. 163 ff.), with sequential and unisonotreatment of M2a’) leading into the retransition (m. 176 ff.).

The Recapitulation section (m. 198 ff.) starts with a copy of the main theme M1 climax2nd statement from m. 41 ff and a similar treatment, now in the parallel tonic major key D.From here on the exposition material returns (M2, the miniature development, the combina-tion with and inversion of the M1a motif).

The Coda (m. 299 ff.) has a new variant of M1a in 2nd violin and viola, and pedal point(half and whole notes) in the outer parts over a sustained B[ = [VI harmony. There isa reference to the opening material (m. 311 ff.), in an approach to the concluding climax(m. 323).





Table 6.4: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro

m M R H Comment

Allegro[

44

]([)

1 M1 Dm || : Dm−Gm/D −A7sus4 −Dm− Exp, Th 1, aa): Vi2+Va,

5... Gm7/B[−Dm/A a’) completion

7... Gm7 − F/A−Gm7− bb), Σ(cm)

13 ⊥ Dm64 −A cad

15 M1’ Dm−A7 −D7

d− E[/G− trans, a) Va-Vc imit, PL(↗)

18 ⊥ E7

d− F/A−A7− I(a) in Vi1+Vi2

20 M1’ Dm−A7 −D7

d− E[/G− repeat 8va

23 ⊥ E7

d− F/A−A7−

25 M1/I(1) Dm−A7/C]−Dm−B[∆7− Vi1+Vc, triplets

28... Dm6

4 −A−A◦7−

29... <(A◦7 −B[)− motif M1.a varied

31... Gm−Dm/A−A

32... A◦7 −Ab7− P i

B(↘)

34... Cm/G−A[7/G[−D[/F− PL(↗), P i

m(↗)

37... D]◦7 − F]m/C]− cresc to clim, Σ(cm<)

38... D]◦7/C −B7−

39 ⊥ A]◦7 −B[7 −Dm64 −A7−

41 M1 Dm−Gm/D −A7sus4 −Dm 2nd st, aa): Vi2+Va, clim45 M1’ E7 −A[9

7 − trans, a+I(a), ctp, P iL(↘)

49 ⊥ (D −Dm)/A− maj-min52 M1” F <(F/A− F − C7/E)− rel maj stat, a’): imit54 ⊥ F −B◦7 − (Fm−D7 − C7)/C−56 M1” <(F − C7/E)− repeat58 ⊥ F −B◦7 −B◦7/D − C7

61 M2 F F − . . .− Th 2, aa): Vi1+2 S(2p),64 ⊥ F/C − C7 − F − C7− b), P (f−c)67 M2 F − . . .− 2nd stat, aa)69 ⊥ C7 − F 6

4 − C7 − C◦7− b)72 M2’ C[9

7 − Fm aa): Vi1+2, PD(c)74 ⊥ Cm−A[64 − E[7 − E[◦7− b)



Table 6.5: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 1 Allegro (cont’d)

m M R H Comment

77 M2’ C[97 − Fm repeat 8va, aa): Vi1+2,

79... Cm−A[64 − E[7

d− b), PD(c)

81 ⊥ F − F 64 − C7−

83 M2”/c F −Bm/D − E −A7/C]− Seq(3×1m;R−7), M2a): imit,85 ⊥ /⊥ D −Dm− Em− Mc: Vi1 16ths86 M2”/c A−D7/F]−G− C7/E− Seq(3×1m;R−7), imit88 ⊥ /⊥ F −Bm/D − E7−90 M2’/c Am Am−D7 − C7 − F −B∅7− Vi1+2 S(1p), Seq(3×1m;R−7),

93... /

... E7 − C7/E − F −A7− climax, Mc: Vc-Va

95... /

... Dm− F7/A−96 ⊥ /⊥ B[−Am7/E −B[5

7 /F−97 E7 −Dm/E −D]◦7 − E7− trans, Vi1 16ths

102 M2/1 A A− E7/D− M2a): Vi2+Vc S(2p), M1a’): Va,105 ⊥ /⊥ A/C]− E7− Mc: Vi1 16ths, all in combi106 M2/1 A−108 ⊥ /⊥ E7/D −Am/C − Em7/G−110 E7/G]− E7 −A/C]− C− cresc to climax, unis 16ths114 M2” F F −Dm/F −B[/F − F a): [S6

4 ] , closing stat, Vc: P T (f)

117... F −B◦7/D −B[/D−

119 ⊥ Am64 − E7

d−

120 M2” F − . . .− climax, a): [S6] , Vc: P T (f)

124... Am E7 −A[m− E[−D7− M2a): imit

126 ⊥ C]− E7/B −Am−

128 M2’ G]◦7 − E7

d− F− a): Vi1+Va unis

133 Am64 − E7− cad

134 M2’ Am− . . .− E −Am : || clim, a): Vi1+2 S(2p), Vc: P T (a)

141 M2’ A C −G]◦7− Dev, a): Va+Vc S(2p), D144 A− C◦7 − C]m/E − C◦7− Vi1 16th145 C]m6

4 −G]7−146 M2’ C][97 /E]− . . .− a): Vi2+Va150 D − F]m/A− F◦7− Vi1 16ths151 F]m6

4 − C]− cad152 M2/1 F]m F]m− C]7 − F]m/A− C]7− M2a): Vi1, M1a’): Vc

156... /

... F]m−G[57 /D − C]− F]7− I(M1a’): Va-Vc

158 ⊥ /⊥ Bm Bm−G7 − F]−B[97 /D]−




m M R H Comment

160 M2” Em Em− . . .− a’): unis climax162 ⊥ G/D −D]◦7 − Em6

4 −B7−164 (M2) <(Em−D]◦7)/E− trans, Vc: P T (e) triplets166 M2/1 Em− C7− I(M1a’), Seq(3×2m;R5)

167... /

... B −D/F]− E[97 /G]−

168 ⊥ /⊥ Am Am− F7 − E −G/B −A[97 /C]−

170 (M2) Dm Dm− . . .−D64 −A7− unis climax

173 Dm− C]◦7/D− trans, Vc: P T (d) triplets

176 M2’ D[97

d− retrans, a’): imit S(2p)

177 ⊥ E[/G− E[97

d− F/A− F][97

d− Seq(3×2m;R7)

181 M2’ G/B −B[7 −A−B[7− climax184 ⊥ A− . . .−187 I(M1) A− (Dm− E∅7 −A7)/A− a’): Vi2-Vi1 imit, Vc: PD(a),191 ⊥ B[7− M2a rh in Va192 I(M1) (A−Dm− E∅7)/A−195 ⊥ A7 −B[7 −A7− PL(↗)

198 M1 Dm Dm−Gm/D −Dm Recap, Th 1, aa): Vi2+Va

202... E[9

7 −A[97 − imit, P i

L(↘), (see m 41)206 ⊥ D/A−Dm/A−A7− imit, P i

L(↘)(]]) (see m. 52 ff.)

209 M1” D <(D −A7/C])− trans, tonic maj, a’): imit

211... D −G]◦7−

212 ⊥ B∅7 −B7/A− Em/A−A7−213 M1” D −A7/C]−D G]◦7 −A7− repeat217 M2 D − . . .− Th 2, aa): Vi1+Va S(2p),220 ⊥ A7 −D −A7− b), P (d−a)223 M2 D − . . .− repeat, aa)226 ⊥ A7 −D −A7 −B[9

7 /A− b)229 M2’ A[9

7 −Dm− aa): Vi1+2, PD(a)231 ⊥ Am7/C − C7 − F − C◦7− b)234 M2’ A7 −Dm− aa)

236... Am/C − C7 − F− b)

238... A/C]−D −A7− b), Va: PD(a)

239 ⊥ D −A7 −B[/D −A7−




m M R H Comment

([) (see m 83 ff)241 M2’/c Dm Dm− Em7/G− Seq(3×2m;R5), M2a): imit,242 ⊥ /⊥ A−Am−D/F]− Mc: Vi2-Vi1 16ths imit243 M2’ G−Gm−Am/C−244 ⊥ D −Dm−G/B−245 M2’ C − Cm− F7/A−246 ⊥ B[− Em/G−A−A7− Σ(cm>)248 M2’/c Dm− F −G7− Vi1+2, Seq(3×1m;R−7), clim,

249... /

... C − Cm− F7− Mc: Vc-Va 16ths (see m 90 ff)

250... /

... B[/D − Em7−251 ⊥ /⊥ A/C]− E[∆7/G− F7/A−252 B[− C7 −D7/F]− Seq(3×1m;R3)253 Gm−A[−B[7/D−254 E[− E[m−

B[m/F − C[5/[97 /G[−

255 F − F [97 − . . .− trans, solo: Vi1 16ths

260 M2/1 B[ B[− F7/E[ M2a): Vi2+Vc, M1’a): Va,

267... /

... F [97 /E[−B[m/D[− Fm7/A[− Mc: Vi1 16ths (see m 102 ff)

268 ⊥ /⊥ F7/A−270 B[− . . .− cresc to climax, unis 16ths272 M2” B[− . . .−Gm/B[ a): [S6] , Vc: P T (b[)

276... E◦7 − F − E◦7−

277 ⊥ Dm/A−A7

d−

278 M2’ B[ climax, a): [S64 ] ,Vc: P T (b[)

282... A7 −D[m−A[−G7−

284 ⊥ Bm− F]7 −D]7−286 M2’ A[9

7 − . . .− a): Vi1+Vi2 unis291 ⊥ Dm6

4 −A7−292 M2 Dm <(Dm− C]◦7)− clim, a): Vi1+2 S(2p), Vc: P T (d)297 ⊥ Dm




m M R H Comment

299 M1’ Dm B[/D Coda, a’): Vi2+Va, P (d)303 <(A∅7/D −B[/D −Dm6

4 −A)−311 M1’ <(Dm−A7)− a) Va-Vc imit (see m 15 ff)

313... D7

d− E[/G− I(a) in Vi1+Vi2

314 ⊥ E7

d− F/A−A− F7−

316 M1’ <(B[− F7)− a) Va-Vc imit, PL(↗)

318... B[7

d− A[− C7

d− B[− I(a) in Vi1+Vi2

320 ⊥ D7

d− E[/G− E7

d− F/A−

321 M1” A− . . .− closing climax, a’): imit324 ⊥ Dm326 (M1) Dm−B[− E[m/G[−B[7− a’): Vi1-Vc imit

330... Dm6

4 −A7− cad

332... Dm−B[− E[m−B[7− repeat 8ba

336 ⊥ Dm64 −A7− cad

338 Dm (341 m.)



Table 6.9: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegro moltoand Trio

m M R H Comment

Scherzo Allegro molto[

34

]1 M1.a Dm Dm−A/C]− A, Vi1+Vi2: 8va unis, PB(↘)3 ⊥ G/B −A−5 M1.a’ G/D −D− cresc7 ⊥ D7/C −G/B − E[5

7 /B[−A Σ(cm<)9 M1.a G/B[−A−D[9

7 −Gm Vi2, P iL(↘), P i

m(↘)13 M2 C]◦7 −Dm−G]◦7 −Am− Vi1, Σ(cm>)17 M2’ Am B∅7 −Am6

4 −Am : || : all unis cad

23 M1.a’ Dm/F −A−D[97 − B, Va+Vc, Seq(3×3m;R−7),

26... G− C[9

7 − F P iL(↘)

29... Dm/A− E∅7/B[−

31 ⊥ A A− E7 −A cad33 M2 D[9

7 /F]−Gm−A[97 −Dm− imit: Vi2-Vi1

37 M2 Dm E∅7 −Dm64 −A−Dm unis cad

42 M1.a <(Gm−Dm)/D C, Vi1+Vi2: 8va unis, P T (d)

46 M1.a <(A∅7 −B[)− E[5/[97 /B[− Va+Vc: 8va unis

50 E[5/[97 /B[−Dm6

4 −A7 −Dm cad53 M1.a <(C]◦7 −Dm)/D Vi1+Vi2: par 3rd S(2p), P T (d)

57 M1.a A[5/[97 −B[ Vc+(Va)

61 ⊥ E[5/[97 /B[−Dm6

4 −A7− cresc to climax, Σ(cm<)64 <(Dm−A)−Dm : || unisono (68 m.)

6.2.3 Mvt. 3 Scherzo and Trio

Form: scherzo and trio. See Table 6.9 and 6.10 for the analysis. The scherzo has ternary formABC and is in the minor key Dm. The thems move through the instruments. The melody M1consists of a four-measure a-phrase, that stresses the dominant pitch a (note the syncopes).The first statement is M1(aa’) (A, m. 1-8) and played in octaves by the violins. This phrase isrepeated in 2nd violin (m. 9-12) and answered by a descending staccato quarter note motifM2 first in the 1st violin, and then as a tutti unisono. In the bridge B (m. 23 ff.) the theme M1is played in a modified form by viola and cello. The sequence yields chromatic descendingmotion in the upper parts. M2 takes over in an imitation setting (m. 33 ff.). Theme M1returns in the closing section C, both in unisono and in two-part parallel consonant thirdsS(2p) setting, once again moving from the upper to the lower parts.

The trio is in the parallel major key D, and is monothematic with an ABABA form. Themelody has M3(aaa’bc) (2 + 2 + 2 + 4 + 4 m.) structure. It is regularly played as a 2-partsetting: in the opening statement (A1, m. 69 ff.) there is a violin lead, doubled by the viola in



the lower octave, and in parallel consonant thirds by the cello, making this an S(2p) voicing.There is an ostinato dominant pedal rhythm in the middle voices, labeled as Mop. The secondstatement (m. 85 ff.) has the viola in the lead, with a parallel part in the cello, and an 8th notecountermelody in the 1st violin. The bridge B1 has a modified theme M3’(aac) or M3’(aacb)as S(2p) between outer voices, and extended dominant pedal point PD(a) in the middlevoices. These two ideas are repeated with minor changes in the other subsections.

6.2.4 Mvt. 4 Presto




Table 6.10: Schubert, String Quartet No. 14 Death and the Maiden, Mvt. 3 Scherzo allegromolto and Trio (cont’d)

m M R H Comment

Trio

69 M3 D D −A/C]d− A1, aa): (Vi1+Va)/Vc S(2p), Mop: Vi2

73... Bm− E7− a’)

75... E7/A−A−A7/G− b)

77... D/F]−G]◦7no 3−

80... C]◦7/E −Gm/D −A7/C]− c)

83 ⊥ D −A7 −D cad

85 M3 D −A/C]d− Bm− E7/B− repeat, aaa’): Va+Vc S(2p), var: Vi1

91... E7/A−A−A7/G−

93... D/F]−G]◦7−

96... C]◦7/E −Gm/D −A7/C]−

99 ⊥ D −A7 −D cad101 M3’ A7 −D/A− B1, aa): Vi1+Vc S(2p), Mop: Vi2, PD(a)105 ⊥ (A7 −G]◦7 −A)/A c)109 M3’ A7 −Dm− repeat, aa) PD(a)113 ⊥ B[−A cb)

117 M3 D −A/C]−D/F] A2: aa): (Vi1+Va)/Vc S(2p), Mop: Vi2

125... A/C]− F]7/C]− c), (Vi1+Vi2)-(Va+Vc) imit, PB(↘)

127... G/B − E7/B−

129 ⊥ A7 −G]◦7 −A−D cad133 M3’ A7 −D− B2 aa): Vi1+Vc S(2p), var: Vi1,PD(a)137 ⊥ (A7 −G]◦7 − E7 −A)/A c), Mop: Vi2, PD(a)141 M3’ A7/C]−Dm− repeat, aa): Vi2+Vc, Mop: Va145 ⊥ B[/D −Dm−A/C]− cb)

149 M3 D −A/C]− A3, aa’ ): Vi2+Vc, Mop: Va, Mc in Vi1

153... D/F]− a’)

157... G/B − E7/B− c)

160 ⊥ A−G]◦7 −A7 −D (164 m.)



6.3 Song cycle Die Winterreise, Op. 89, D911 (1827)

Source: [57]. Music for solo voice and piano.Form: song sycle. It’s all there in this song cycle with lyrics by Wilhelm Muller: depic-

tion of natural scenes such as the flow of water, the wind and the tree, the mail delivery,human emotions such as hope, cheer, courage, melancholy and despair, and finally death.The 24 songs from this cycle are divided into two parts (Erste Abtheilung Nos. 1-12, andZweite Abtheilung Nos. 13-24).

An overview of the formal analysis is shown in Fig. 6.4 to 6.6. The length in numbers ofmeasures varies between 19 (Song 18) and 109 (Song 4). Only two songs are longer than 100measures (Song 1 and 4), and there are four songs with less than 35 measures (Song 6, 18, 21and 23). Fourteen of the songs are in a minor key. The template ternary song form appliesto seven of the songs (Song 4, 5, 8, 17, 18, 19 and 23). Other ternary forms are in the Songs1, 3, 7, 9, 16, 21 and 24, while a binary overall formal structure is found in Songs 2, 6, 10-15,20 and 22. All songs have a brief piano introduction, which frequently presents the mainmelody first line. Most songs conclude with a phrase for solo piano.

This song cycle, the collection of 24 songs in Die Winterreise, might easily serve as sourcematerial for a course on tonal harmony. All the essentials from the theory of harmony arepresent here in miniature format: full, half, plagal and deceptive cadences; pedal point;chord inversion, augmented 6th chords; harmonic sequences, pivot pitch chord changes andmodulations.

The song analyses are shown in the following subsections. Melodic phrases in the ta-bles are labeled with subsequent letters from the alphabet, representing a new line in thepoem lyrics, even when the melody is different. So we may find constructs such as M1(aab)-M2(cdcd) in the tables with the detailed analysis.

6.3.1 Song Gute Nacht

Form: AAA’. See the analysis in Table 6.11 and 6.12. This opening song from Part 1 (ErsteAbtheilung) is relatively long, compared to the other songs in this cycle. The form is ratherunique, with a threefold statement of a single A section. The structure is simple: there arefour verses, the first three in the tonic minor key Dm, the third is a variation and the last verseis in the parallel major key D. The main theme has regular structure M1(aabb’)+M2(cc’), i.e.,(4 + 4 + 4 + 4) + (4 + 4) m. Note the descending melodic lines in M1a (on the lyrics ‘Fremdbin ich eingezogen’, sadness, disappointment), and the ascending shape in M1b (‘Das Madchensprach von Liebe’, hope, expectation?).

6.3.2 Song Die Wetterfahne



6.3. SONG CYCLE DIE WINTERREISE, OP. 89, D911

Song 1. Gute Nacht, Massig, in gehender Bewegung: AAA (Dm−D,[

24

], 105 m.)

A A A

Song 2. Die Wetterfahne, Ziemlich geschwind, unruhig: ABAC (Am,[

68

], 51 m.)

A B A C

Song 3. Gefror’ne Thranen, Nicht zu langsam, unruhig: ABC (Fm−A[,[

22

], 56 m.)

A B C

Song 4. Erstarrung, Ziemlich schnell: ABA (Cm,[

44

], 109 m.)

A B A

Song 5. Der Lindenbaum, Massig: ABA (E − Em,[

34

], 82 m.)

A B A

Song 6. Wasserfluth, Langsam: AB (F]m−A,[

34

], 32 m.)

A B

Song 7. Auf dem Flusse, Langsam: ABC (Em− E,[

24

], 74 m.)

A B C

Song 8. Ruckblick, Nicht zu geschwind: ABA (Gm−G,[

34

], 69 m.)

A B A

Figure 6.4: Schubert, Die Winterreise, Op. 89, D911



Song 9. Irrlicht, Langsam: AAB (Bm,[

38

], 43 m.)

A A B

Song 10. Rast, Massig: AA (Cm− E[,[

24

], 67 m.)

A A

Song 11. Fruhlingstraum, Etwas bewegt: ABCABC (A,[

68

], 88 m.)

A B C A B C

Song 12. Einsamkeit, Langsam: AB (Bm,[

34

], 48 m.)

A B

Song 13. Die Post, Etwas geschwind: ABAB (E[,[

68

], 94 m.)

A B A B

Song 14. Der greise Kopf, Etwas langsam: ABAB (Cm,[

34

], 44 m.)

A B A B

Song 15. Die Krahe, Etwas langsam: ABAC (Cm,[

22

], 43 m.)

A B A C

Song 16. Letzte Hoffnung, Nicht zu geschwind: ABC (E[− E[m,[

34

], 47 m.)

A B C

Figure 6.5: Schubert, Die Winterreise, Op. 89, D911 (cont’d)



Song 17. Im Dorfe, Etwas langsam: ABA (D −G,[

128

], 49 m.)

A B A

Song 18. Der sturmische Morgen, Ziemlich geschwind, doch kraftig:

ABA (Dm−B[,[

44

], 19 m.)

A B A

Song 19. Tauschung, Etwas geschwind: ABA (A− E,[

68

], 43 m.)

A B A

Song 20. Der Wegweiser, Massig: ABAC (Gm−G,[

24

], 83 m.)

A B A B

Song 21. Das Wirthsaus, Sehr langsam: ABC (F ,[

44

], 31 m.)

A B C

Song 22. Muth, Ziemlich geschwind, kraftig: AB (Am−A,[

24

], 46 m.)

A B

Song 23. Die Nebensonnen, Nich zu langsam: ABA (A− F]m,[

34

], 32 m.)

A B A

Song 24. Der Leiermann, Etwas langsam: AAB (Am,[

34

], 61 m.)

A A B

Figure 6.6: Schubert, Die Winterreise, Op. 89, D911 (cont’d)



Table 6.11: Schubert, Die Winterreise - 1. Gute Nacht

m. M R H Comment

Massig, in gehender Bewegung ([)[

24

]1 Dm Dm− C]◦7/D −Dm−Gm Introduction5 Dm/A−Gm7/B[−Dm6

4 −A− cad

7 Dm A1, minor8 M1 || : Dm− E∅7/D− a)

10... E∅7/D −Dm−Dm6

4 −A7 −Dm

12... Dm− E∅7/D− a)

14... E∅7/D −Dm−Dm6

4 −A7−

15... Dm− C/E − C7− to relative major

16... F F −Dm−G7/D − C − F/A− b)

18... C7/G− F/A− C7−

19... F − E◦7/F − F7−

20... B[ B[−Gm− C7/G− F −B[/D− b’), B[ = IV |F = [V I|Dm

22 ⊥ F7/C −B[/D − F −B[24 Dm E∅7/G−Dm/F− trans26 M2 E∅7/G−Dm/F − F/A− c)

28... Dm6

4 −A7 −Dm cad

30... E∅7/G−Dm/F − F/A− c’)

32 ⊥ Dm64 −A7− cad, to minor

33 Dm− C]◦7/D −Dm−Gm conclusion37 Dm/A−Gm7/B[−Dm6

4 −A7 : || cad

39 Dm A2, variation40 M1’ Dm− E∅7/D− a’)

42... E∅7/D − F/A−Dm6

4 −A7 −Dm

44... Dm− E∅7/D− a’)

46... E∅7/D − F −Dm6

4 −A7−

47... Dm− C/E − C7− to relative major

48... F F −Dm−G7/D − C − F/A− b)

50... C7/G− F/A− C−

51... F − E◦7/F − F7−



Table 6.12: Schubert, Die Winterreise - 1. Gute Nacht (cont’d)

m. M R H Comment

52... B[ B[−Gm− C7/G− F −B[/D− b’)

54 ⊥ F7/C −B[/D − F −B[56 Dm E∅7/G−Dm/F− trans58 M2’ E∅7/G−Dm/F − F/A− c)

60... Dm6

4 −A7 −Dm cad

62... E∅7/G−Dm/F − F/A− c’)

64 ⊥ Dm64 −A7− cad

65 Dm Dm− C]◦7/D −Dm−Gm conclusion69 Dm/A−Gm7/B[−Dm6

4 −A− cad

71 D D A3, (]]) major72 M1’ D − E7/D− a’)

74... D −D6

4 −A7 −D

76... D − E7/D− a’)

78... D −D6

4 −A7−

79... D − Em7 −D7/F]− to subdominant

80... G G− Em−A7/E −D −G/B− b)

82... D7/A−G/B −D7−

83... G− Em7 −A7/E−

84... D D −Bm− E7/B −A−D/F]− b’), D = V |G = I

86 ⊥ A7/E −D/F]−A7 −D88 E7/D −D90 M2’ E7/D −D −D6

4 −A7 −D c)

94... E7/D −D −D6

4 −A7 −D c’)98 ⊥ Dm6

4 −A− to tonic minor

99 Dm Dm/A−Dm−Gm/D− Coda101 Dm6

4 −A7 −Dm−A7 −Dm cad (105 m.)



6.3.3 Song Gefror’ne Thranen




6.3.4 Song Erstarrung




6.3.5 Song Der Lindenbaum




6.3.6 Song Wasserfluth




6.3.7 Song Auf dem Flusse

Form: ABC. See the analysis in Table 6.13. The melody structure in the A and B sections ofthis song is M1(aabaab’)+M2(cc’dcc’d), (2 + 2 + 4 + 2 + 2 + 4) + (2 + 2 + 4 + 2 + 2 + 4) m.The melody M3 is special, since it is more storytelling, with irregular length phrases and itcontains a reference to M1.

Harmonically, this is a very interesting song. The overall key scheme is Em − E − Em(parallel major-minor), but in all theme consequent phrases there is something special hap-pening. In the melody M1 in section A note the intermediate remote key D]m; the openinglyrics in Em are ‘Der du so lustig’ which is a contrast with ‘wie still bist du geworden’ at verysoft ppp dynamics and in this remote key. The middle section B sidesteps to the supertonicdegree minor key F]m. And things get even more complex in the closing section where wehave the key sequence Em−D]m−G]m−Em−G−Em− F]m−Em−Gm−Em (notethe intermediate cadences) with various triad types on the mediant degree from major (g])and minor g! This, in combination with the busy 32th note patterns in the piano accompa-niment, is depicting the desperate attraction of the river water surface, as expressed in thelyrics (‘Mein Herz, in diesem Bache, . . ., Ob’s unter seiner Rinde wohl auch so reizend schwillt?’).This is a spoiler, for the story will not end well.

6.3.8 Song Ruckblick




Table 6.13: Schubert, Die Winterreise - 7. Auf dem Flusse

m. M R H Comment

Langsam (])[

24

]1 Em Em− Em7/D − C − Em/G− Intro, Pno onbeat and3 F]∅7/A−B − Em−B afterbeat accents

5 M1 <(Em−B)− A, aa)

9... D]m D]m/A]−G]m7 −A]7 −D]m− b)

13 ⊥ B7 − Em64 −B− trans, Pno 16ths

14 M1 <(Em−B)− a’a’)

18... D]m/A]−G]m7 −A]7 −D]m− b’)

22 ⊥ B7 − Em64 −B− trans, Pno 16ths

23 M2 E E − F]97/A]−B − C]7/G]− B (]]]]) c), Pno 16ths

25... F]m−B[9

7 − E −A− c’)

27... E/G]−Bm/F]− C]/E]

d− d)

28... D/F]− E7/G]−A

29 ⊥ F]m7/A− F][97 /A]−B−31 M2 E − F]97/A]−B − C]7/G]− c), 2nd statement

33... F]m F]m−B[9

7 − E −A− c’)

35... E/G]−Bm/F]− C]/E]

d− d)

36... D/F]− E7/G]−A

37 ⊥ F]m7/A− F][97 /A]−B −B7/A−38 Em/G−B7/F]−B−

41 M3/1 Em <(Em−B)− C, (]) e) M1 in Pno LH

45... D]m/A]−G]m7 −A]7−

47 ⊥ D]m−D]7−48 M1” G]m <(G]m−D]7)− a”a”), Pno 32ths52 ⊥ B7 −B[9

7 /A− Em/G− Em64 −B7− b”), cad

54 M3’/1 Em Em−B −B7/A−G−D trans, e), M1 in Pno LH

58... F]m6

4 −Bm7 − C]7 − F]m−B[97 −

62... Em−B −B7/A−Gm−D[9

7 − f)

66... B −B[9

7 /A− Em/G−B7−68 ⊥ B[9

7 − . . .− Em climax72 Em Pno 8th accents (74 m.)



6.3.9 Song Irrlicht




6.3.10 Song Rast




6.3.11 Song Fruhlingstraum




6.3.12 Song Einsamkeit




6.3.13 Song Die Post

Form: ABAB. See the analysis in Table 6.14. This up-tempo song is the first in Part 2 (ZweiteAbtheilung’) of the cycle. In this binary structure (AB)-(AB) song the keys alternate betweenthe tonic major E[ and the remarkable lowered 7th degree major key D[. Note the openingchord E[m in the B section: this suggests a move towards the tonic minor, but turns out tobe the supertonic degree chord in the new key.

The A section melody has structure M1(abc) (4 + 6 + 7 m.). Note the ascending leapsinto an apex pitch climax on ‘dass es so hoch aufspringt, mein Herz?’. In the B section themelody slowly ascends to an apex pitch with climax at the end (m. 45-46, on ‘mein Herz’),with phrases of increasing length M2(def) (4 + 6 + 10 m.).

The piano accompaniment supports the postal mood with right hand horn signals (’Trara,trara, die Post ist da!’), dotted 8th-16ths and quarter note - 8th note gallop rhythms (stagecoachhorses). These rhythms are pushing the emotional expectations of our hero, waiting eagerlyfor an e-mail from his adored maiden. There is tonic and dominant pedal point and thesubtle use of the dominant chord with added (lowered) ninth (B[[97 and B[97), hinting at thetonic minor key.

6.3.14 Song Der greise Kopf




Table 6.14: Schubert, Die Winterreise - 13. Die Post

m. M R H Comment

Etwas geschwind ([[[)[

68

]1 E[ E[− . . .− Intro, Pno LH arp, RH signal7 <(B[7 − E[) cad

9 M1 <(B[− E[)−B[− E[− A1, a), Pno dotted rhythm

13... D[ A[7 −D[− b), climax

17... F7/C − F

[5/[97 /C[− Pno trans, P i

B(↘)

19... (E[− . . .− C[9

7 − Fm−A[)/B[− c), PD(b[)23 ⊥ E[ B[7 − E[ cad, GP

27 E[m B1, Pno gallop rhythm28 M2 D[ E[m− . . .−A[7/C −D[ d)

31... D[−A[

[5/[97 /E[[−D[−G[ e)

34... <(A[[97

d− G[)/G[−B[7− f)

38... E[ B[[97 − E[− . . .− PD(b[)

42 ⊥ B[97 − E[64 − F7 −B[− climax

46 E[ E[− . . .− trans Pno LH arp, RH signal52 <(B[7 − E[) cad54 M1 <(B[− E[)−B[− E[− A2, a), Pno dotted rhythm

58... D[ A[7 −D[− b), climax

62... F7/C − F

[5/[97 /C[− Pno trans, P i

B(↘)

64... (E[− . . .− C[9

7 − Fm−A[)/B[− c), PD(b[)68 ⊥ E[ B[7 − E[ cad, GP

72 E[m B2, Pno gallop rhythm73 M2 D[ E[m− . . .−A[7/C −D[ d)

76... D[−A[

[5/[97 /E[[−D[−G[ e)

79... <(A[[97

d− G[)/G[−B[7− g)

83... E[ B[[97 − E[− . . .− f), PD(b[)

87 ⊥ B[97 − E[64 − F7 −B[− climax91 E[ (94 m.)



6.3.15 Song Die Krahe




6.3.16 Song Letzte Hoffnung




6.3.17 Song Im Dorfe




6.3.18 Song Der sturmische Morgen




Table 6.15: Schubert, Die Winterreise - 19. Tauschung

m. M R H Comment

Etwas geschwind (]]])[

68

]1 A A− C]7/G]− Intro, Pno LH arp, P i

L(↗), Σ(cm<)4 F]m− E7 −A cad

6 M1 A− E7/G]− C]7− A1, a)

10... F]m−A6

4 − E7 −A− E7 −A b), cad

14... A− E7 − C]7− a)

18 ⊥ F]m−A64 − E7 −A b’)

22 M2 E Am− E− B, c), plagal cad

26... F]7 −B7 − E

28 ⊥ (F]m7 −D][97 no 1 − E − E+)/E− d), P iL(↗), PD(e)

31 M1 A A− E7 − C]7− A2, a)

35... F]m−A6

4 − E7 −A− C]7− b), cad38 ⊥ F]m−A6

4 − E7 −A b”), cad (43 m.)

6.3.19 Song Tauschung

Form: ABA, ternary song. See the analysis in Table 6.15. The outer A sections are in the tonicmajor key A, expressing a gentle melody (‘Ein Licht tanzt freundlich vor mir her’, we save thedeception for later). The melody has regular structure M1(abab’) (4 + 4 + 4 + 4 m.). In theaccompaniment there are arpeggio chords in the piano left hand, with either dominant pedalpoint or chromatic steps in the other hand. The middle section B seems to open in the tonicparallel minor key Am but this ambiguous chord turns out te be the minor subdominantdegree chord. This yields a plagal cadence in E(m), the true key of this contrasting section.Melody M2 is dominated by chromatic stepwise motion; the phrasing is M2(cd) (6 + 4 m.).The return of the melody M1 in the closing A2 section has a little deceiving twist: there iscutting out of a measure at the lyrics ‘Nur Tauschung ist fur mich Gewinn!’, and replacing itwith an altered version of M1b as a closing cadence.

6.3.20 Song Der Wegweiser




6.3.21 Song Das Wirthshaus




6.3.22 Song Muth




6.3.23 Song Die Nebensonnen



6.4. SYMPHONY NO. 9 GROSSE, D944

Table 6.16: Schubert, Die Winterreise - 24. Der Leiermann

m. M R H Comment

Etwas langsam[

34

]1 Am Amno 3 Intro, P (a−e)3 M0 Am− E −Am− . . .−<(E7 −Am)

9 M1 Am− . . .− E− A1, a)

13... Am− . . .− E− a)

17... <(Am− E)− b)

21 ⊥ <(Am− E)− b)25 M2 Am− . . .− c)27 M0 Am−<(E7 −Am) tr Pno

31 M1 Am− . . .− E− A2, a)

35... Am− . . .− E− a)

39... <(Am− E)− b)

43 ⊥ <(Am− E)− b)47 M2 Am− . . .− c)49 M0 Am−<(E7 −Am) tr Pno

53 M3 <(E7 −Am) B, d)56 ⊥ <(E7 −Am)58 M0 Am−<(E −Am) Pno (61 m.)

6.3.24 Song Der Leiermann

Form: AAB. See the analysis in Table 6.16. Finally, here is the drone of death in ‘Mr. Hurdy-Gurdy’ (‘Der Leiermann’). The drone is provided by a continuous tonic-dominant P (a−e)pedal point in the piano left hand. The right hand plays the hurdy-gurdy melodic phrases.The A section melody has structure M1(aabb)+M2(c) (2+2+2+2+2 m.). It concludes in the Bsection with M3(de) (2 + 2 m.) when the singer addresses ‘The Reaper’ (‘Wunderlicher Alter’)with the apex on the last line (m. 56-57, on ‘Willst zu meinen Liedern deine Leier drehn?’. Not thekind of song to bring the crowd to the dancefloor, but a perfectly effective and melancholicmood closing of this wonderful song cycle.

6.4 Symphony No. 9 Große, D944 (1828)

Source: [59]. Schuberts last symphony, the Große (‘Great Symphony’), has huge proportions.An overview of the formal analysis is shown in Fig. 6.7. The sonata form first movementhas a relatively short development section. The global structure of the Andante movementis binary, with many shorter subsections. The third movement has the familiar ternary form



for both the Scherzo and the Trio. The closing section is more than 1000 measures long; itcontains a long recapitulation and second development section.

In this symphony there is the frequent occurrence of a Schubert trademark: the chordchanges with the root moving by a third, and a pivot pitch as an interface between the sourceand destination chord. This is applied to either brief sidesteps to third-related keys or as partof a modulation in a longer development section. These will be marked in the analysis tablesand will be notated as Rpivn

±3 , where the root moves a third down (R3) or up (R−3), and thechordal function n = {1, 3, 5} (root, third, fifth) is the pivot pitch between the two chords(see the elucidation of the first occurrence in Mvt. 1 in Section 6.4.1).

6.4.1 Mvt. 1 Andante - Allegro, ma non troppo




Mvt. 1 Andante - Allegro, ma non troppo: sonata form (C,[

44

][22

], 685 m.)

Introduction (77 m.)

Exposition (176 m.)

Development (102 m.) Recap (214 m.)

Recap (cont’d) Coda (116 m.)

Coda (cont’d)

Mvt. 2 Andante con moto: ABAB-Coda, rondo form (Am,[

24

], 380 m.)

I A1 (22) B1 A2 B2 A3 C1 (71 m.) A4

B3 A5 (23) B4 D (35) C2 (63 m.) Coda (51 m.)

Mvt. 3 Scherzo, Allegro vivace: scherzo and trio form (C,[

34

], 404 m.)

A1 (57 m.) B1 (96 m.) A2 (86 m.)

A2 (cont’d) C1 (56 m.) D (48 m.) C2 (62 m.)

Mvt. 4 Allegro vivace: sonata form (C,[

24

], 1157 m.)

Exposition (201 m.)

Exposition (cont’d)



Recapitulation (cont’d)

2nd Development (88 m.) Coda (97 m.)

Figure 6.7: Schubert, Symphony No. 9 Große, D759




Form: ABAB’ Coda. See Table 6.17 to 6.23 for the analysis. At a lower level the subdivisionof this movement is (A1B1A2B2A3)-C1-(A4B3A5B4)-D-C2-Coda. The grouping of the sub-sections between brackets justifies the overall ABAB form classification. The frequent returnof the A section melodic material such as the M1.1 phrases, also in the coda, brings a rondoflavour to this movement. The second block ABAB may also be considered a variation onthe first. The development character of some sections, such as D-C2, hints lightly at a sonataform. This movement therefore is a versatile vehicle for musical creativity.

The Introduction starts with strings only, playing staccato 8th notes, suggesting a marchrhythm. We find the nucleus M0 of this movement in m. 4, where the lower strings play astepwise motif descending from the dominant pitch e− (c− b− c− d) (the key is Am), withquarter-note and staccato dotted 16th note rhythm: 1

4 + 116d + 1

32 + 116d + 1

32 . Repeated andfrequently accented quarter and 8th notes (on dominant pitches) and the dotted note turn inthis motif show up in many of the themes and transitions.

In section A1 (m. 8 ff.) the main theme consists of two parts M1=M1.1+M1.2. Thesehave structure M1.1(abcab’)+M1.2(aba’b’c), with (3 + 4 + 2 + 3 + 4) + (1 + 1 + 2 + 1 + 1)measures. In M1.1 for solo oboe (later doubled with clarinet) all phrases can be traced backto the nucleus motif M0. Phrase M1.1a starts with M0 and concludes with repeated accentedquarter notes on the dominant pitch e The central measure contains a new element: thearpeggio e − a − c = Am. Phrase M1.1b is based on the M0 dotted note rhythm, M1.1cis another set of repeated accented dominant pitches over a harmonic cadence. The sameholds for M1.2c, but its a- and b-phrase have a more lyrical character (legato). In the stringsection background of M1.2 (m. 22 ff.) there are various new elements: note the changefrom minor to major, an aspect that will return frequently. There is a tonic-dominant pedalpoint P (a−e) (lower strings vs. first violins). And, finally the celli and contrabasses play anafterbeat pattern with sets of 32th notes, adding a ‘fanfare’ flavour to this march.1

The main theme M2 in section B1 (m. 30 ff.) can also be traced back to the M0 nucleusand elements of M1.1. It has structure M2(abab+a’b’a’b”c) ([2 + 2 + 2 + 2] + [1 + 1 + 1 + 2 + 2]m.). Phrase M2a opens in ff strings with repeated accented 8th notes on the dominant pitchb in the current key E(m); it is a rhythmic diminution of M1.c. The second measure is thedotted rhythm turn M0, so M2a=M1.1a’. M2b is for the woodwinds and horns, playinga melodic inversion of M0, in regular legato16th notes. In the background the strings areplaying afterbeat 32th note Mf patterns in imitation. On M2a’ horns, clarinets and bassoonsreduce the phrase to the second measure of M2a. M2b’ also has become a single measurephrase, but M2b” repeats the dotted rhythm turn M2b”=M2b’+M0+M0. And the sectionconcludes with M2c=M1.1c, a set of repeated quarter notes on the dominant. Harmonically,at the microscopic level, there is the key sequence E − Am − (C) − A − (Dm) − F , whichagain opposes minor-major Am−A and includes a pivot point key change Rpiv1

3 = (A→ F ).Section A2 (m. 45) is an abbreviated form of A1, repeating the elements from m. 17 ff.

The main theme M1.1 is now played in two-part consonant parallels S(2p) by clarinets andbassoons. Section B2 (m. 58 ff.) is a variation on B1. Melodically, a variation phrase M2d is in-serted, as an imitation of the turn motif M0 between strings and woodwinds. Harmonically,the major-minor ambiguity is now between E −Em by alternating strings and woodwinds.

Section C1 (m. 93 ff.) puts an end to the march character. A gentler and more lyrical

1This pattern has been labeled Mf (fanfare motif), because the idea returns in the second half of the movement,where similar ‘fanfare’ patterns are played by the brass.



Table 6.17: Schubert, Symphony No. 9 Große, Mvt. 2 Andante con moto

m M R H Comment

Andante con moto[

24

]Introduction

1 Am Am− E −Am/C− Str 8ths ‘March’, PD(e)4 M0 E −Am/C − E −Am− Vc+Cb6 E −B∅7/D −Am/C − E −Am

8 M1.1 Am−B∅7 −Am−G7 − C− A1, a): Ob

11... E[9

7 −Am− b)

13... B∅7/D −B7/D]− P i

B(↗)

14... E7sus4 −B

[5/[97 /F−

15... E −Am− E7− c), Bsn+Hns, PD(e)

17... Am−B∅7 −Am−G7 − C a): Ob+Cl unisono

20... G7/B − C− b’)

22 ⊥ Am−B∅7/D −Am64 − E7− cad

24 M1.2/f A <(A− E7)/A− ab): Ob, P (a−e)

26... <(A− E7)/A− a’b’): Ob+Cl, Mf: LoStr 32ths

29 ⊥ A c)

30 M2 E E −B7 − E − E7− [A] B1, a): Str, climax

32... Am Am−G7 − C b): WW+Hns, Str: Mf, minor

34... A A− E7 −A−A7− a): Str, major

36... Dm− C7 − F b): WW+Hns, Rpiv1

3

38... Am Dm−Am−Am7 a’b’): (Hns+LoWW)-WW, Σ(cm<)

40... Dm−Am− . . .− a’b”) tutti M0 unis repeats

43 ⊥ Eno 3− [B] c), trans

45 M1.1 Am−B∅7 −Am−G7 − C A2, a): Cl+Bsn S(2p) (m 17)

48... C G9

7 − C− b’)50 ⊥ Am Am−B∅7/D −Am6

4 − E7− tutti cad52 M1.2/f A <(A− E7)/A− ab): Cl, P (a−e) (m 24)


57 ⊥ A c)



Table 6.18: Schubert, Symphony No. 9 Große, Mvt. 2 Andante con moto (cont’d)

m M R H Comment

58 M2 E E −B7 − E− [C] B2, a): Str, climax, major

60... Em Em−B7 − Em− a): WW, minor

62... E E −B7 − E− a): Str, major

64... Am−G7 − C −B7− d): Str-WW imitation

66... Em Em−D −G− F]− Σ(cm<)

67... B7

d− Am− tutti climax

69... Am Dm−Am−Am7/G− a’b’): (Hns+LoWW)-WW, Σ(cm<)

71... F − C − . . .− a’b”) M0’ unisono repeats

74 ⊥ Cno 3 − E7− [D] c), trans

76 M1.1 Am−B∅7 −Am−G7 − C A3, a): Ob+Bsn S(2p) (m 45)

79... C G9

7 − C− b’)81 ⊥ Am Am−B∅7/D −Am6

4 − E7− tutti cad83 M1.2/f A <(A− E7)/A− ab): Cl, P (a−e) (m 24)


88 ⊥ A c)89 Ano 3 −A7no 3/G− F trans, Bsn+Hns+LoStr, Rpiv1

3

93 M3 F F − C/E −Dm−Am//C− C1, a): Bsn+Vi2+Cb S(2p)

95... E∅7/G− F/A−Dm− b)

96... Gm7/B[− C7−

97.../c F −A∅7/E[−D7 −D[9

7 /C− a), Mc: Cl+Vi1

99.../

... Gm/B[− E[−A∅7/C −D7− b’)

100.../

... Gm−G∅7/F − C7/E−

101.../

... F − C/Ed− Dm− F]∅7/A− a’), Mc: HiWW+Vi

103.../

... Gm/B[− F/A− Cd− b’)

104 ⊥/⊥ Dm−Am105 (M3) B[− F− WW+Tbn

106... B∅7 − C/E − F −Gm/B[−

107 ⊥ F 64 − C

d− cad

108 Dm−Am Str repeat



mood sets in with melody M3 (ababa’b’) (2 + 2 + 2 + 2 + 2 + 2 m.), played in a two-part S(2p)setting for 2nd violin, bassoon and contrabass. With the second M3a-phrase there is a coun-termelody Mc (first in clarinet and first violin, later extended to all woodwinds and violins),and the setting becomes a counterpoint-chorale flavour. Note that this countermelody con-tains rhythmically modified inverted turns I(M0’). There are two statements of the melody.The transitions also quote from this melody, while juxtaposing orchestral groups. Just be-fore the retransition (m. 132 ff.) the juxtaposition turns into a call-and-response setting. Theaccented quarter notes already suggest the reappearance of M1.1c, and bring back the famil-iar transition rhythm.

Sections A4 to B4 (m. 160-231) are the repeats of the corresponding opening sections(m. 8-75). The extra element is the addition of the ‘fanfare’ patterns as a countermotif; thisis moving through the brass parts (trumpet-horn) and transferred to the first violins. Thereare also some instrumentation changes. Section D (m. 232 ff.) is an extended climax, witha mix of development and transition characteristics. The repeated note M2c and dottedturn pattern M2a are set in imitiation between upper and lower string groups, supported bywoodwind and trombone accented quarter notes (M1.1c) and the brass fanfare motifs. Aftera general pause the strings change to pizzicato (m. 251) and celli and oboe play a variationon the main theme M1.1”. Harmonically this involves cadences on the Neapolitan chordB[ = [II , plus the minor-major alternation Am−A.

Section C2 brings back the melody M3 in the tonic parallel major key A. Its phrases aremoving through the woodwinds and quoting from the countermelody theme in m. 101 ff.,while 2nd violins and violas are playing a countertheme Mc in continuous 16th note legatopatterns. This gives a flowing character to the section. There is a long transition in m. 300 ff.,with the accented quarter note patterns in woodwinds and brass, and occasional snippetsfrom M3. The strings carry on the 16th note groove, with stepwise runs in contrary motionand imitation, then changing to pizzicato as the mood calms down to the coda.

The Coda presents another major-minor opposition and wraps up the main theme ma-terial M1.1a and M1.1.b in woodwinds and arco strings. The clarinet phrase (m 338 ff.)contains the d = ]9 = [3 pitch over a B7 chord, turning this into an early example of a B]9

7

‘jazz chord’.2 The final measures (m. 348 ff.) are suggesting an undecidedness between thetonic minor and relative major key Am − C. Melodically they are like walking a path inreverse time, with brief phrases from the main themes M1.1 and M1.2 and then returning tothe introduction (strings in 8ths, a statement of the M0 dotted rhythm motif) before closing.

6.4.3 Mvt. 3 Scherzo. Allegro vivace


2Obviously the occurrence of the B]97 here is not a static chord voicing as in jazz music. The total harmony

is the result of melodic voice leading in the local minor key Em; the string section harmony contains the raised7th degree d] in an ascending pattern, while the solo clarinet is playing the melodic minor descending riff b −d− c− b = 5− [7− [6− 5.




m M R H Comment

109 (M3) B[− F− trans, WW+Tbn

110... B◦/D − Em−Dm−

111 ⊥ Gm7/B[− C7− cad112 M3 F − C/E −Dm−Am//C− a): Bsn+Vi2+Cb S(2p) (m 93)

114... E∅7/G− F/A−Dm− b)

115... Gm7/B[− C7−

116.../c F −A∅7/E[−D7− a), Mc: Vi1

118.../

... E[−A◦/C −Dm−Gm− b’)

119.../

... Cm7/B[− F7−

120.../

... B[ B[− F/A−Gm−B◦7/D− a’): Tbn, Mc: WW122 ⊥/⊥ Cm/E[−A◦/C −Gm/D −Dm/F− b’)123 (M3) Gm Gm− F]◦7/A− ab): Str

124... Gm− E◦/G− F/A− C−

125 ⊥ Dm−G]◦7 −Am Seq(2×4m;R−5)126 B[− F− WW+Hn+Tbn, plagal cad127 G]◦7/D −B7/D]−Am/E −Dm/F− Str128 Am Am6

4 − E− cad, tutti129 Am−D]◦7 − Em Str130 F − C WW+Hn+Tbn, plagal cad131 F]◦7/A−Gm− E[5

7 /B[− Str132 Dm/A−A−Dm−G]◦7 −Am [E] retrans, tutti climax134 B[− F −Gm− C]◦7 −Dm136 Gm− C]◦7 −Dm137 (M3’) Dm A7/C]−Dm b’): Cl+Bsn, Vi sync, PD(a)

139... A7/C]−Dm−Gm−Dm Ob

141... A− F/A− F]◦7/A− b’): WW+Str

142 ⊥ Gm/B[− F/A− C7

d−

143 (M3’) B◦/D − C7

d− Dm b’): Str

144 ⊥ Gm7/B[− C7−145 (M3) F − C/E −Dm−Am/C− a): Tbn-WW147 ⊥ B[− Fm/A[− a): Str

148 G7 − C7 −A[97 /C]− . . .

d− Str, Hns P (g), PB(↗)

157 B[/D −Am64 − E7− N6, cad




m M R H Comment

160 M1.1/f Am Am−G7 − C− A4, a): Ob, Mf: Tpt-Hn (m 8)

163... /

... G]◦7 −Am− b), Mf: Vi1

165... /

... B∅7/D −B7/D]− P iB(↗)

166... /

... E7sus4 −B[5/[97 /F−

167... /

... E c), Mf: Hn, PD(e)

169... /

... Am−B∅7− a): Cl S(2p), Mf: Tpt (m 45)

170... /

... Am−G7 − C Mf: Hn

172... /

... G97 − C− b’): Ob+Cl, Mf: Vi1

174... /

... Am−B∅7/D−175 ⊥ /⊥ Am6

4 − E[97sus4 − E7− tutti cad

176 M1.2/f A <(A− E7)/A− ab): Cl, P (a−e), Mf: Hn+Tpt

178... /

... <(A− E7)/A− a’b’): Ob+Cl, Mf: LoStr 32ths181 ⊥ /⊥ A c)

182 M2/f E E −B7 − E − E7− [F] B3, a)+Mf: Str, climax (m 32)

184... /

... Am Am−G7 − C b): WW, Mf: Tpt-Hns-Strs, minor

186... /

... A A− E7 −A−A7− a)+Mf: Str, major

188... /

... Dm− C7 − F b): WW, Mf: Tpt-Hns-Str+Hns, Rpiv13

190... /

... Am Dm−Am−Am7 a’b’): (Hns+LoWW)-WW, Σ(cm<)

192... /

... Dm−Am− . . .− a’b”) tutti M0 unisono repeats195 ⊥ /⊥ Eno 3− [G] c), trans

197 M1.1/f Am−G7 − C A5, a): Ob+Bsn S(2p), Mf: Brs (m 45)

200... /

... C G97 − C− b’)

202... /

... Am Am−B∅7/D−203 ⊥ /⊥ Am6

4 − E7− tutti cad204 M1.2/f A <(A− E7)/A− ab): Cl, Mf: Hn+Tpt, P (a−e)

206... /

... <(A− E7)/A− a’b’): Ob+Cl, Mf: LoStr 32ths209 ⊥ /⊥ A c)




m M R H Comment

210 M2/f E E −B7 − E− B4, a)+Mf: Str, climax, major (m 58)

212... Em Em−B7 − Em− a): WW, minor

214.../f E E −B7 − E− a+Mf): Str, major

216... Am−G7 − C −B7− d): Str-WW imitation

218... Em Em−D −G− F]− Σ(cm<)

219... B7

d− Am− tutti climax

221... Am Dm−Am− a’b’): (Hns+LoWW)-WW, Σ(cm<)

223... Am− Em− . . .− [H] a’b”) M0’ tutti unis repeats

226 ⊥ <(Bno 3 − F][57 /C)−B c), tutti climax, trans

232 (M2)/f G]◦7 − . . .− D, ca): (WW+Tbn)-Str, Mf: Tpt-Hn,

238... /

... G7 − . . .− HiStr-LoStr imitation, Σ(cm<)

242... /

... G[97 − . . .−

246 ⊥ /⊥ G]◦7/F − C]◦7/F− cresc248 D]◦7− [I] tutti climax, HiStr tremolo, GP251 F7/E[− Str pizz, V/N6

253 M1.1” <(F7/E[−B[/D)− Vc, N6

257... E7/D −Am/C −B[/D− Ob/Vc

259 ⊥ Am64 − E7− cad, minor

260 M1.1” B[ <(F7/E[−B[/D)− repeat, Vc, N6

264... E7/D −A/C]−Bm/D− Ob/Vc, major

266 ⊥ A64 − E7− cad

C2 (]]])267 M3/c A A− E7/G]− a): Fl+Cl, Str arco Σ(cm<),

268... /

... F]m− C]m/E− Mc: Vi2+Va 16ths

269... /

... D − E7/B −A/C]− F]m b)

270 ⊥/... D − E7−




m M R H Comment

271 M3’/... A− E7/G]−A7/G− Cl+Bsn, Str Σ(cm<)

272... /

... F]7 − F]7/E−

273... /

... Bm/D −G− C]∅7/E − F]7−

274... /

... B∅7/A− E7/G]−

275... /

... A− E/G]− F]m−A]◦7/C]− WW, Str Σ(cm<) (m 101)

277... /

... Bm−A/C]− Ed−

278... /

... F]m− C]m−D −A−

280... /

... B7/F]− E/G]− C]/E]− F]m7−

281... /

... A64 − E7

d− cad

282... /

... F]m− C]m−D −A− repeat, Mc: Vc

284... /

... B7/F]− E/G]− C]/E]− F]m7−285 ⊥ /⊥ Bm7/D − E7− cad286 M3/c A− E7/G]− a): Fl+Cl, Str Σ(cm<) (m 266)

287... /

... F]m− C]m/E− Mc: Vi2+Va 16ths

288... /

... D − E7/B −A/C]− F]m− b)

289 ⊥/... D − E7−

290 M3’/... A− E7/G]−A7/G− a’): Cl+Bsn, Str Σ(cm<)

291... /

... F]7 − F]7/E−

292... /

... Bm/D −A7/E −D/F]−Bm b’)

293... /

... Em7/G−A7− cad

294... /

... D D −A/C]−Bm−D]◦7/F]− WW, Str Σ(cm<)

296... /

... Em/G− C]∅7/E −D/F]−A7

d−

297... /

... Bm−A]m◦7/C]−

298... /

... Bm−G]m7/B −A/C]− E7

d−

299 ⊥ /⊥ F]m− C]m−D −A− Mc: Vc+Cb 16th runs




m M R H Comment

300 Mc’ D −A−D][57 − [K] trans, Str Σ(cm<) (m 132)

302... C]m6

4 −G]− WW 16th arp↗

303... C]m−G]m−A− E Str 16th run imitation

305... E7 −A−A/C]− C]− WW 16th arp↗

307... F]m− C]m−D −A Str 16th run, Seq(3×1m;R−3)

309 ⊥ <(Bm− F]m)−311 (M3’)/c C]7 − F]m6

4− b’): Ob, Vi2+Va sync (m 137)

313... /

... F]m C]7 − F]m−G]∅7/B − F]m Cl, Str pizz

315... /

... C]−A]◦7/C]− WW, Str bg

316... /

... Bm−G]∅7/B −A/C]− E−317 ⊥ /⊥ D]◦ − E/G]− C]7/E]− F]m318 (M3’) Bm7/D − E7− Ob, Str 16th pizz

319 ⊥ A A− Ed− F]m− C]m− Str 16ths↗

321 D −Am/C −B7− trans, Tbns (m 145)322 E[9

7 − . . .− PD(e−b)

Coda (\\\)330 M1.1 Am Am−G7 − C −B a): Ob+Bsn S(2p) (m 45)

333... Em−D7 −G]◦7− a’) arco Str echo

336... E[9

7 −Am b): Ob-Fl

338... B

[5/]97 /D]−B

[5/]97 /F −B]9

7 /F]− b’) Cl, Tbn+Str bg, P iB(↗)

342... C G7 − C6

4 −G− 7− WW imit, Hns PD(g)

346 ⊥ G7/F − E7− Rpiv33

348 M1.1 Am Am−G7 − C −B a): Cl+Bsn S(2p) (m 45)351 (M2’) Em−D −G− F]− WW+Str Σ(cm<) (m 66)

352 ⊥ B7

d− Am− E7

d− [L] tutti accents climax

355 M1.2’ Dm−Am64 − E7− b’): WW

357.../c <(Am− E7)−Am−G7− Mc: Vc, Str 8ths (m 1)

360.../

... C <(C −G7)− C −B∅7/D363 ⊥/⊥ Am Am6

4 − E7 −Am−G−365 (M0) C − E7/B −Am−G− Str-WW imit

367... C C − E7/B −Am−G7−

369 ⊥ Am C − E7 −Am

371 (M1.2) Eno 3 − (E[97 )− E7 −Am c), tutti unisono clim (380 m.)




The key relationship diagram is shown in Fig. 6.8. The introduction of the opening move-ment remains in the tonic major key C. For the exposition secondary theme the key changesto the mediant degree minor key Em (1), then passing through A[m (2) and ending on theregular dominant major key G (3). The development section moves through a lengthy seriesof keys, starting from the lowered submediant major key A[ = [VI|C = [II|G = N |G (4) inthe subdominant area. Note a set of minor keys (Dm−Fm)−Gm−(A[m−Em−Cm)−A[−A[m−Em−Cm)−A[−Cm (5-11), with major third symmetrical root division (4 semitonesR4i). The recapitulation section has a number of key alternations involving the relative mi-nor and the parallel minor key C −Am−Cm−Am−C (12-14), and the unexpected remotekey D[m (13).

The slow second movement opens in the relative minor key Am. All A sections (the setfrom A1 to A5 and the coda, i.e., the rondo character sections) remain on the tonic axis T,passing through the parallel major and relative major keys. So here we see the set of keys{Am,A,C} (1, 4, 6, 7, 12, 13, 16). The B sections combine the dominant axis domain withthe tonic, using the key set {E,Em,Am,A} (2, 3, 5, 10, 11). The longer C sections visit thesubdominant domain, starting on the lowered submediant degree F = [VI (8) for C1. Thissection walks through the key sequence F − B[ − Gm − Am − Dm (9), while C2 containsthe key sequence D − F]m − A (15). Section D has the Neapolitan stepwise key changeB[(= [II = N)−A (14).

In Mvt. 3 the Scherzo is in the tonic major key C, the trio in the submediant degree majorkey A. The scherzo opening section A1 has the regular tonic-dominant move C − G (1).The middle section, like the opening movement development section, starts in the loweredsubmediant major key A[, then makes a brief sidestep to the remote key of C[ (2), beforecontinuing with more closely related keys C − Fm − Dm − G (3-5). Note the occurrenceof the subdominant key Fm = IVm. The closing A2 section visits the subdominant area,C − Dm − F − C − Gm − Fm − C (6). The Trio opening C1 section moves to submediantand mediant degree minor keys A − F]m − C]m (7). The bridge section D contains thelowered submediant and median major key F = [VI, C = [III (8). In the closing section C2,like Movement 2, there is the tonic-Neapolitan (lowered supertonic degree major key) pairA−B[ (10).

The closing sonata form fast movement has the standard key pattern in the expositionsection: main theme in tonic major key C, secondary theme in dominant major key G (1). Thesurprise party starts with the development section, opening in the lowered mediant degreekey E[ = [III , then moving further into the sudominant domain with lowered submediantkey A[ = [VI . Using the double occurrence property of the diagram, suddenly we are in thedominant area with a sequence on the dominant axis D: C]m − Em − Gm − G (3) beforereturning to the tonic key C. Note that this is a limited set of keys for the developmentin a movement with such extraordinary length. The recapitulation surprises with the maintheme in the lowered mediant key E[ (4). It then wanders through F − E (5-6), beforethe secondary theme statement announces the return to the tonic major key C. The seconddevelopment section is the extended R7 sequential setting, reflected in the key sequenceDm − E[ − F − G (7-9). The returning tonic key C is maintained throughout the codasection.

Both the length of this symphony and the creative modulation process by Schubert yieldfairly wide key diagram envelopes, as is obvious from the figure. Major third, pivot point



Mvt. 1 Andante -Allegro, ma non troppo

A[m E[m B[m Fm

A[ E[ B[ F

Fm Cm Gm Dm

F C G D

Dm Am Em Bm

D A E B

Bm F]m D[m A[m

��*

1,3,8

?

��

2,7,10

��

PPi

4,9,11

-5

6

BBBBM

�

��+

? t

t

��3

6

6

12,14

?

��

13

��


B[ F C G

Gm Dm Am Em

G D A E

Em Bm F]m C]m

6

1,3,7,11- 2,5,10��?

?6

4,6,12,16

?�

�� 86

�-96

13

@@I 14

��

XXXXz�15��*?

Mvt. 3 Scherzo and trioAllegro vivace

D[ A[ E[ B[

B[m Fm Cm Gm

B[ F C G

Gm Dm Am Em

G D A∗ E

Em Bm F]m C]m

E C[ F] C]

-1,4

2

-CCCCCCCCCW

��

3

HHHY

tt�H

HHY?

5,8- �

��*

6��*

6

- 7��

?

�� 6

6

9

?

��

��*

10

Mvt. 4 Allegro vivace

A[ E[ B[ F

Fm Cm Gm Dm

F C G D

Dm Am Em Bm

D A E B

Bm F]m C]m A[m

B F] C] A[

-1,9

��

��2t

t��

3

6

�

4

��*

HHHj5

XXXXX

Xy

��

6

HHHY

PPPq

@@

7

8

t

tFigure 6.8: Schubert, Symphony No. 9 Große D759, key relationship diagram


6.5. STRING QUINTET IN C MAJOR OP. 163, D956

Mvt. 1 Allegro ma non troppo: sonata form (C,[

44

], 445 m.)


Recapitulation (146 m.) C (31 m.)

Mvt. 2 Adagio: ternary song form ABA’ (E − Fm,[

128

], 94 m.)

A B A’

Mvt. 3 Scherzo, presto: scherzo and trio form (C,[

34

], 212 m.)

A B A’ Coda

Trio, andante sostenuto (D[,[

44

], 58 m.)

C D C’ Cd

Mvt. 4 Allegretto: rondo ABAB Coda form (C,[

44

], 429 m.)

A (46 m.) B (123 m.)

A’ (99 m.) B’ (102 m.) Coda (59 m.)

Figure 6.9: Schubert, String Quintet in C Major Op. 163, D956

key modulations are visible as diagonal arrows in the diagrams: see for example the pairsA[m−Em,Em−Cm,Cm−A[ in the opening movement, and G−E[,E−C in the closingmovement.

6.5 String Quintet in C Major Op. 163, D956 (1828)

Source: [58]. This late string quintet doubles the cello part, which is an unusual instrumentcombination for the time period.3 An overview of the formal analysis is shown in Fig. 6.9.


Form: sonata form. See Table 6.24 to 6.27 for the analysis. The Exposition main themegroup has two themes: M1.1 with many appoggiaturas and a background in 4th and 8thnotes. The M1.2 theme is accompanied by a triplet background. the secondary theme groupconsists of four themes; the last theme M2.4 is the basis for the development. Here wealso see a step-up in the rhythm: M2.1 with 8th note (1st statement) and triplet background(2nd statement), M2.2 with a 6th note accompaniment, M2.3 going back to more sustainedharmonic background, however with occasional dotted 8th-16th groups. The Developmentsection applies many modulations to M2.4 and its variations, with the speed of modulationstepping up towards the end. Note the symmetrical octave division key sequence Bm −Dm− Fm−A[ (3 semitones R−3i).

3Other string quintets, e.g., by Mozart, double the viola part. Schubert copies the Boccherini instrumentation,doubling the lower cello part. This yields a darker sound at times, but note the high register phrases in the cellos



Table 6.24: Schubert, String Quintet in C Major Op. 163, Mvt. 1 Allegro ma non troppo

m M R H Comment

1 M1.1a C C −D[97 /C − C Exp, Gr 1/Th 1, c-ped,

7 ⊥ G− C −Dm/F −A◦7/F]−G− Vi111 M1.1a’ Dm− E7/D −Dm Vc1, d-ped17 ⊥ G7/D − C −Dm/F −G7 − C

20 M1.1b C+ − F][97 /C −B25 M1.1b’ B◦/D −G7 − . . .−D]◦7− g-ped30 ⊥ C6

4 − C]◦7/G−G7− cad33 M1.1a C − F]◦7/C G− E[5

7 /B[−A 2nd stat, elab, imit

40 M1.1a Dm− E7/Dd− F/A− imit: HiStr

45 G/B − Em7/D− triplets47 G7/D − C/E −G]◦7 −Am− F]◦7−49 M1.2 G− (A∆7 −A7 −G−B[6)/G− Gr 1/Th 2, g-ped,51 ⊥ (B − C)/G−D7 − F]◦7− Va+Vc153 M1.2 G−A∆7/G−A7 −G−B[6− repeat55 ⊥ B − C/G−D7 − F]◦7 −G− F]◦7 −G cad

60 M2.1a E[ E[−A[/E[−B[7/E[− E[− Cm/E[ Gr 2: Vc1+2, e[-ped63 ⊥ A[− Fm/A[−G− Cm/G−G−66 M2.1a E[−A[/E[−B[7/E[− E[ E[7/D[− repeat71 M2.1b C C − F −G7 − C −Am/C − F]◦7−

76... G/B − C −D7 −G/D−

78 ⊥ −Am/E −G64 −D7− cad

79 M2.1a E[ E[−A[/E[−B[7 − E[ 2nd stat: Vi1+2, triplets84 ⊥ Cm A[− Fm/A[−G−G− Cm/G−G−87 M2.1a E[ E[−A[/E[−B[7−

89... E[− . . .− E[7 −D[−

84 ⊥ Cm A[− Fm/A[−G−G− Cm/G−G−92 M2.1b C C − F −G7 − C− Vi1, c-ped

95... Am/C − F]◦7 − C− (c-ped)

97 ⊥ G/B − C −D7 −G64 −D7− mod trans, cad

100 M2.2 G G− C/G−D7 −G− C/G−D7− Gr 2/Th 2, g-ped, imit,104 ⊥ G− F]◦7/A− F][97 /A]− 16ths



Table 6.25: Schubert, String Quintet in C Major Op. 163, Mvt. 1 Allegro ma non troppo(cont’d)

m M R H Comment

106 M2.2 B B − Em−B − Em− 2nd stat, imit: Vi1-Va110 ⊥ B −G/B − C −D7−112 M2.2’ G G− C/G−D7 −G− C/G−D− imit: Vi1-Va, g-ped

116 ⊥ G−G/Bd− climax

118 M2.3 A[/C −G64 −D7 −G− Gr 2/Th 3: Vi1, triplets

122 M2.3 A[/C −G64 −D7

d− repeat

126 M2.3’ G]◦7 −A−A7/G− F]◦7 −G− C− Vi2

129 ⊥ G64 −D7

d−

131 M2.3’ G]◦7 −A−A7/G− imit: Vi2-Vc1

133... F]◦7 −G− C/G−G/D−

136 ⊥ C/E −G]◦7 −Am−G64 −D7−

138 M2.4 G− . . .−B −G7 − C −G64 −D− closing stat: Str

142 M2.4 G− . . .−B −G7 − C −G64 −D− repeat 8va

146 G− . . .−D7 −G− . . .−D −G

155 M2.1 A G]◦7 − E −A Bm− E −A Dev, Gr 2: Vi2+Va, a-ped161 M2.4 A C]−A7 −D −A/E − E− Str165 ⊥ Em− F]7/A]−Bm− F]m/C]−167 M2.4 F]m F]m−G]∅7 −A imit, c]-ped173 ⊥ C]m/G]−D]m/F]−D][97 −176 M2.4’ G] G]− . . .− unisono triplets181 M2.4 A[ A[−A[7/G[−D[/F − E[7− imit185 M2.4 A[−A[[97 /G[−D[/F − E[7− repeat

189... A[−A[7/G[−D[/F −D[−

193... G[−D[/A[−D[m = C]m−

199 ⊥ A− E64 −B7− modulation, cad

203 M2.4 Em Em− F]∅7 −G− Em/G− imit209 ⊥ F] Bm/F]− C]∅7 − C][97 −211 M2.4’ F]− . . .− C][57 − unisono triplets217 M2.4 F]− F]7/E −B/D]− C]7/B− imit221 M2.4 F]− F][97 /E −B/D]− C]7/B− repeat

225... F]− F]7/E −B/D]−B−

229 ⊥ B E −B64 − F]7− start rapid mod.

233 M2.4’ Bm B −Bm−G−D64 −A7− imit




m M R H Comment

239 M2.4 Dm D −Dm− E∅7/G− F − C7/E− triplets

243... Fm Fm− E[7/G−

246... A[ A[m = G]m imit

249... Em E − Em−B7/D]− Em−

251 ⊥ C G7 − . . .−D[97 /A[− climax, d− b-ped

260 G− . . .−G7 − C/G−G7sus4 −G7− retrans

268 M1.1 C C − F]◦7/C − C Recap, Gr 1: Vc, c-ped273 ⊥ G7/B − C −Dm/F −D/F]−G277 M1.1 Dm−G]◦7 −Dm/F− Vi1283 ⊥ G7/D − C/E −Dm/A−G/B−285 C − C+ − F][57 /C −G/B − C7/B[− mod to SD

295 M1.1 F F −B◦7 − C −A[57 /E[−D −D7− Vc1+2

302 M1.1 Gm− . . .− C]◦7d− B[/D − C/E −Dm/F− PB(↗)

309 ⊥ C7/G− F/A−B[− C]◦7 −Dm−B◦7− triplets311 M1.2 C C − (D[∆7 −D7 − E[− E − F −G7)/C− Va+Vc1, c-ped315 ⊥ C − . . .−G7 − C −B◦7 − C− cad

322 M2.1 A[ A[− (D[− E[7)/A[−A[−B[m/D[ Gr 2: Va+Vc, a[-ped326 ⊥ C − Fm/C − C−328 M2.1 A[ A[− (D[− E[7)/A[− repeat: Va+Vc1

330... A[− . . .−A[[97 /G[−

332... F F −B[− C7 − F −Dm/F−

338 ⊥ C/E − E −G− C64 −G7 − C−

343 M2.1 A[ A[− (D[− E[7)/A[−A[−B[m/D[ 2nd stat: Vi, triplets347 ⊥ C − Fm/C − C−349 M2.1 A[ A[− (B[− E[7)/A[− Vi1+2, a[-ped

351... A[− . . .−A[[97 /G[−

354... F F −B[− C7 − F −Dm/F−

358 ⊥ B◦7/F − C/E − F −G7− Retrans to T362 M2.2 C C − F/C −G− C − F/C −G− c-ped, imit

366... C −B∅7/D −B[9

7 /D]−

368... Am E − (E7 −Am− E −Am)/E− e-ped

372 ⊥ E − Em− F −G7−




m M R H Comment

374 M2.2 C C − F/C −G7 − C − F/C −G− C Vi1, I(M): Vc1380 M2.3 D[/F − C6

4 −G7 − C− Vi1, climax384 M2.3 D[/F − C6

4 −G7 − C]◦7 −D7sus4 −D7/C−389 ⊥ G/B −B◦7 − C −Dm7/F−391 M2.3 C6

4 −G7 − C]◦7 −D7sus4 −D7/C− repeat395 ⊥ G/B −B◦7 − C −Dm7/F−400 M2.4 C − . . .− E − C7 − F − C6

4 −G− Str404 M2.4 C − . . .− E − C7 − F − C6

4 −G− repeat 8va408 M2.1 C −Dm−G− C − (G7 − C −G7)/C− imit: Vi2-Va-Vc1, c-ped

414 M1.1’ C C − F]◦7 −G−B[m− Coda, imit

421... G[5

7 /D[− C − F [57 /B −B[− E[[57 /A−A[− cresc to climax

425 ⊥ A[7 − C64 −G− cad

429 M2.1 (C − . . .−G7 − C − . . .−G7 − C)/C c-ped439 (Fm−G7 −B◦7 −G− C)/C (445 m.)

6.5.2 Mvt. 2 Adagio


in this quintet.



6.5.3 Mvt. 3 Scherzo

Form: scherzo and trio form. Both the Scherzo and Trio have a ternary ABA’ Coda structure.Note the key, tempo, dynamics (soft) and meter change for the trio.

The Trio has a kind of call-and-response phrase structure: two instruments play a four-measure stepwise descending phrase M4 in octaves, which is answered by a tutti sustainedchordal cadence. See Table 6.28 and 6.29 for the analysis.

6.5.4 Mvt. 4 Allegretto




Table 6.28: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo

m M R H Comment

Presto A[

34

]1 M1 C || : <(C −G7sus4)/C − C− aa): Vi1+Va, P (c−g)

9... (F − C)/C − C7/B[− b): tutti chords

13 ⊥ (A−Dm−A)/A−Dm− C17 M1 <(G7no 3 − C)− aa): Vi1+Vc1, PD(g) 8ths

24... (C − F − C −G7 − C)/C− a’) P T (c)

26... (G7sus4 − C −G7 − C − F − C)/C− cresc

29... <(A[/C −B[m7 − E[7)− c): Vc2-(Vi1+Vi2) clim, N6

37... A[/C −A/C]−B[/D −B/D]− cresc,P i

B(↗), [S6] arp41 ⊥ C/E −A

[5/[97 /E[−G/D− climax

45 (M1) <(Dno 3 − Em7 −D7no 3 −G)− a) 2-pt imit, trans, Vi1 8th52 ⊥ G G− C/G−G−<(D7 −G) : || clim, P T (g)

57 Mt E[ || : E[− . . .−B[7/D −B[7no 3− B, Mt=(M1a), imit65 M2 E[−A[/E[− E[−B[7/D −B[7− Vi1+Vi2 oct, P T (e[)73 M2 E[−A[/E[− E[−B[7/D −B[7− 2nd stat81 M2’ B E[−B − E/B −B − F]7/A]− F]7− 3rd stat, P T (b)91 M2’ B − E/B −B − F]7/A]− F]7− 4th stat99 Mt B − . . .− Vc1+Vc2

107 ⊥ <(B◦7 − . . .−G[97 /B)−

115 C <(C4 −G[97 /B)− climax, PD(g)

119 E◦7/B[− F/A−D[5/[97 /A[−G−

123 <(C4 −G[97 /B)− PD(g)

127 E◦7/B[− F/A−D[5/[97 /A[−G− C

131 M1 C || : <(C −G7sus4)/C − C− A’, aa): Vi1+Va, P (c−g)

139... (F − C)/C − C7/B[− b): tutti chords

143 ⊥ (A−Dm−A)/A−Dm− C147 M1 E[ B[− E[/G−B[7no 3 − E[− a): Vi2+Vc1 8va, PD(b[)

151... B[− E[/G−B[7no 3 − E[− a)

155... <(B[7 − E[−B[7no 3 − E[)− Cm7/E[−

159... <(E[− Fm7 −B[)− c): Vc-(Vi1+Vi2), climax

167... E[/G− E/G]− F/A− F]−A]− cresc,P i

B(↗), [S6] arp171 ⊥ G/B −A[−D

[5/[97 /A[− C/G− climax



Table 6.29: Schubert, String Quintet in C Major Op. 163, Mvt. 3 Scherzo (cont’d)

m M R H Comment

175 (M1) C <(Gno 3 −Am7 −G7no 3 − C)− a) 2pt-imit, trans, Vi1 8th182 ⊥ C − F/C − C −<(G7 − C)− clim, P T (c)

187 M1’ <(G4 − C)/C− Coda, a): Vi1+Va, P (c−g)

191... <(G4 − C)/C− a’) augm

198... (C7 − F − C)− climax, Σ(cm<)

202 ⊥ (F]◦7 −G7 − C)/C : || cad (212 m.)

Trio – Andante Sostenuto C ([[[[[)[

44

]1 M4 D[ A[− (Fm−D[)−B[m7 Va+Vc2 8va5 G[−D[A[7 −D[ tutti chords9 G[m−D[−A[7 −D[

13 M4 D[− (B[m7)− Va+Vc2 8va16 G[−D[−A[7 −D[ tutti chords20 G[m−D[−A[7 −D[

24 M5 || : B[m− F −D[−A[7 −D[ D, Vi1+Vc2 8va28 M5 B[m− F −D[−A[7 −D[ Va+Vc1 unis

32 M4’ C]m7 = D[m7 −A−B C’ Vi1+Vc2 8va, Seq(2×4m;R−7)36 M4’ Bm7 −G−A− Va+Vc2 8va40 ⊥ D[64 −A[7 −D[ : ||

43 M4’ Bm7 −G−A− Coda, Va+Vc2 8va,47 ⊥ Am7 − F −G− Seq(2×4m;R−7)

Tempo I. retrans (\\\\\)[

34

]51 unis PD(g) (58 m.)


Chapter 7

Hector Berlioz

Biographical data:

1600 1700 1800 1900 2000

∗ 11-12-1803 La Cote-Saint-Andre† 8-3-1869 in Paris

7.1 Symphonie Fantastique Op. 14 (1830)

Source: [9]. This symphony has the subtitle ‘Episode de la vie d’un artiste’ (Episode in the lifeof an artist’), suggesting musical story-telling in the sense of a symphonic poem.1 This isrelfected in the form of the symphony as shown in the overview of the formal analysis inFig. 7.1.

There are five movements with titles that hint at the story. The symphony consists ofvery long outer movements, but only one has a more or less traditional sonata form. Mostmovements have unique forms, although there is a moderately fast triple meter inner move-ment (the waltz in Mvt. 2), a ternary inner movement (Mvt. 3) and both Mvt 4 and 5 havesome rondo form characteristics. Interpreting the opening movement in terms of the sonataform implies that it has a very long development section. The slow introduction section fitsnicely in the current symphonic context during that period.

A binding element in all movements is the ’Idee fixe’ musical theme, sometimes only as ashort motif, but originally as a long melody. This melody is modified in each movement, inaccordance with the current meter and tempo.

The ternary form Mvt. 3 has more or less equally long sections, the others show widerdifferences in relative lengths. This is in line with the story being told, full of emotions anddrastic mood changes. The closing movement confronts the wild ’Witches’ theme with the‘Dies Irae’ warning. This happens in multiple settings as juxtaposition, combination and inintricate counterpoint settings; this explains the mutliple occurrences of the B and C sections.

7.1.1 Mvt. 1 Reveries. Passions

This section is included in the full version of the book.1The terms symphonic poem and tone poem are synonyms.


CHAPTER 7. HECTOR BERLIOZ

Mvt. 1 Reveries. Passions: sonata form (Cm,[

44

][22

], 523 m.)

Intro (71 m.) Exposition (95 m.)


Dev (cont’d, 52 m.) Recap (39 m.) Coda (77 m.

Mvt. 2 Un Bal: ABAACB-Coda form (A,[

38

], 368 m.)

Intro (48 m.) A (80 m.) B (58 m.)

A (60 m.) A (23 m.) C (46 m.) B (18) Cd (48 m.)

Mvt. 3 Scene aux champs: ABA-Coda form (F ,[

68

], 199 m.)

Int (20) A1 (67 m.) B (30 m.) A2 (33 m.) Coda (50 m.)

Mvt. 4 Marche au Supplice: ABABA-Coda form (Gm,[

44

], 178 m.)

In (16) A (45 m.) B (16) A(11)B (16) A (47 m.) Cd (27 m.)

Mvt. 5 Songe d’une nuit du Sabbat: ABCB(C/B)(C/B)B Coda rondo form

(C,[

44

][68

][22

], 524 m.)

I. (20) A(62 m.) B (44 m.) C (60 m.)

C (cnt’d 34 m) B (126 m.)

C/B (67 m.) C/B (21) B (50 m.) Cd (40 m.)

Figure 7.1: Berlioz, Symphonie Fantastique Op. 14


7.1. SYMPHONIE FANTASTIQUE OP. 14

Order the E-book from the webstore.



7.1.2 Mvt. 2 Un Bal

Form: Intro ABAACB Coda. The overall structure of the second movement ‘Un Bal’ (‘A Ball’)might be classified as binary, i.e., (ABA)-(ACB), with a lower level ternary form subdivision.The general pause in m. 232 supports that approach (see below). See Table 7.1 to 7.4 for theanalysis.

The Introduction section has a set of wandering chords, starting on the tonic minor keyAm and preparing for the real (parallel) tonic key A major. Tremolo upper strings and doubleharp arpeggios support an arpeggio motif Ma in the lower strings (celli and contrabass). Achromatically ascending bass and crescendo lead into a first tutti climax and closing cadence(m. 30).

In the A1 section there is the first statement of the main waltz melody with period struc-ture M1(aba’b) (4 + 4 + 4 + 4 m.). This charming and elegant melody with regular structure(apex on a’-phrase) and stepwise motion in legato 16ths is played dolce e tenero by first vi-olins. The same instruments continue with a second melody M2, also in 16th note rhythm(occasional triplets) and an antecedent-consequent structure (5 + 6 m.) with both phraseshaving descending character. The transition contains another major-minor mood change(m. 78-84, see Mvt. 1). The 2nd statement (m. 94 ff.) has slightly different harmonisation andan extended second b’-phrase with imitation of melodic fragments between the lead violinsand woodwinds plus harp unisono.

Section B1 presents a development with fragments of the M1b’-phrase in varied imitationin the strings. This, however, is answered by a modified version (now with waltz rhythm) ofthe Mvt. 1 main theme, the ‘Idee fixe’ theme MIF . Its structure is MIF (aa’bc) (8+7+16+8 m.).The transition has the hoquet style 16th note groups alternatively shared between strings andwoodwinds (m. 163 ff.).

The 3rd statement of the main theme in section A2 (m. 174 ff.) is by 2nd violins, vio-las and celli in octaves, over an extended tonic pedal point. The new element here is thecountermelody fragments Mc1 played by first violins (32th note turns). Like in A1 there isa statement of M2, but now with doubling in all upper strings. The transition (m. 203 ff.) issimilar to m. 66 ff. (the instrumentation has been adapted here), including the major-minormode change. The section closes with a parallel series of 1st inversion chords [S6] in thewoodwinds and a general pause.

The main theme 4th statement in section A3 is for unisono woodwinds and has an ex-tended b’-phrase. First violins play a new countermelody Mc2, with octave leaps and legatoarpeggios. The transition section C presents new melodic material: M3 has sentence struc-ture M3(aab) (4 + 4 + 8 m.). The a-phrase is a descending scale, repeated in parallel thirds,the b-phrase has similarity to the earlier transition lead material (compare m. 78, m. 215 ff.).The 2nd statement of M3 is varied with an extended tail: M(aabc) (4 + 4 + 7 + 14 m). Thec-phrase represents the closing tutti climax of the elegant waltz.

There is a sudden change of atmosphere in the B2 section with the solo clarinet statementof the a-phrase of the ‘Idee fixe’ theme MIF , over a long tonic pedal point. The Coda section(m. 320 ff.) is an up-tempo, hastened, climactic waltz finale. The ball closes with feverishflurries of the main theme fragment M1a’ in the strings (m. 338 ff.), starting in the celli anddoubled by upper parts as the theme continues to rise to an apex at fortissimo level andclosing cadences.



Table 7.1: Berlioz, Symphonie Fantastique Op. 14, Mvt. 2 Un Bal

m M R H Comment

Valse. Allegro non troppo[

38

](]]]) Introduction

1 Ma Am Am− F Vc+DB: arp, HiStr trem,

7... F◦/A− F]/A]−Bm− Hrp arp, P i

B(↗)

15... G−G/B −G]◦−

20... A[/C −B[m/D[−B◦−

27 ⊥ D]◦7− WW enter30 A A6

4 − E7 −A [21] tutti clim, cad34 Bm7/D − E− WW+Hrp: scalar run↘

36 A− . . .− [22] A1, Str bg39 M1 A−D a): Vi1

43... Bm− E/G]−A− b)

47... F]m− E −D]∅7 −B9

7/D]−D− a’)51 ⊥ Bm− E/G]− E7− b)54 Ma’ A− Vc+DB pizz, Str 16th56 M2 A− F]m− Vi1

58... C]7 −D −B]◦7 −A/C]− E7−

60... A− . . .− F]m/A−

64 ⊥ C]7 − F]m−B7 − E7−66 A/C]−→D/F] [23] trans, WW par [S6]↗

69 A/E − Ed− F]m− C]m Str 16th, Seq(3×2m;R3)

73 D −A−75 D]◦7/F]−B◦7/F − E7− WW+Str, maj-min78 Am Am/E −D]◦7 −<(E −D]◦)− E [24] Vi-Vc imit

85 E7 − . . .d− arp, scalar run↗↘

90 D −A64 − E7− cad

94 M1 A A−D− [25] 2nd st, a): Vi1,

98... Bm− E/G]− E7 −A b), WW+Str bg

102... F]m− C −B7/D]−Bm7/D− a’)

106... Bm7/D − E7

d− D/F] b’): Vi-(WW+Hn) imit

110... B7/D]− E −B7/A− E/G]− tutti clim

114 ⊥ B7/D]− Ed−



Table 7.2: Berlioz, Symphonie Fantastique Op. 14, Mvt. 2 Un Bal (cont’d)

m M R H Comment

116 M1’ F F − . . .− E◦7/G− C7− [26] B1, b’): Vc var121 MIF F/A− C[9

7 − F/C− a): Fl+Ob, HiStr trem,

125... Gm/B[−G7/B − F/C − C LoStr arp

129... C − . . .− C7 − F/C− a’), PD(c)

136... C[9

7 − F/C− b), Str: M1b’ fragments

140... C[9

7 −A[97 /C]−Dm− P i

B(↗), Seq(2×4m;R7)

144... D[9

7 −B[97 /D]− Em−

148... D[9

7 −Am−Gm/B[− F−152 ⊥ Gm7 − F/A−G−Gm− C7− c)160 (MIF ) F − E/G]− E[− Cm/E[− [27] trans, Str163 E◦/G−Am/C − E/B− Str-WW hoquet, Hn: PD(e)167 Em/B − F]7/C]−D]◦7/C−170 G]◦7/B − E7/B− 8th note hoquet172 D]◦ − E[9

7 /B− cad

174 A E7− [28] A2, 3rd statement176 M1/c1 A− . . .−D/A a): Vi2+Va+Vc, Mc: Vi1, P T (a)

180... (Bm7 − E −A)/A− b)

184... (D −A− F]m−D)/A− a’)

188 ⊥ (Bm7 − E7)/A− b’)191 Ma’ A Vc+DB, bg: WW 16ths193 M2 F]m/A−B − E − E7− Vi+Va

197... A− F]m/A− E]◦ − F]m−

201 ⊥ D]◦/A− E7−203 A/C]−→A/C]− [29] trans, WW [S6] , Σ(cm<)205 A−A/E−

207 Ma’ Ed− F]m− C]m−D− Str imit↗↘, Seq(3×2m;R7),

211 ⊥ A−D]◦7 −G]◦7/D− WW 16ths215 Am <(Am7/C −D]◦7 − E)− [30] WW+Str (see m. 78)221 (M1) D]◦7 − E − E7− a’): Vi1226 ⊥ A−D−228 G/B − F]m/A−→E[9

7 /G]− WW 16th note [S6]↘, G.P.




m M R H Comment

A3, 4th statement233 M1/c2 A A− E −A−D [31] a): WW, Mc: Vi1

237... Bm7 − E7− b)

240... A− . . .−Bm7/D− [32] a’)

245... Bm7/D − E7 −A− b’)

249... A− . . .−

252 ⊥ D − E7− clim, cad

Animato C, trans256 M3 (A− . . .− F]m)/A− a): VI, WW 16ths, P T (a)

261... A− . . .− a): Vi S(2p) par 3rds, WW run↗

264... A−A7/G−D/F]− [33] b) clim, PB(↘)

266... G]◦7/F − C]m/E − E7/D−

269 ⊥ A/C]−D −A64 − E7 −A cad

273 M3 <(F]m−A)/A 2nd st, a): Vi, P T (()a)

277... A− E− a): S(2p) par 3rds, WW run↗

280... A−A7/G−D/F]− [34] b): tutti clim

282... G]◦7/F − C]m/E − E7/D−

285... A/C]−D −A6

4 − E97− clim, cad

288... (A−A7 −D)/A− c): WW+Vi1 unis

292... A− E]◦7/G]− F]m/A−A−

298 ⊥ A64 − E7− tutti clim, PD(e)

poco ritenuto B2, ‘Idee fixe’302 MIF A− . . .− E7 −A [35] a): Cl, Fl+Hn P T (a)310 ⊥ A/C]− . . .−G]∅7 − E7−

Tempo I. con fuoco Coda320 A−D− tutti clim, 2+2+2 rh323 Bm/D −G/B − E/G]− E7− [S6]↘326 A−D −A−B]◦7 −A/C]− Str trem331 Bm7 −B]◦7 −A/C]− C7−




m M R H Comment

334 F −A64 − E− [36] clim, cad

338 M1’ A− E −A− E/G]d− a’): Vc+Va

342 ⊥ F]m−A64 − E7/G]−A

346 M1’ A− E −A− E/G]d− a’) Vi+Va+Vc

350... F]m−A6

4 − E7−353 ⊥ <(A− E7)− tutti clim, cad361 A− C]m− . . .−365 F]m− E −A− E −A closing cad (368 m.)

7.1.3 Mvt. 3 Scene aux champs




7.1.4 Mvt. 4 Marche au Supplice

Form: ABABA Coda. See Table 7.5 to 7.7 for the analysis. In this movement Marche auSupplice (The Procession to the Stake) things turn grim, as the title announces.

The Introduction has a background of sustained chords in the tonic minor key Gm (tonicpedal) played by lower strings and two timpani (sixtuplets). Horns and bassoons play amotto M0 (2- and 4-part, contrary motion) with a rhythm (1/4+2/4+1/4, ‘Murder at the Gal-lop’) that will return in the fanfare phrases.

Section A1 consists of five statements of the main theme M1, a descending scale in half-note and quarter note rhythm. Statement 1 and 2 are in lower strings (cello and contrabass,first unisono than in parallel thirds), 3 and 4 in unisono violins. There are countermelodies:the shrieking and piercing four bassoons answer with Mc1 (the upbeat dotted rhythm andascending overall pattern) during the 2nd statement. Statements 3 and 4 have a counterpointtheme Mc2 in the lower strings (8th note rhythm, dominated by ascending leaps, descendingsteps). The final and 5th statement also has a somewhat transitory character. The theme M1is played by the string section (2-part in contrary motion) with a countermelody Mc3 in thefour bassoons.

The brass ‘Fanfare’ theme M2 in the section B1 has regular period structure M2(abab’)(4 + 4 + 4 + 4 m.) The a-phrase starts with the opening motif rhythm, followed by dotted 8th- 16th note rhythms. The b-phrase contains closing contrary motion. The final b-phrase issupplemented by the chromatically ascending middle voice in trombone and tuba. The briefsection A2 has transitory character and consists of a call-and-response setting with fortissimoff brass call signals repeated (answered) by the woodwinds and string sixtuplets. Then thedescending scale theme M1 is stated in a most remarkable hoquetus style, divided overpizzicato strings, woodwind and brass.

The second fanfare section B2 adds a string section background with 16th note motifs inthe violins, triplet arpeggios in violas and celli and a dotted rhythm starting on a tonic pedalpoint. The next section, A3 starts identical to the previous transitory call-and-response sec-tion, but then develops the main theme M1 (m. 114 ff.). It is presented as a diatonic parallelthree-part S(3p) setting for bassoons and brass, with a unisono ascending background inwoodwinds (6-tuplets) and strings (quarter notes with ascending grace notes). This buildstowards a climax in m. 123, with the M1 theme stated unisono in a tutti and with high stringstremoli. Then there is the contrast between two tritone-related alternating keys G(m) −D[;the theme M1 is presented as a melodic inversion in the latter key (see m. 131 ff.). This turnsinto a diminution version for the strings (m. 140 ff.) that play 2-part counterpoint dottedrhythms with unisono accented stabs on tonic pedal point in woodwinds and brass.

The Coda (m. 152 ff.) bluntly confronts the two remote and contrasting keys as alter-nating chords Gm −D[, in dotted rhythm accents in imitation in woodwinds and brass vs.strings. This climax is followed by the ‘Idee fixe’ motto for clarinet (m. 164), and loud accents,once again stating the minor-major mode contrast in the closing.

7.1.5 Mvt. 5 Songe d’une nuit du Sabbat




Table 7.5: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice

m M R H Comment

Allegretto non troppo[

22

]([[) Introduction

1 Gm Gm− . . .− 2 Timp+LoStr pizz2 M0 Gm− . . .− Hns motto Σ(cm>)

6... <(E[−D −Gm)/G− Hns+Bsn, P T (g)

9 ⊥ Gm− . . .−B[− Cm7−13 D7/C− Tbn+Tu15 D7/C− [50] cresc to clim

A1

17 M1 Gm− . . .− 1st stat, Vc+DB unis↘23 ⊥ A∅7/C −D− cad25 M1/c1 Gm− E[/G− F7− 2nd st, Vc+DB S(2p), Mc: Bsn

27... B[− F/A− Em− [50]

29... A◦/C −Gm/B[−

30... F]◦/A−Gm− F/A−Gm7/B[−

31 ⊥ E[ Cm−B[− E[ cad33 M1/c2 E[−B[7/A[− 3rd st, M1: Vi, Mc2: Va+Vc+DB,

35... E[− Cm7 −B[7/A[− E[/G− Timp PD(b[)

37... B[7 −Gm/B[− F/A−B[− E[

39... A[− Fm7/A[−

40 ⊥ B[97 no 7− [51]

41 M1/c2 E[−B[7/A[− 4th st,M1: Vi, Mc2: Va+Vc+DB,

43... E[− Cm7 −B[7/A[− E[/G− (Timp PD(b[))

45... B[7 −Gm/B[− F/A−B[− E[

47 ⊥ Fm7/C −G7/F − Cm/E[−D7− climax49 M1/c3 Gm Gm−Dm− Cm/E[−D7/C− [52] 5th st, Str Σ(cm), Mc3 Bsn

51... E◦/B[−D7/A−

52... Gm− F7 −B[9 − C7/B[−

54... D[9

7 /A−Gm−A∅7/C −D−

56... Gm− F/A− E◦/B[−

57... <(A∅7/C −D −Gm)− cad

61 ⊥ F7 Bsn+Str 16ths↗, Tbn PD(b[)



Table 7.6: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice (cont’d)

m M R H Comment

B1 ‘Fanfare’62 M2 B[ B[− F −B[− F7− [53] a): WW+Brs

64... B[− Cm7 −B[−

66... E[− F −Gm− Cm7− b) Σ(cm>)

68... B[− Cm7−

69... F −B[−Gm7 − C7 − F−

70... B[− F −B[− F7− a)

72... B[− Cm7 −B[−

74... B[7/A[− E[− Cm7− b’) Σ(cm>), Tbn+Tu P i

m(↗)76 ⊥ F7 −<(B[− F )−B[

A2 call-and-response, trans78 MCS <(B[−D[9

7 )− Brs-WW imit, Str 6-tupl82 M1 Gm Gm−Dm/F − Cm/E[− Str-WW-Brs hoquet,

84... B[/D − F/A

d− [S6] diat par↘

85... Gm/B[− F/A− E[/G−Dm/F−

86... C]◦/E −Gm− Cm7− Str pizz, Σ(cm>)

88 ⊥ B[/D − F7−

B2 ‘Fanfare’89 M2 B[ B[− F −B[− F7− [54] st 1, a): WW+Brs, Str bg

91... B[− Cm7 −B[−

93... E[− E[/G− F/A−Gm/B[− b) Σ(cm>)

95... B[− Cm7 −B[/F − F−

97... B[− F7 −B[− F7− a)

99... B[− Cm7 −B[−

101... Fm−B[m7 −B◦7 − Fm7/C− b’) Σ(cm>), Tbn+Tu P i

m(↗)

102... D[−B◦7/D − Cm7/E[− P i

B(↗)103 ⊥ F7 −<(B[− F )−B[



Table 7.7: Berlioz, Symphonie Fantastique Op. 14, Mvt. 4 Marche au Supplice (cont’d)

m M R H Comment

A3 ‘rall-and-response’105 MCS <(B[−D[9

7 )− [55] Brs-WW imit, Str 6-tupl109 M1 Gm Gm− Str-WW-Brs hoquet,

110... F/A− E[/G−Dm/F − Cm/E[− [S6] diat par↘

111... B[/D − F/A

d−

112... Gm/B[− F/A− E[/G−Dm/F−

113 ⊥ C]◦/E − F]◦7/E[−→B◦7 WW+Hn+Str pizz chr par↘114 M1 Gm− E[/G−D∅7/A[− [56] Bsn+LoBrs S(3p), diat par,

116... Gm/B[− F/C− WW+Str unis↗

118... B[/D −Am7/E −D/F]− cresc to clim

121 ⊥ D7/F]−D7− tutti Σ(cm<)123 M1 Gm−Gm/B[− F/A− tutti clim, M1 unis,

126... Cm7 − C7/B[− HiStr trem

128 ⊥ F/A− E[/G−A∅7/C −D−130 D[ D[− [57]131 I(M1) D[− . . .− E[m7− WW+Brs+LoStr, HiStr P T (d[)

135... A[− E[− F− Str unis↗

137 ⊥ B[− F]◦ −Gm139 Gm A7/C]−A∅7/C −D− cad, tutti clim140 M1’ Gm− . . .−D7− Str 2pt ctp, WW+Hns P T (g)

144... Gm− . . .−D7− repeat

148 ⊥ Gm−A7 −Dm−G]◦− Str unis, WW accts149 Am−D[9

7 −Gm−G]◦−151 Am−D[9

7 − cad

Coda152 Gm− [58] Str unis P i

L(↘)154 D[ D[−Gm−D[− . . .− (WW+Brs)-Str accts158 Gm− C]◦7/G−Gm− F]◦−159 Gm−D[−Gm−A[5

7 no 1/G−160 Gm G−Gm−A∅7/C −D[9

7 − tutti clim Σ(cm>)162 Gm− Cm−163 Gm/B[−B[/D − E[−D7− [59] cad164 MIF Gm−D −G/D− Cl169 ⊥ Gm tutti accts170 G G− . . .−G min-maj (178 m.)



Mvt. 1 Reveries. Passions

A[

Fm

F

Dm

E[

Cm

C

Am

B[

Gm

G

Em

61,3

62

�

?4

PPPPq

PPPi

5 6

6 ��

?

Mvt. 2 Un Bal

F

Dm

D

C

Am

A6?1,2,4

��

��

3

Mvt. 3 Scene aux champs

B[m

B[

Gm

Fm

F

Dm

Cm

C

Am

��*1?

?2- -�

3?64

Mvt. 4 Marche au Supplice

G[

E[m

E[

Cm

C

D[

B[m

B[

Gm

G

��*��1

?62,3

4,5

66

Mvt. 5 Songe d’une nuit du Sabbat

A[m

A[

Fm

F

Dm

E[m

E[

Cm

C

Am

B[m

B[

Gm

G

Em

61,5

��*��2,863 HHj

HHY

4�

6 AAAAK?��

7

�69

�

AAAAAU

10

Figure 7.2: Berlioz, Symphonie Fantastique Op. 14, key relationship diagram


The key relationship diagram of the Symhonie Fantastique is shown in Fig. 7.2. For a pieceof these proportions and based on the dramatic story the tonal key compass seems fairlylimited. All movements are playing with the major-minor modal contrast; this happens ona local scale with the harmonisation of a specific phrase, but also globally as a sequence ofkey centres in longer episodes (see the vertical connections between the parallel major-minorkeys on the tonic axis).

The problem in classifying Mvt. 1 as a sonata form is also clear from the key scheme forthe opening movement. The slow introduction section moves through the keys Cm − C −E[ − Cm − C (1-3), displaying the first major-minor contrast. However, the exposition firstmoves into unfamiliar subdominant terrain before ending in the more familiar dominantkey C − F − Fm − G (4). The very long development section stays fairly close to the mainkey G −Dm − G − Em − C − Cm −D − C (5-6), while recapitulation and coda are in thetonic major key throughout.

Movement 2, the waltz, remains mainly in the parallel minor-major related Am−A keys.The B1 section is the exception, with its move to the lowered submediant degree major keyF = [VI (3). The ternary structure of Mvt. 3 is reflected in the key areas. Opening and codaare in the tonic major-(minor) keys F − Fm (4). The A1 section moves into the dominantdomain Am − C − Cm (1), the middle section visits the subdominant key B[ (3), while theA3 section once again touches the dominant key (3).

The 4th movement is in the minor tonic key Gm, which is established in the introduction,all A sections and in the coda. The A1 section has an excursion to the subdominant area



E[ = [VI (1). All ‘Fanfare’ B sections are in the relative major key B[ (2,3). The threat ofthe march to the scaffold is supported by the blunt opposition of the tritone-related keysGm − D[ in the A3 section (4) and at the beginning of the coda (5). In the coda there is theclosing move to the parallel major key G (6).

The very long closing movement remains close to the tonic axis C − Cm − E[ (major,parallel minor and its relative major). The ‘Witches’ Dance’ sections have a preference formoving into the dominant domain G − Gm (2, 4, 8), while the ‘Dies Irae’ theme stresses theparallel minor key Cm (3). It is when these two elements are confronted and combined,especially in counterpoint settings and wild mood changes, that the keys start to wanderrapidly (5-10).

Due to the many tonal ambiguities and intermediate dominant function chords, manymore local keys at more detailed level could have been identified. In the diagrams there isa focus on the longer duration, more significant tonal centres as they establish in the move-ments of this unique symphony.


Chapter 8

Felix Mendelssohn-Bartholdy

Biographical data:

1600 1700 1800 1900 2000

∗ 3-2-1809 in Hamburg† 4-11-1847 in Leipzig

8.1 A Midsummer Nights’ Dream Overture Op. 21 (1826)

Source: [33]. Music for orchestra. An overview of the formal analysis is shown in Fig. 8.1.

Overture: sonata form (A,[

22

], (686 m.)

Intro (8 m.) + Exposition (242 m.)



Coda (66 m.)

Figure 8.1: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21

Form: sonata. This is the overture from the stage music to the Shakespeare comedy. Themain characters from this play are depicted as thematic material; see the well-known ‘I-ah’descending leap as part of the second group (labeled as M6, the most playful theme. Guessthe animal, and win a free ride!). The opening and closing sustained chords in contrary mo-tion for woodwinds and horns are a well-known example of a plagal sequence, and veryhard to play in tune. The first main theme (M1) is played in staccato 8th notes by delightfulviolins only (the same instrumentation is used by Tchaikovsky in the first movement of theNutcracker Suite, see Sec. 11.4). The lyrical contrast by the second group first theme (M2)is obvious; it is held in quarter and half note durations mainly, written in block chord set-ting with moving middle voices and contrary motion between outer voices. The first group


CHAPTER 8. FELIX MENDELSSOHN-BARTHOLDY

themes M1 and M3 return in the development section; this frequently uses sequences andimitation. Sustained chords and pedal notes in the transitions provide a more tranquil mood,before the piece takes up the original tempo feel. See Table 8.1 to 8.4 for the analysis.

Key relationship diagram

The key relationship diagram is shown in Fig. 8.2. This overture has a classical scope. Itopens in Em minor and through the parallel major E moves into the dominant domainB − Bm (1). The development starts in the dominant minor Bm, and then through its rel-ative major D (2) reaches some more remote keys: the submediant minor C]m (3) and thesupertonic minor F]m (4). Using the double occurrence of C]m in the diagram there is thereturn to the main key, E − Em (5). The closing section is in E major and shows the typicalexcursion into the subdominant domain A (6).

C

Am

A

F]m

G

Em

E•

C]m

D

Bm

B

G]m

A

F]m

F]

D]m

E

C]m

C]

A]m

6?

- 1

?�-

?2

��1

3,5��)��*

4 -t

t?

6

�6 -

Figure 8.2: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21, key relationshipdiagram

8.2 The Hebrides Overture Op. 26 (1830)



8.2. THE HEBRIDES OVERTURE OP. 26

Table 8.1: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21

m M Key H Comment

1 M0 E E −B −Am− E − Em Intro, WW+FHns: Σ(cm<)

8 M1.a Em Em− . . .−B7 − Em− Exp, Gr 1/Th 1, Vi: 8ths stacc12 ⊥ Em−B7/D]− Em− C/E −B−16 M1.a Em−B7 − Em20 ⊥ Em−B7/D]− Em− C/E −B−24 M1.b B − F][97 −B − E[9

7 − Seq(3×2m;R−7), Vi+Va

26... A−D[9

7 −G−30 ⊥ D]◦7/A− F][97 /A]−B7−32 M1.a’ Em−B7 − Em−B7/D]− 2nd stat

36... <(Em−D7)−G− F]◦/A−

38 ⊥ Em/B −B7 − F][97 /E cad, WW+Hns41 M1.b B − F][97 −B − E[9

7 − Seq(3×2m;R−7), HiStr: 8ths

43... A−D[9

7 −G− Vi+Va47 ⊥ F]◦/A− F][97 /A]−B7−49 M1.a’ Em−B7 − Em−B7/D]−

53... <(Em−D7)−G− F]◦/A−

55 ⊥ Em/B −B7 − F][97 /E cad, WW+FHn58 <(Em−D]◦7/E)− trans, Vi: 8ths60 Em− F]◦/A− Em6

4 −B− cad

62 M2.aa E <(E − C]m− E/G]−B7)− [A] Gr 1/Th 2, tutti climax70 M2.bb <(E −<(A− E)−A)−Am− plagal cad78 M3 E − . . .−<(B7 − E)/E trans, clim, imit, P T (e)86 M3 E − . . .−<(B7 − E)/E 2nd stat 8ba (P T (e))

90... E/B −A/C]− E/B −B[9

7 /A− PB(↘), WW: PD(b)

92... E/G]−A]◦7/G−B7/F]− Σ(cm<)

94... E −B/D]−A]◦/C]− Em7/B− Str: repeat 8va Σ(cm<)

96 ⊥ F][97 /A]− C∅7/G− F]7− cad98 M1.a B − . . .−B7 −G]7− Seq(3×8m;R−7), Str: 8ths,

106... C]m − . . .− F][97 −B7 WW+Brs: sustained ch

114 ⊥ E − . . .− C][97 /E]−122 B F]7− [B] trns, Str: imit, WW: PD(f])130 Mt <(B − E −B∆7 − E −B− Cl: trans th, PB(↘)

C]m− F]7)−



Table 8.2: Mendelssohn, A Midsummer Nights’ Dream Overture Op. 21 (cont’d)

m M Key H Comment

138 M4.aa B <(B E/B − C]m− F]7− Gr 2/Th 1, Str, P T (b)

146 M4.b B −G]m− F◦7 − F]97d− G]7/D]− Str+WW

151... C]m− F]7/C]− cad

152 ⊥ B/D]−G]m−B/F]− F]7−153 M4.aa <(B −A]◦ −B7 − E− 2nd stat: Str+WW

C]◦/G− F]7/A])166 M5 B − . . .− C∅7/E − F]7 −B− transition, WW+Brs

178... <(C]7 −B[9

7 )− Str, Hns: PD(b), PB(↗)

186 ⊥ E − C][97 /E]− . . .− F]7/A]− cresc194 B − . . .− Brs, P T (b)

198 M6.a <(B − . . .− C]∅7/E)− F][97 − [C] Gr 2/Th 2 tutti: (‘I-Ah’)206 M6.b <(B − . . .−G]m− F]7)− Str+WW214 (M6a) C]97 − . . .− F]− . . .− trans, cad222 M2.b B − . . .− E −B plagal cad, Brs-WW: imit230 M2.aa B − E/G]−B/D]− F]7− closing stat, tutti clim234 ⊥ B − E/G]− C]m/E − F]7−238 M2.b <(B − . . .− E)−B plagal cad, Brs-Str: imit247 M0 B unisono arp↘

250 M1.a Bm <(Bm− . . .− F][97 )− [D] Development, Vi: 8ths258 (Bm− . . .−−G∆7 − C][97 )/B− cad, Str: imit, WW: P T (b)270 M1/M0 F]m <(F]m− . . .− C]7)− Str/WW, P T (f])278 (F]m−D∆7 − F]m)/F]− Str: imit, WW: P T (f])

284 M5 B[97 − trans, WW: imit

290 M1/3/5 Em Em/G− . . .− F]7/A]− tutti: 3 themes imit298 M1/3/5 Bm Bm− . . .−G7 = C]

[5/[97 −

306 M1.a E7/G]−D]◦7/A− Str, PB(↗)

308... E7/B −A/C]−

310 ⊥ G]7 −G◦7 −G]7 − C]m−A7− PB(↗), cad316 M1/M5 D D [E], tutti imit, P (d−f])324 M1.a <(C]◦7 −D)−G∆7−334 M3’ C]m C]m− . . .−A7− Seq(2×8m;R−7), Str, P T (c])342 M3’ D D − . . .−D/F]− Em/G− Str+WW, P T (d)350 M3’ F]m F]m− . . .− F]/A]− F]m/A− Seq(2×8m;R−5), P T (f])

358 M3’ C]m <(G][97 − C]m)−G][97 −G]7− Str: th+WW: inv, PD(g])

369 C][97 −G][97 /B]− [F] trans: WW+Hns+LoStr373 M4 <(C]m− . . .−D]∅7/F]−G]7)− retrans, Str380 C]m cad




m M Key H Comment

394 M0 E C]m−B −Am/C − E Recap, WW+Hns, Σ(cm<)404 M1.a Em Em− . . .−B7 − Em− Gr 1/Th 1, Vi: 8th stac408 ⊥ B7 − Em− C −B−412 M1.a Em− . . .−B7 − Em− +WW bg416 ⊥ Em−B7 − Em− C −B−420 M1.b B − F][97 −B − E[9

7 − Seq(3×2m;R−7), Vi

422... A−D[9

7 −G−426 ⊥ F]∅7/A− F][97 /A]−B7−428 M1.a’ Em− . . .− C/E − . . .− +WW bg438 (M1.a’) C −B◦7/C − C −B7 − . . .− trans, Str imit, WW: PD(b)450 Mt E <(E −A− E − F]m−B]7) WW: trans th, PB(↘)458 M4.aa <(E − E7 −A−B7)− Gr 2/Th 1, Str, P T (e)

466 M4.b E − C]m− F]7 −B − C][97 − Str+WW470 ⊥ F]m−D]∅7 − C]m− E6

4 −B7− cad474 M4.aa <(E − E7 −A− F]∅7 −B7/D])− 2nd stat: Str+WW482 M4.b E −B7 − E −B7/D]− +FHns486 M5 E − . . .− C][97 − F]m− F]∅7 −B7 trans, WW+Brs494 M5 E − . . .− C][97 − F]7/A]− E7/D− Hns: PD(e)

502 ⊥ F][97 /C]−Bm/D − E7− cresc to climax (PD(e))506 A A− F][97 /A]− SD512 E B7/D]− E climax, Brs: P T (e)518 M6.a <(E − . . .− F]∅7/A)− [G] Gr 2/Th 2, tutti clim526 M6.b <(E − C]m−B)− Str+WW534 (M6.a) F]97 − . . .−B9

7− trans, tutti climax, cad542 M3 E − . . .−B7− trans, WW+Brs: imit, P T (e)548 E − C]m− F]m/A−B7− cad550 M3 E − E7− WW+Brs: imit, P (e)

554... C][97 − . . .− C]7/E]− Str: imit, Σ(cm<), PD(c])

562... F]m− F]7/A]− Σ(cm>)

564 ⊥ B −Bm/D −B7/D]−566 E − E]5

7 −A− F][97 −B −G]7/B]− tutti to climax570 C]m− F]m− E/B −B7/A− cad574 E/G]− C]7/G]− F]m/A−

576 E/B −B7/Ad−

578 C][97 − F]m− F]7/A]− tutti climax, Σ(cm>)582 E/B − F][97 /B − E6

4 −B7− cad




m M Key H Comment

586 M2.aa <(E − C]m− E/G]−B7)− Gr 1/Th 2, tutti climax594 M2.bb <(E − . . .−A)− plagal cad608 M0 E tutti clim, imit arp↘-Σ(cm<)

620 M1.a Em Em− . . .−B7 − Em− [H] Coda, Vi: 8ths624 ⊥ Em−B7 − Em− C −B−628 M1.b/M0 B − F][97 −B − E[9

7 − Seq(3×2m;R−7), Str/WW

630... A−D[9

7 −G−634 ⊥ F]∅7/A− F][97 /A]−B7−636 M1.a/M0 Em− . . .−B7− Str/WW

639... Em− . . .− F]◦/A−

642 ⊥ Em/B −B7

d− F][97 /E−

644 Em Em−Am/C− [I] trans, WW+Brs, PD(b)647 Em/B −D]◦7/A−649 Em/G−D]◦7/A− (PD(b))

653 Em− F][97 −B7

d− cad

658 C]m−A− E64 −B7− [K] Cl+Bsn+Hn, closing

662 M2 E <(E − C]m− E/G]−B) Str+LoWW670 <(E −A)/E plag cad, P T (e)682 M0 E −B −Am− E WW+Hns: Σ(cm<) (686 m.)



8.3 Symphony No. 3 in A Major ‘Scottish’ Op. 56 (1841-1842)

Source: [33]. An overview of the formal analysis is shown in Fig. 8.3. All four movementsare connected by attaca instructions to the performers. Three movements have a sonata formstructure, the third movement has binary structure with a ternary subdivision.

The symphony consists of long outer movements, with a total length of around 500 mea-sures. The opening and second movement section lengths are fairly balanced. In the open-ing movement the exposition is longer than the development, in the closing movement thereverse holds. The finale movement has a long recapitulation (including some additionaldevelopment, see below) and there is a separate coda with a new meter and tempo. Thebinary mirroring structure of the slow third movement is clear.

8.3.1 Mvt. 1 Introduction Andante con moto - Allegro un poco agitato



8.3. SYMPHONY NO. 3 IN A MAJOR ‘SCOTTISH’ OP. 56

Mvt. 1 Introduction Andante con moto - Allegro un poco agitato:

sonata form (Am,[

34

][68

], 522 m.)

Introduction (63 m.)

Exposition (148 m.)



Mvt. 2 Vivace non troppo: sonata form (F ,[

24

], 273 m.)


Recapitulation (73 m.) Cd (17)

Mvt. 3 Adagio: ABCABC Coda form (A,[

24

], 150 m.)

I A1 B1 C1 A2 B2 C2 Cd

Mvt. 4 Allegro vivacissimo. Allegro maestoso assai: sonata form (Am,[

22

], 490 m.)

Exposition (108 m.)



Coda

Figure 8.3: Mendelssohn, Symphony No. 3 in A Major ‘Scottish’ Op. 56



8.3.2 Mvt. 2 Vivace non troppo

Form: sonata. See Table 8.5 and 8.6 for the analysis. The vivid (vivace) mood in the Expo-sition is set by strings playing staccato 16th notes. The solo clarinet plays the main themeM1(aa’aa’bb’) (4 + 4 + 4 + 4 + 4 + 4 m.), a modified sentence structure with regular phrasing.The theme is restated by flute and oboe, then joined by the clarinet. The transitory section(m. 49 ff.) is a tutti climax, that has the a-phrase in the horns and violins simultaneously withan inverted version I(M1) in bassoons and lower strings. The secondary theme M2 is playedby strings in contrary motion (m. 72 ff.); it has M2(aaa’) (4 + 4 + 10 m.) unusual phrasing. Atransition with M1 fragments conludes this section.

The Development opens with modulating variations of M1, in (stretto) imitation setting.Later, from m. 152 onwards, both themes are combined. In m. 176 there is a sort of falserecapitulation in the ‘wrong key’, which after a brief moment of suspense is corrected bythe true Recapitulation (m. 183 ff.). When the M2 theme is repeated (m. 193 ff.), this iscombined with the M1 theme a-phrase as was the case in the development. Therefore thisclimax setting also suggests a secondary development, an effect supported by the local keyinstability (Gm vs. F ).

A tutti climax (m. 214 ff.) leads to the closing section, under a long series of 16th notepatterns in the strings with occasional fragments from the M1 a-phrase in imitation. Theclosing contains a surprise element: the rhythmic augmentation of the M1 theme, playedhere by oboe and bassoon in parallel octaves (staccato dotted 8th-16th patterns). A set ofcadential measure groups (m. 242 ff.) ends on the tonic chord in the Coda, with a finalvaried statement of the main theme a-phrase motif in 1st violins.

8.3.3 Mvt. 3 Adagio




Table 8.5: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 2 Vivace non troppo

m M R H Comment

Vivace non troppo[

24

]Exposition

1 F F − . . .− C − C7− Str 16th staccato9 M1 F −B[− F −G7/D − C7 − F aa’): Cl, Str bg

17... F −B[− F −G7/D − C7 − F aa’)

25... Dm−A[9

7 − b), Str 16ths [S6]↘29 ⊥ Dm−G7/D − F 6

4 − F − C7− b), cad33 M1 F −B[− F −G7/D − C7 − F [A] 2nd stat, aa’): Fl+Ob

41... Dm−A[9

7 − b): WW, Str 16ths [S6]↘45 ⊥ Dm−G7/D − F 6

4 − F − C7− b), cad49 M1’ F −B[− F− trans, aa): Hns+Vi1,

53... G7/D − C7 − F clim, LoStr I(M1)

57... <(G7/D − C7)−<(A7/E −Dm) Seq(2×2m;R7)

61... G7 − C6

4 −G7− a’): Cl+Bsn+Va+Vc, PD(g)67 ⊥ G7 − . . .− [B] Str imit 16th↘72 M2 C C/E − F − C/G− E7/G]− a): Vi1, StrΣ(cm>)

73... Am−G/B −G7−

74... C −G/B − F]◦7/A−G

76... C/E − F − C/G− E7/G]− a)

77... Am−G/B −G7−

78... C − C7/B[− F]◦7/A−D[5

7 no 1/A[−

79... G−

80... <(E∅7/B[−A7)− a’)

84.../c Dm−A7 −Dm−D∅7/C −G7 − C− Mc: WW 16ths imit

87.../

... F −D7/F]− C64 −G7−

88.../

... C −G7/B − C7/B[−A7− [C] Str↘

90.../

... Dm−D∅7/C −G7−91 ⊥/⊥ C −D7/F]− C6

4 −G7/F− cad92 (M1) C/E − C − F− trans, WW+Brs97 C6

4 −<(G4 −G− C64 )− WW+Str, PD(g)

103 G7sus4 −G7 − C− cad



Table 8.6: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 2 Vivace non troppo (cont’d)

m M R H Comment

Development105 M1’ F F −B[− F a): Bsn+Va+Vc, P T (f)109 ⊥ F − . . .− a’), Str 16th imit↗113 M1’ D −D7 −Gm a): LoStr-(WW+Va) imit

117... Dm A7 −Dm− C7/G− F7−

121... B[ B[− . . .−D[9

7 − clim, Vi, P T (b[)

123 ⊥ Gm/B[− E[57 /B[−

124 M1 Dm <(A−Dm)−B[− [D] aa): Ob, WW bg132 M1’ F E[− Cm7 − C − F −D−136 (M1) Gm Gm− . . .− C7/B[− . . .− Str imit, WW bg144 ⊥ F F/A− Fm−G7 − . . .− Str imit152 M2 Fm (C − Fm− C −D[)/C− [E] a): Vi1, Str, PD(c)

153... / 1’ (C − Fm−D[−G7)/C− M1a’): Cl, combi

156... /

... (C − Fm− CD[)/C−157 ⊥/⊥ C − Fm/A[−D[/F −G7−160 M2 C − C7/B[− a’): Hn-WW imit

164... / 1’ F F/A−D7/A−Gm/B[− M2): WW imit,

168 ⊥/⊥ B◦7 − . . .− F/C− M1’): Str stretto imit, P (c)172 B◦7 − . . .−B[7−176 M1 E[ (E[−A[− E[)/E[− False Rec, a): Fl, WW

Recapitulation183 M1 F (F −G7 − C7 − F )/C− a): Ob+Vi, PD(c)187 ⊥ (G7 − C7 − F )/C−189 G7/D − . . .− C/E − . . .− cad193 M1’/2’ F −B[− F − C7/B[− [F] tutti clim,

194... /

... F/A− C7/B[− M1): Bsn+LoStr,

195... /

... F/A− Fm− C7/B[− M2’): WW+HiStr

197... /

... F −B[− F − C7/B[− repeat

198... /

... F/A− C

199... /

... F/A− Fm− C7/B[−

201... /

... <(A◦ −D7)− M2): Vi1

205... /

... Gm Gm−D7 −Gm−G∅7/F−

207... /

... F C7 − F



Table 8.7: Mendelssohn, Symphony No. 3 ‘Scottish’ Op. 56, Mvt. 2 Vivace non troppo (cont’d)

m M R H Comment

208 (M1’/2’) B[∆7 −G7/B − F 64 − C7− cad, Σ(cm>)

209... /

... F − C/E −A∅7/E[−D7−

211... /

... Gm Gm−G∅7/F − C7−212 ⊥/ ⊥ F −G7/B − F 6

4 − C7− cad213 (M1) F F/A− . . .−B[− . . .− tutti climax, P (c−f)218 F 6

4 − . . .− PB(↗)220 (M1) C − F −Gm7 − C7 − F cad222 F/A− . . .−B[− . . .−226 (M1) A− . . .− [G] closing, Vi 16ths, PD(a)

231 M1’ Dm Dm−Ad− Gm7/B[− a): Ob+Bsn augm

233... F F 6

4 − C7 − F

235... Dm−A−Gm7/B[− a): Fl+Ob+Bsn

237... F 6

4 − C7/B[−238 ⊥ <(F/A−Gm7/B[− F 6

4 − C7/B[) WW arp↘242 (M1’) <(F −B[− F/A− C7/G)− a’): WW+Vi imit, PB(↘)

250... <(F −B[− F/A− C7/G)− a’): WW+Vi stretto imit

254 ⊥ <(F − C7/G)− cad

Coda256 F [H], P (f − a)257 (M1’) F − . . .− a’): Vi1 16ths

261... F −<(F − Cno 3) Hn 5ths, PD(c)

264 ⊥ F − . . .− Str imit arp↘267 F − . . .− (273 m.)



8.3.4 Mvt. 4 Allegro vivacissimo. Allegro maestoso assai





The key relationship diagram for the Mendelssohn Symphony No. 3 is shown in Fig. 8.4.Remember that Mvts. 1, 2 and 4 all have sonata form. The opening movement introductionalternates between tonic minor and lower submediant degree major key Am ↔ F (1). Theexposition has first and second group themes in tonic and dominant minor keys, respec-tively. The development section moves to a sequence of minor keys Cm − Gm −Dm (2-4),until arriving at the dominant major key E (5). The recapitulation moves into the subdomi-nant area Gm−Dm (6), before closing on the tonic minor key.

Mvt. 1 Andante con moto -Allegro un poco agitato

B[m

B[

Gm

G

Fm

F

Dm

D

Cm

C

Am

A

Gm

G

Em

E

Dm

D

Bm

B

��*

1

-

��2-� -�

3,4

��

5

-6

- Mvt. 2 Vivace non troppo

E[

Cm

B[

Gm

F

Dm

C

Am

� -16��

��*2 ?HHY HHj

3,4,6,7

5

8

Mvt. 3 Adagio

F

Dm

D

C

Am

A

G

Em

E?

?1��

��*

6

2

��*

3

?��*

4

6

Mvt. 4 Allegro vivacissimo -Allegro maestoso assai

B[m

B[

Gm

G

Fm

F

Dm

D

Cm

C

Am

A

Gm

G

Em

E

-1,3

��*2

6

�4tt 5H

HHHY

��*

6,8

�

?7

6

9

Figure 8.4: Mendelssohn, Symphony No. 3 ‘Scottish’, key relationship diagram

Movement 2 has an exposition section with the usual tonic-dominant major key moveF − C (1). The development starts on the tonic key, passes by the relative minor key Dm,with an excursion to the subdominant major key B[ (2). Then there are various back-and-forth movements between F and Gm (3,4), interrupted by the false recapitulation ‘joke’ inthe key of E[ major (5). Then, in the recapitulation again there is the F ↔ Gm pattern (6,7)and near the end we find alternating keys F ↔ Dm (8).

The slow movement has binary structure, reflected in the key scheme. A sections are inthe tonic major key A. The B sections have a similar key modulation pattern, with Am−C−Em (1) in B1, mirrored as Dm − F − Am in B2 (3). The first C section is in the dominantmajor key E (2), the closing is in A (4).

The finale starts in tonic minor Am and closes with a coda in parallel major A (9). Theexposition has the first group in tonic minor key Am and the second group in dominantminor key Em (1), but using the ambiguity of the major third root relationship Em↔ C (2).The latter also is the starting key of the modulating episodes. These move through a cycleof minor keys C − Am − Em −Dm − Gm − C (3-5). The V m − [III = Em − C pattern ismirrored as the Im− [V I = Am−F keyset at the end of the development section and in the


8.4. SYMPHONY NO. 4 IN A MAJOR ‘ITALIAN’ OP. 90

recapitulation (6,8). The recapitulation moves traditionally into the subdominant domainDm− F (7).

8.4 Symphony No. 4 in A Major ‘Italian’ Op. 90 (1833)


Mvt. 1 Allegro vivace: sonata form (A,[

68

], 588 m.)

Exposition (210 m.)



Coda (76 m.)

Mvt. 2 Andante con moto: ABAB form (Dm,[

44

], 103 m.)

A B A’ B’ Coda

Mvt. 3 Con moto moderato: ABAB form (A,[

34

], 223 m.)

A B A’ B’

Mvt. 4 Saltarello presto: sonata form (Am,[

22

], 264 m.)

Exposition Development FRec. Rec+2nd Dev.

Coda

Figure 8.5: Mendelssohn, Symphony No. 4 in A Major ‘Italian’ Op. 90


Form: sonata form. See Table 8.8 to 8.11 for the analysis.The fast

[68

]meter, with the staccato 8th note accompaniment in the woodwinds supports

the Mediterranean flavour, suggested in the title. The Exposition main theme M1 has adance character. In the contrasting second group there is subtle play with major and minor inthe first, more or less transitory, theme. The second theme M2.2 is the more prominent. TheDevelopment modulates through many minor key, using a new theme (M3), that is treatedin counterpoint setting and sequences. After a brief false recapitulation, there is a secondarydevelopment. The theme M3 is returns here in tutti climaxes with block chords. And, mostparticular, in the Recapitulation it returns once more, in a third development section thatleads to a climax, when M3 is combined with the main theme M1. The melodic richness ofthis movement is expressed with yet another new theme M4 in the Coda (although it has



some rhythmical simularity to M2.2). Finally, all themes are restated once more in the tutticlimax closing.





Table 8.8: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 1 Allegro vivace

m M R H Comment

1 M1 A A/E − . . .− Exp, Gr 1 (a): Vi, WW bg

4... || : A/E − E7 −A−D/A− E7−

10... A−A∆7/G]−D/F]−A/E− (b)

12... Bm7/D −D/F]−A/E−

14... B7/D]− . . .− min-maj

17... E7 − C][97 /E]

d− Bm/F]− E7/G]− (c)

19 ⊥ A−Bm7 −A64 − E7 −A cad

24 (M1) A− . . .− F]m− . . .− C]m− trans (a): WW+Hns

32... E7 − . . .−A− . . .−

41 ⊥ B7 − . . .− E7 − . . .− cresc, Σ(cm<)51 M1’ A− . . .− E7/G]− E7− (a) 2nd stat, tutti clim

55... A−D/F]− E7 −A−A∆7/G]

59... B7/F]− E7

d− F]m− E −A− (b’)

63 ⊥ B7/F]− E7

d− F]m− E7− (c’)

66 A− F]m/A−Bm−D− trans T to D74 B7 − . . .− E − . . .− C]m−82 (M1) F]7/A]− . . .− (a) tutti clim86 ⊥ B − . . .− [A]90 E B7 − F]m7 −B7 − E94 M2.1 Em B7 − F]m7 −B7 − Em Gr 2 Cl+Bsn, maj-min98 <(Em−B)− E/G]− Str

104 E A−G]7 − C]m−B7 − E − E/D]− Σ(cm<)107 C]m− F]

[5/[97 /C − E6

4 −B7− cad110 M2.2 E −B7 − E− (a) 1st stat: Cl+Bsn

115... F]7/C]−B/D]−G]7/F]− (b)

119 ⊥ C]m7/E −B64 − F]7− (c), cad

124 M2.2 E −A−B7 − E (a) 2nd stat: Fl+Ob

128... E − F]7/C]−B/D]− (b)

132 ⊥ B7/A− . . .− (c’): Cl+Vi, P (a)140 M2.2’ E/G]−A− C]− F]m− (a) 3rd stat: WW+Str144 ⊥ E/G]− F]m/A− E6

4 −B7 − E Str Σ(cm>), cad148 M2.2’ E/G]−A− C]− F]m− (a): Str, repeat 8ba151 ⊥ <(B[9

7 /F]− E/G]− F]m/A)−159 (M1) C]m C]m/G]−G]− C]m−G]7− trans, (a): Cl



Table 8.9: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 1 Allegro vivace (cont’d)

m M R H Comment

167 M1 E E/B −B7/A− final stat, (a): Vi

171... A E7/G]−A− F]m/A− [B] (a): tutti climax

175... B7/A− C][97 /G]− F]m−B7−

177... E7/G]−A− F]m/A− (a): tutti repeat

181 ⊥ B7/A− C][97 /G]− F]m−B7 − E− (a’)187 (M2.2) E 1) <(E −A/E − E −B7 − E)− tr, (c): Cl+Bsn

194... <(B7 − E)−

200... E − F][97 −B − E[9

7 − Str204 ⊥ A− F]m−D −Bm− E7 −A : ||

210 M2.1 Am 2) <(E7 −Am) Dev, tr: Cl+Bsn

218... Dm <(Dm−A)− Ob+Bsn

222 ⊥ Dm− . . .−225 M3 Am Dm−A7 −Dm− new theme, Str: imit (1)

229... E/G]−Am− E[9

7 −Am (2), WW+Tpt: accts

233... A7 −Dm/F − E7 −Am− (3)

237... B[9

7 − Em−B[97 − Em (4)

241... G7 − C/E −D[9

7 /C −G/B − E∅7/G− Str: ctp, Seq(2×4m;R7)

245... A[9

7 −D/F]− E[97 /D −A/C]−Am

249... B7

d− C/E − F]◦ −B7−

253 ⊥ Em− C]∅7/E−257 M3 Bm <(Bm/F]− F][97 )− Str: ctp269 M3/1.1 B B − . . .−B7/A− E/G]− E7/D− Str, Seq(2×8m;R−7),277 ⊥ A/C]−A7 −D/F]−D7− WW-Brs: M1.1a285 M1.1 C C/G−G7 − (N/V ) [C] False rec (a): clim

289... C/E − E7/D −A7/C]− Seq(2×4m;R7)

293 ⊥ D/F]− F]7/E −B7/D]−297 M3 Em Em−B[9

7 − 2nd Dev, tutti clim301 ⊥ Em−A−D −B7−305 M3 Em−B[9

7 − repeat309 ⊥ Em−Bm/D − C]7−313 M3 F]m F]m/A− C]7 − F]m− repeat319 (M1) C]− C]7/B − F]m/A− (a): Str323 ⊥ C]− C]7/B − F]/A] tutti clim, min-maj




m M R H Comment

327 C]− . . .− C]7− retrans, PD(c])346 F]m/C]− . . .−A/C]−A7/C]− Str (PD(c]))353 A7 −A7/G− F]m−A7/E− cad357 (M1’) D <(D − Em/G− E7)− (a’): Ob, tr to T, PB(↗)

361... <(D/A−Bm−G]7/B]− F]m/C])− cresc

365 ⊥ F]m− . . .−B[97 /D]−

371 M1 A A/E − E7 −A−D/A− E7− [D] Rec, Gr 1 (a): Vi

378... A−A∆7/G]−D/F]−A/E− (b)

381... Bm7/D −D/F]−A/E −B7/D]− min-maj

383... E7 − C][97 /E]−Bm/F]− E7/G]− min-maj

385... A−Bm7 −A6

4 − E7

d− F]m−B7− (c)

391 ⊥ E7 − C][97 /E]−Bm/F]− E7/G]− cad, Σ(cm>)393 A−A/C]−Bm7/D −Bm7− trans, Vi, WW accts395 E − E+ − C]m/E − F]m−D/F]−399 E −Bm7/A− E7/G]−Bm7/A−401 <(E7/G]−Bm7/A)− E7/G]−407 M2.2 A−D − E7 −A− Gr 2 (a): LoStr

411... A−B7 −B7/A− E/G]− (b)

416 ⊥ A− E/B −B7 − E7− cad421 M2.2 A−D − E7 −A− (a): HiStr

426... D/F]−Bm− E7/G]− (b)

429 ⊥ E7/D − . . .− (c’): tutti, P (d)437 M2.2 A/C]−D − F]−Bm [E] (a): Vi+WW441 ⊥ A/C]−Bm/D −A6

4 − E7 −A cad445 M2.2’ A/C]−D − F]−Bm− . . .−Bm7− trans, (a’): Str458 M3 Am Am/E − E7 −Am/E− 3rd Dev: WW+Hns463 ⊥ Dm/A−G7 − E7−466 M3 Am/E − E7 −Am− WW+Brs, Str imit

471... Dm/A−G7 − C − C7−

474 ⊥ F −B[/F − F − (N)

478 M3 <(Am/E − E[97 )− E7/D− Str+Brs, PD(e)

486 M1.1/3 A A/C]− E7/G]− E7/D− final stat, (a): tutti clim

490... D A7/C]

d− Bm7 −A7/E− tutti climax

496... D/F]−A7/G−D/F]−A/E−

498 ⊥ D −A7/G−D/F]−A7/E−




m M R H Comment

500 M1/3 D − . . .−D∆7/C]− (WW+Brs)-Str

504... Bm− . . .−Bm7/A−

508 ⊥ E7/G]−<(E7/G]−Bm7/A)−

512 A E7 − . . .− E7/G]− [F] Coda, trans: Str516 M4 A− E7/B −A/C]−Bm/D− (a): Vi2518 ⊥ E − F]m/A− E7−520 M4 A− E7/B −A/C]−B7/D]− (a:) Fl+Vi2

522... E − F]m/A− E/G]− Em/G−

524... F]7 −B7 − C][97 /E]− (b)

527... F]m−D −A6

4 − E7

d−

530... F]7 −B7 − C][97 /E]−

533 ⊥ F]m−D −A64 − E7−

536 M1’ A/E − E7 − F]7/E− (a): LoStr540 ⊥ Bm/D − E7/D −A/C]−B[9

7 /C−548 M1’ B7 − . . .− (a’): HiStr, tutti clim

552... E7/G]− C][97 /E]− F]m−Bm/D−

554 ⊥ A64 − E7− cad

556 M2.2’ <(A− . . .− E7)−A− E7− (c): Cl+Bsn566 ⊥ A6

4 − E7 − . . .−572 M3’ A− . . .− HiStr, tutti clim580 M1’ <(A− E7)−A (a’), (588 m.)



8.4.3 Mvt. 3 Con moto moderato

Form: ABAB’. See Table 8.12 to 8.14 for the analysis. The three A section themes are similar(M1.1, M1.2 and M1.3); they all start with an upbeat 8th note pattern, have the same melodicshape, and nearly identical phrase structure (abc). This a-phrase, the 8th note wavy pattern,returns in a varied form in the transitions. The B section subject M2 has the classical combi-nation of two bassoons and two horns. The signal motif Ms, played in imitation by brass andstring section, is the opening motto from the B section theme. The coda, B’ section, presentsthe signal motif in tutti imitation, and a hint of the M1.a phrase in melodic inversion; this allat soft dynamics.

8.4.4 Mvt. 4 Saltarello presto




Table 8.12: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 3 Con moto moderato

m M R H Comment

1 M1.1 A || : (E)− E7/D −A/C]− A (]]]) (a): Vi, Str bg

3... E7 −A− E7

d−

5... F]m−A∆7/C]−D −G∆7/D −A/C]− (b)

7... E7/G]−A− E halfcad

9... <(E7/D −A/C])−A (c) Hns: PD(e)

14 ⊥ E/G]− C]7 − F]m−B7 − E (c’), halfcad17 <(A− E)/E −B7 − E : || tr, WW+Hns+Str, PD(e)21 M1.2 Bm (C]∅7)− F]7 − F]7/E −Bm/D− (a): Vi+Ob, Str

23... F]7/A]−Bm− F]7/C]−

25... <(Bm/D − C]7)− (bb)

29... C][97 /B − F]m/A− C]7/E]− (c)

31... F]m−A7 −D − C][97 −

33... G][57 /D − C]

35... F]m <(C][97 − F]m) (aa)

39 ⊥ D/F]− E7−

42 M1.3 A E7

d− F]m− E7 −A−A7/G− (a): Fl+Vi1, clim

46... D/F]−A7/G−D/F]−A7/C]− (b)

48... D −A7/C]−D − F][97 − (c)

50... Bm− C][97 /E]− F]m−D−

52... A/E − E7/D −A/C]− F]7−

54... Bm− C][97 /E]− F]m−D− (c): Str+WW

56 ⊥ A64 − E7 −A cad

58 (M1’) <(D −A)/A− E7 −A trans, (a): Fl+Vi1

62... <(D −A)/A−<(E7 −A) (a’): Str, WW+Hns bg

69 ⊥ E7 − . . .−A



Table 8.13: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 3 Con moto moderato(cont’d)

m M R H Comment

76 M2 E || : <(B7/A− E/G])−B7/A− B (]]]]) Bsn+FHn 2x,

81... <(B7/A− E/G])−B7/A− Vi-Fl: Mc

86... C]7/G]− F]m− E7

d−

89 ⊥ F]m/A− E64 −B7 − E : || cad

92 Ms Em B7/A− Em/G Brs-Str: signal, PD(b)96 Ms E B7 − E −Am/C− cresc

100 Ms <(E −Am)− P T (e)105 ⊥ E − (Am− F]∅7 − E/G])−Am climax108 M2 <(B7/A− E/G])−B7− Bsn+FHn, Fl: Mc

113... <(B7/A− E/G])−B7− repeat, Vi1: Mc

118... C]7/G]− F]m− E7

d−

121 ⊥ F]m/A− E64 −B7 − E−

125 (M1’) (C]∅7)− F]m/A− E7/G] trans (]]]) (a) Str imit

127 M1.1 A F]m/A− E7/G]− E − E7/D −A/C] A (a): Vi, Str bg

129... E7 −A− E7

d− F]m−A∆7/C]−

132... D −G∆7/D −A/C]− E7/G]−A− (b)

134... E −<(E7/D −A/C])− (c), Hns: PD(e)

139 ⊥ A− E/G]− C]7 − F]m−B7 − E (c’), halfcad142 <(A− E)− E6

4 −B7 − E tr, WW+Hns+Str, PD(e)147 M1.2 Bm (C]∅7)− F]7/E −Bm/D (a): Vi+Ob, Str

149... F]7/A]−Bm− F]7/C]−

151... <(Bm/D − C]7)− C][97 /B− (bb)

156... F]m/A− C]7/E]− F]m−A7− (c)

158... (D − C][97 −G][57 )/D − C]−

161 ⊥ F]m <(C]7 − F]m)−D/F]− E7−



Table 8.14: Mendelssohn, Symphony No. 4 ‘Italian’ Op. 90, Mvt. 3 Con moto moderato(cont’d)

m M R H Comment

168 M1.3 A E7

d− F]mE7 −A−A7//G− (a): Fl+Vi1, clim

172... D/F]−A7/G−D/F]−A7/C]− (b)

174... D −A7/C]− F][97 /A]− (c)

176... Bm− C][97 /E]− F]m−D−

178... A/E − E7/D −A/C]− F]7−

180... Bm− C]7/E]− F]m−D− (c): Str+WW

182 ⊥ A64 − E7 −A cad

184 (M1’) <(D −A)/A− E7 −A trans, (a): Fl+Vi

189... <(D −A)/A−<(E7 −A)− E7− (a’): Str, WW+Hns bg

195 ⊥ E7 − . . .−A− . . .−

203 Ms A B7/A− E7 −A/E− B’ tutti imit, PD(e)

207... B7/A− E7 −A/E− repeat (PD(e))

211 ⊥ B7/A− C]7/G]− F]m− E7−215 I(M1’) E7 − . . .−A I(a): V1 (223 m.)


Chapter 9

Robert Schumann

Biographical data:

1600 1700 1800 1900 2000

∗ 8-6-1810 Zwickau† 29-7-1856 in Endenich (Bonn)

Detailed score analysis of the Schumann symphonies was complemented with the formalanalysis presented in [23].

9.1 Symphony No. 1 in B[ Major Fruhling, Op. 38 (1841)

Source: [60]. This symphony is known as the ‘Spring Symphony’ (‘Fruhlingssinfonie’). Anoverview of the formal analysis is shown in Fig. 9.1. Note the use of secondary developmentsections in the outer sonata form movements. In the opening movement this section is sig-nificantly longer than the primary development. The extended scherzo in

[34

]has two trio

sections in a different meter.

9.1.1 Mvt. 1 Andante - Allegro

Form: sonata form. This opening movement has a slow Introduction section (Andante),followed by a faster Allegro, which is the actual beginning of the sonata form. See Table 9.1to 9.3 for the analysis.

The opening signal motif (M1s) with the characteristic rhythm (upbeat 14 + 1

4 .+18 + 1

4 + 14 ) is

the first phrase of the Exposition main subject (M1); it appears also in melodic augmentationand diminution. The main theme has M1(abab) (4 + 4 + 4 + 4 m.) period structure, withrhythmic diminution (the beat has changed from quarter notes in the introduction to 8thnotes in the Allegro). The a-phrase is set in tutti instrumentation with woodwinds and highstrings lead, the b-phrase consists of 16th notes descending violin patterns. This gives themain theme a call-and-response flavour.

The secondary subject has a modified M3(aabaab) (1+1+2+1+1+2 m.) period structure.The first statement is by oboes and bassoons (note the open fifths in the bassoons). M4 is ascalar motif in (dotted) 8th-notes, combining ascending and descending patterns, against asteady 16th note background in the high strings (measured termoli).


CHAPTER 9. ROBERT SCHUMANN

Mvt. 1 Andante – Allegro: sonata form (B[,[

44

][24

], 515 m.)

Intro (39 m.) Exposition (95 m.) Dev (44 m.) FR (24 m.)

2nd Development (115 m.) Recapitulation (64 m.)

Coda (134 m.)

Mvt. 2 Larghetto: ABACA-Coda form (E[,[

38

], 123 m.)

A1 B A2 C A3 Coda

Mvt. 3 Scherzo molto vivace: scherzo and trio form (Gm,[

34

][24

], 375 m.)

Scherzo (48 m.) Trio 1 (184 m.)

Scherzo (48 m.) Trio 2 (64 m.) Sch. Coda (64 m.)

Mvt. 4 Allegro animato e grazioso: sonata form (B[,[

22

], 353 m.)

I. Exposition (100 m.) Development (63 m.)

Recapitulation (95 m.) Coda-2nd Dev (62 m.)

Figure 9.1: Schumann, Symphony No. 1 in B[ Major Fruhling, Op. 38


9.1. SYMPHONY NO. 1 IN B[ MAJOR, FRUHLING, OP. 38

Table 9.1: Schumann, Symphony No. 1 Fruhling, Mvt. 1 Andante - Allegro

m M R H Comment

Andante un poco maestoso[

44

]Introduction

1 M1s B[ B[ Intro FHn+Tbn (signal)4 B[− E[− F7/C −B[ tutti climax, Σ(cm<)5 M2 Dm/A−A7− WW, Str tremoli6 M2 Dm−G[9

7 − Cm−D∅7/F −G7− Seq(2×4m;R−7)10 M1s Cm− F [9

7 −B[− E[− F− cad, M1-dim: Tpt14 M1s B[− . . .− E[/G(N6)−A7 trans, M1-aug: FHn21 M4’ D (D −D7 −Gm− C]◦7 −D − C]◦7)/D M4 aug: Vi1, P T (d)

Piu vivace (e poco a poco accelerando)25 D −D7 −D[9

7 −31 F7 − . . .− F7sus4− cresc, PD(f)37 F7− climax, cad, Brs (39 m.)

Allegro molto vivace[

24

]Exp, Gr 1

39 M1 B[ || : (B[− E[−B[− F7 −B[)/B[ M1a: WW+Vi1, P T (b[)43 ⊥ B[−D7/F]−Gm− . . .− C7 − F− M1b: Vlns47 M1 E[−<(A[/C −B7sus4 − E[)− E[ M1a: WW+Vi151 ⊥ E[−B◦7 − Cm− . . .− F7 −B[ M1b: Vlns55 (M1) F7 − . . .−B[− E◦7/F − F bridge59 ⊥ F7 −A[7 −D[−G7/A[−A[−63 M1’ (D[−G[−A[7 −D[− . . .−D[7)/D[− Vln+WW, P (d[)69 ⊥ C71 C <(G7 − C)/C − . . .−Am− [A] trans, P T (c)81 M3 Am Dm−Am−B◦/D − E −Am Gr 2, M3a: WW

85... F F7/A−B[−B∅7 − C7 − F

89... C − . . .−Dm/F− M3b: WW

91... C6

4 −G7 − C −Gm/B[−

93 ⊥ F − . . .−Gm/B[− F 64 − C7

d−

96 Dm−B[− Em− C − F+ −Dm− Seq(3×1m;R7) PB(↗)99 (E[− E∅7)/G−Am− F −B[+ −Gm− Seq(3×1m;R7) PB(↗)

101 C[97 − . . .−Gm/D − E[− PB(↗)(cont’d)

106 E[7 −A[− C7 − Fm110 <(G[/B[(N6)−D[97/C[−G[/B[)− tutti, to climax114 G[/B[−B◦7 − (F −B◦7 − C7)/C−118 M4 F F −B◦7− trans, M4: clim, P T (f)

120... <(C7 −B◦7 − C7)/F − C7− Σ(cm)

126 ⊥ F − . . .− : || cad (ped)



Table 9.2: Schumann, Symphony No. 1 Fruhling, Mvt. 1 Andante - Allegro (cont’d)

m M R H Comment

134 M1 B[ B[−Gm−B[− E[−B[ Dev, Str, Seq(3×8m;R7)138 ⊥ G[9

7 − WW142 M1 C −Am− C − F − C 2nd stat Str146 ⊥ A[9

7 − WW150 M1/5 Dm Dm−B[/D − C]◦7/E −Dm/F− M5=CM, Seq(2×8m;R5)158 M1/5 Gm Gm− E[/G− F]◦7/A−Gm/B[− 2nd stat, Str+WW166 (M1) Cm Cm− F7 −Dm−Gm7− Seq(3×4m;R7)174 ⊥ (E[−G+ − Cm−A[5

7 )/E[−

178 M1 D D − . . .−A−D − . . . [B] False Rec186 M1 G− . . .−D7 −G− . . .−A7 −D 2nd stat, climax194 (M1) A7 − . . .−G]◦7 −A− bridge198 ⊥ C7 − . . .−B◦7 − C−

202 M1 F F − . . .− C7 − F −D[97 − 2nd Dev Seq(3×8m;R7),

210 M1 G− . . .−D7 −G− E[97 − Str

218 M1/5 Am Am− F∆7/A−G]◦7/B −Am7/C Str/WW, Seq(2×8m;R5)226 M1/5 Dm Dm−B[/D −A7/C]−Dm/F− 2nd stat234 (M1) Gm Gm− C7 −Am−Dm7− Seq(3×4m;R7)242 ⊥ B[−B[+ −Gm/B[− E[5

7 /B[−246 M4 A (A−D]◦7 − E7 −A−Dm)/A−D[5

7 /A[ imit, Seq(2×8m;R−7),254 M4 (G− C]◦7 −D7 −G− Cm)/G− C[5

7 /G[ WW, 2nd stat262 M4 Fm− Cm−Gm−Dm− imit270 M4 Cm7 − F7 −B[∆7− imit, Seq(2×4m;R−7)276 ⊥ Gm/B[− C7/B[−280 F]◦7/A− Cm/G− retrans282 F]◦7 − . . .− C

[5/[97 /G[− . . .−

290 B[ B64 − . . .− climax

296 M1s B[64 − . . .− F7 −B[ M1 augm: FHn+Tpt302 M1 B[− . . .−Gm− F −B[ M1 augm: WW+Str311 ⊥ Dm6

4 −A7 −Dm [C] climax

317 (M1) B[7 − . . .−A◦7 −B[−D[7 −A[7 −D[ Recap, Gr 1326 M1’ D[ G[− . . .−G[7− bridge, Str333 ⊥ F − . . .− cad



Note the frequent use of sequences in the Development section; this approach was al-ready used in the transitions in the second theme group. In m. 150 there appears a newtheme M5, as a countermelody to the main theme; the lyrical arpeggio character of thismelody makes a nice contrast with the stepwise motion in M1. After the false recapitulation[B] (m. 178 ff.) there is a much longer secondary development section. The true Recapitula-tion starts in m. 317, with statements of both M1 and M3.

The melodic richness of the movement is once more confimed in the Coda where thechorale-like theme M6 appears. It has M6(aab) (4 + 4 + 6 m.) sentence structure. Note theparallel thirds in the outer parts in the a-phrase and the contrary motion in the b-phrase.





Table 9.3: Schumann, Symphony No. 1 Fruhling, Mvt. 1 Andante - Allegro

m M R H Comment

344 M3 Dm Gm−Dm− E◦/G−A−Dm Gr 2, M3a: WW

348... B[/D − E[− E◦7/G− F7−

351... B[ B[− F −Gm/B[− F 6

4 − C7− M3b: WW

355... F − Cm/E[−B[/D −A∅7/C−

357 ⊥ B[− Cm/E[−B[64 − F7

d− cad

359 Gm− E[−Am− F −B[+ −Gm Seq(3×1m;R7) PB(↗)362 A[−A◦ −Dm−B[− E[+ − Cm Seq(3×1m;R7) PB(↗)

365 F [97 − . . .− Cm/G−A[− PB(↗) (cont’d)

369 A[7 −D[− F7 −B[m−373 <(C[/E[(N6)−G[7/F[− C[/E[)− tutti, to climax376 C[/E[− E◦7 −B[64 − F7−

381 M1 B[ (B[− . . .− Cm7 − . . .)/B[− Coda Pt 1 M1: Vi1, P T (b[)

389... (F7 − . . .−B[7)/B[−B◦7−

397 ⊥ C − F7/A−B[− Cm7/E[− C[97 /E−

403 B[64 −B[m64 − F7sus4 − F7− cad

405 M1 (B[−Gm− . . .− Cm7 − . . .)B[− 2nd stat Vi1, P T (b[)

409... (F7 − . . .−B[7)B[−

421... G7/B − C − F]7/A]−B− climax

425 ⊥ (E[m− C[− C[5/[97 )/G[− g[-ped

429 (B[−<(E◦7 −B[)/F −B[/D− [D] trans, cad, PD(f)438 M6 E[−B[/D − F7/C −B[ Coda Pt 2, M6=M1b’: Str

442... F7/C −B[− F − Fm−

446 ⊥ Cm/E[−G7/D − Cm−G7/B − Cm−449 B[64 − F7 − F+− cad452 M6 E[−B[/D − F7/C −B[ 2nd stat: WW+Str

456... F7/C −B[− F − Fm−

460 ⊥ Cm/E[−G7/D − Cm−G7/B − Cm−463 B[64 − E◦7/F − F7− cad467 <(B[−B[7 − E[− F7)/B[− trans, P T (b[)475 (B[− . . .− F7)/B[−483 M1s B[− . . .− Coda Pt 3, M1s: FHn+Tpt,487 ⊥ B[ accts, b[-ton-ped495 <(B[−D7 −Gm− C7− tutti accts497 F −B◦7 − Cm− F7)−503 <(B[− F )−B[ closing cad (515 m.)



9.1.3 Mvt. 3 Scherzo - Trio

Form: scherzo and trio form, rondo form, ABACA. This movement is remarkable for the twotrios (Trio 1 and Trio 2, B and C, respectively) in 2/4 meter. The scherzo (A section) in 3/4meter is repeated at the opening of the movement (A1) and returns as a Coda, with a 2/4meter section as closing. See Table 9.4 and 9.5 for the analysis.

The main subject has M1(aa’b) (2 + 2 + 4 m.) sentence structure. The first statement is inthe strings with strong unisono accents (sf ) in the a-phrase and closing contrary motion inthe b-phrase.

The Trio 1 theme is a two-measure motif M2 in call-and-response setting, with woodwindsand brass answering the strings. It also has a structure like a M2(aa’b) (4+4+8 m.) sentence.In Trio 2 the melodic material consists of a ascending staccato quarter note scale rising fromthe low to the high strings in imitation, over a steady quarter note woodwind rhythm. Itlater is also presented as a melodi inversion, descending from the violins.

9.1.4 Mvt. 4 Allegro animato e grazioso




Table 9.4: Schumann, Symphony No. 1 Fruhling, Mvt. 3 Scherzo

m M R H Comment

Scherzo. Molto vivace[

34

]1 M1 Gm || : Gm− C]◦7 −D −B[− E◦7 − F A, Str5 ⊥ Dm−A7/E −Dm/F −Gm−A−9 M1’ Dm−G]◦7 −A− F −B◦7 − C− M1 var: WW+Str

13 ⊥ Gm−D7/A−Gm/B[−Dm64 −A7 −Dm : || : cad

17 (M1) F (F − F7 −B[− E◦7 − F )/F B, WW+Str, P T (f)25 M1” (F − F7 −B[−B[m−G∅7 − E◦7)/F− (ped)31 F −D7− cad33 M1 Gm Gm− C]◦7 −D −B[− E◦7 − F A, Str37 ⊥ Dm Dm−A7/E −Dm/F −Gm−A−41 M1’ Dm−G]◦7 −A− F −B◦7 − C− M1 var: WW+Str45 ⊥ Gm−D7/A−Gm/B[−Dm6

4 −A7 −Dm : || cad (48 m.)

Trio 1. Molto piu vivace[

24

]1 M2 D D −Bm−A−G/D −D/F]−G]◦7 −A7 −D A, motif imit

17 M2 D −Bm−A−G/D −D/F]−G]◦7 −A7 −D 2nd stat33 M2’ F <(B[−Gm− C7 − F ) B, motif imit

49... C7/F − F7 −B[− C7 − F − C7 − F7−

61 ⊥ B[− C7 − F cad65 M2” D D −Bm− Em− C]◦7/E − Em− C]◦7 −D C, trans75 D7/F]− . . .−G/B − . . .− [G] D83 G]◦7 −A/C]−G]◦7−91 (A−D −<(G−D))/A−A6

4 − . . .−A7 −D climax, PD(a)109 M2’ F <(B[−Gm− C7 − F ) B, motif var imit

125... C7/F − F7 −B[− C7 − F − C7 − F7−

137 ⊥ B[− C7 − F cad141 M2” D D −Bm− Em− C]◦7/E − Em− C]◦7 −D C, trans151 D7/F]− . . .−G/B − . . .− D159 G]◦7 −A/C]−G]◦7−167 (A−D −<(G−D))/A−A6

4 − . . .−A7 −D clim, PD(a) (184 m)



Table 9.5: Schumann, Symphony No. 1 Fruhling, Mvt. 3 Scherzo (cont’d)

m M R H Comment

Tempo I.[

34

]1 M1 Gm Gm− C]◦7 −D −B[− E◦7 − F A, Str5 ⊥ Dm−A7/E −Dm/F −Gm−A−9 M1’ Dm−G]◦7 −A− F −B◦7 − C− M1 var: WW+Str

13 ⊥ Gm−D7/A−Gm/B[−Dm64 −A7 −Dm cad

17 (M1) F (F − F7 −B[− E◦7 − F )/F B, WW+Str, P T (f)25 M1’ (F − F7 −B[−B[m−G∅7 − E◦7)/F− (ped)31 F −D7− cad

33 M1 Gm Gm− C]◦7 −D −B[− E◦7 − F A, Str37 ⊥ Dm Dm−A7/E −Dm/F −Gm−A−41 M1’ Dm−G]◦7 −A− F −B◦7 − C− M1 var: WW+Str45 ⊥ Gm−D7/A−Gm/B[−Dm6

4 −A7 −Dm cad (48 m)

Trio 2[

34

]1 M3 B[ || : F7 −B[− F7/E[−B[/D− A, imit, PD(f)

5 ⊥ F/A−B[76/A[− E[/G− C[57 /G[− F : || :

9 I(M3) <(B[−B[7/A[− E[/G)− B, imit, P T (b[)13 M3 <(G7 − Cm) Σ(cm>)17 M3’ F7 −B[−D7 −Gm−B[7 − E[−G7 − Cm clim, Seq(4×2m;R3)25 M3” <(Cm−D7)−<(B[m− C7)− F7− Seq(2×8m;R−7)41 M3’ F7 − . . .−B[− E[− C7/E − F : ||49 I(M3) <(B[7 − E[)−<(G7 − Cm) C, climax, P T (b[)57 Cm− F −Dm−Gm− E[− Cm− F7 −B[ cad (64 m)

(final scherzo return)1 M1 Gm Gm− C]◦7 −D −B[− E◦7 − F A, Str5 ⊥ Dm Dm−A7/E −Dm/F −Gm−A−9 M1’ Dm−G]◦7 −A− F −B◦7 − C− M1 var: WW+Str

13 ⊥ Gm−D7/A−Gm/B[−Dm64 −A7 −Dm cad (16 m)

Coda17 M1’ D (D −D7 −G− C]−D)/D− B, P T (d)25 ⊥ (D −D7 −Gm− C]◦7)/D (ped)

Come sopra ma un poco piu lento[

24

]32 M1 D −G]◦7 −A]◦7 −Bm−D7 −G C

Quasi presto46 (M3’) G]◦7 −D/A−A]◦7 −B −G]◦7 −A D, Σ(cm>)

51... E]◦7 − F]−D]◦7 − Em− C]◦7 −D−

57 ⊥ D/F]− Em7/G−A7 −D cad (64 m.)



Mvt. 1 Sostenuto assai – Allegro ma non troppo: sonata form (C,[

64

][34

], 347 m.)

Intro (49 m.) Exposition (60 m.) Development (139 m.)


Mvt. 2 Scherzo allegro vivace: scherzo form (C,[

24

], 397 m.)

Scherzo (98 m.) Trio 1 (62 m.) Scherzo (62 m.)

Trio 2 (75 m.) Scherzo (61 m.) Coda (37 m.)

Mvt. 3 Adagio espressivo: ternary song form (Cm,[

24

], 128 m.)

A1 B A2 Coda

Mvt. 4 Allegro molto vivace: sonata form (C,[

22

][32

], 589 m.)

Exposition (118 m.)

Development (162 m.) FR (36 m.) D (28 m.)

Recap (50 m.) Coda 1 (57 m.) Coda 2 (138 m.)

Figure 9.2: Schumann, Symphony No. 2 in C Major, Op. 61

9.2 Symphony No. 2 in C Major, Op. 61 (1846)

Source: [60]. An overview of the formal analysis is shown in Fig. 9.2. In its overall layout,this symphony resembles the first symphony; there is the use of secondary development inthe long closing sonata movement, and the scherzo has two trios. However, note the doublecoda section in the Allegro finale of the symphony.

9.2.1 Mvt. 1 Sostenuto assai - Allegro ma non troppo

Form: sonata form. This opening movement has a slow Introduction section (Sostenutoassai), followed by a faster Allegro, the actual beginning of the sonata form. See Table 9.6 to9.9 for the analysis.

The opening theme in the slow Introduction has M0(aab) (4+5+5 m.) sentence structure,with brass fanfare signal character. The background is continued 2-part quarter note patternsin the strings. The transitory theme Mt1 (m. 15) has Mt(ab) (1 + 1 m.) structure, where theb-motif announces the exposition main theme (note the similarity in rhythm and melodicshape).

Considering this motif as the basic building block of the Exposition main subject, wefind the structure M1(aa’baa’b’) (1 + 1 + 2 + 1 + 1 + 2 m.), a modified period. The firststatement in the exposition is by clarinets, bassoons and violins in two parts. The transitionin [B] combines the first transitory motif Mt1 with an ascending arpeggio measured tremolomotif Mt2 in unisono strings. Later in the Development this second motif will return in


9.2. SYMPHONY NO. 2 IN C MAJOR, OP 61

Table 9.6: Schumann, Symphony No. 2, Mvt. 1 Sostenuto assai - Allegro ma non troppo

m M R H Comment

Sostenuto assai[

64

]Introduction

1 M0a C F − C7 −Dm7/F −G7 − C/E −G7/F− Brs, 5th signal motif4 M0a’ C/E − C]◦7 −Dm7 −Gm7 −G]◦ −A7−

7 ⊥ Dm7 −Gm7 − C7

d−

10 M0b Dm7/F −B◦7/F − C −D7/A−

12... C/G−G7no 3/F − C7 − F − F]◦−

14 ⊥ C/G− C−15 Mt1 G− F]◦7 −G− C]◦ −Dm− E◦/G−A7− WW18 ⊥ Dm−D7/C −G/B−19 M0a C7/B[− F/A− C/G− F]◦ −B◦7/F − C7− Brs cresc-dim21 ⊥ F −B7 − C/G− C7 −Dm7/F −Am− C−

Un poco piu vivace [A]25 Mt’1 Am Am−Dm−Am− E7 −Am− WW, Seq(2×2m;R3)27 Mt’1 F −B[m− F −A7 −Dm−29 Mt’1 F G−D7 −G− C7/G− C7− cresc33 M0a’ Dm F]◦7/C − C/G−Gm−A7sus4 −Dm/A−A− Brs37 F −G− F/A−G/B − F/C −G7/D climax, cad40 M0’ C (G7 − C − F]◦7 −G[9

7 −D∅7 −G7)/G− Brs, PD(g) (49 m.)

Allegro ma non troppo[

34

]Exposition

1 M1 C || : C −D7− Gr 1, WW+Str

4... G7/B − C7/B[− F/A− C/G− C7/B[−

6 ⊥ F/A− C7/E − F −G7/F−8 (M0) C/E − F]◦7/E[−G7/D − C−

10 ⊥ G7/C −Bm7/D −G7/B − C7/B[−13 M1’ F/A− C/G− F/A− C7/E− WW15 ⊥ F −G7 − C −G7/F − C/E−

17 Mt1+2 G <(G− F]◦7)− [B] trans, climax21 G− E[/G− E◦7/G− F]◦/A− E[64 −B[7− cad24 M2 E[ E[−B[7/D −−E[− F7/A−B[−B[7/D− Gr 2, WW-Str imit31 ⊥ E[−B[7 − E[− E[7 −D7−36 M2 G <(G− F]◦7)/G− [C] 2nd stat, P (g)40 ⊥ G7 − C/G−G7 − C6

4 −G7−43 C C/G−G7/B − C −G/D −G◦7/C]−G/D− cad, chrom45 G◦7/E −D7/F]−G− cresc to climax46 G Am/C −G/D −D]◦7−47 Em−G7/F − C/E −G/D−49 C]◦7 −D7/C −G/B−



Table 9.7: Schumann, Symphony No. 2, Mvt. 1 Sostenuto assai - Allegro ma non troppo(cont’d)

m M R H Comment

50 M1’ Am/C −G64 −D7 −G−D7− closing stat: WW+Str

52... G−Am7/C −D −G−D7−

54 ⊥ G−Am7/C −D7−55 1)G−Am−G/B − C −B◦ : || repeat58 2) G−G7no 3/F−

60 M1’/t2 E E −B7sus4 − E − E7/D− Dev, WW/Str62 M1’/t2 Am Am/C − E7 −Am− C∆7/B−64 Mt2 Am−B∅7/A−A7/G−Dm7/F −Dm− trans, imit: Str69 ⊥ E∅7/D −D −D7/C −Gm/B[− C]◦7− cresc to climax73 M2 A7 −Dm−D7 −G−G7 − C − C7− imit, Seq(4×2m;R5)80 Mt1+2 F F −<(E◦7 − F )−B∅7− [D] WW/Str

84 Mt1+2 C C −<(B◦7 − C)− F]◦d−

88 E[/G−Dm/F − C]◦7 −Dm/F − C/E− Seq(2×4m;R3),90 Mt2 B/D]− C/E −B7− imit: Str

92... C/E −B/D]−B[/D− [S6]

94 ⊥ A/C]−B[/D −A/C]−A7−96 Mt2 Dm Dm−Dm7 −D7 −G/B− Seq(2×4m;R−7)

100 ⊥ Cm−A∅7/C − E◦7/B[− F/A− F7/Ad−

104 Mt1+2 G[ G[/B[−<(F◦7 −G[)− C◦7−

108 Mt1+2 D[ D[−<(C◦7 −D[)− E[7/B[d−

112 F[m/A[− E[m/G[−D[/F− Seq(2×4m;R3)

114 Mt2 C/E −B[m7/F − C/E − C7

d−

116... D[/F − C/E −B/D]− [S6]

118 ⊥ B[/D −A[m7/E[−B[/D −B[7−120 E[m E[m− F7/E[−B[m/D[− F7/A− trans124 B[m B[m−G[/B[−B◦7 − C− cresc129 M2 Fm Fm−D[∆7/F −B[m7/A[− E[7/G− climax, Vi1+Va133 ⊥ Cm− F [9

7 /A−B[m− E[m7/D[−A[/C−137 M2 C]m C]m− F]m7/E −D]◦ −G]m7/F]− climax, Vi2+Vc141 ⊥ C]7 − F]m−Bm− E7−145 M2 Am Am− F∆7/A−A−Dm7/C −G7/B− climax, WW+Vi1149 ⊥ Dm Em7/D −A[9

7 /C]−Dm−Gm− C−153 M1/t2 F F −Am/E −Dm− F/C −G]◦7/B− WW157 Mt2 G]◦7 − C]◦7 − F]◦7 −B◦7 −G7−165 M1 Cm Cm−<(G7 − Cm)−A[/C (N6) clim: WW+Str, P T (c)




m M R H Comment

169 D7 −G− (F]◦7 −G− Cm−Gm)/G− [E] Retrans173 (Mt2) (A7 −Gm7 −A7 −Dm− C]◦7 −Dm)/G− Vc, PD(g)

176... (A[−A−A[−G−A[)/G−

178... (G−Am7 −G7 − Cm− C7)/G−

180... (F −Dm−D7 −G− E∅7 −A7)/G−

183... (Dm−A7 −Dm− F]◦7)/G−

185... (G− F]◦7 −G−G7)/G−

187... (Cm−G7 − Cm−Gm7)/G−

189 ⊥ (A[−Gm− F]◦ −D[57 /A[)/G− (ped)

191 Mt’2 <(G−D[5/[97 /E[)− [F] Vc, cad

196 C/E − F]◦7/E[−G7/D− cresc to climax

199 M1 C <(C −G7)− C −Bm/D −D7/C− Recap Gr 1, WW+FHn

202... G/B −G7/B − C7/B[− F/A− C7/B[−

204 ⊥ F/A− C/E − C7/G−Dm7 −G−G7/F−206 C/E − F]◦7/E[−G7/D − C −G7− cad

208 M1’ G− C7

d− Am/C −D7/C−

210... G7/B − C7/B[− F/A− C/G− C7/B[−

212... F/A− C/E − C7/G−Dm7 −G−

214 ⊥ C −Gno 3 − C/E− cad215 Mt1+2 Am <(Am−Dm/A−A)− trans, WW-Str unis219 (M1’) Dm/F − E7/D −Am−G]◦ −Am−221 ⊥ Em/B −B7 − Em−223 Mt1+2 Cm <(Cm− Fm− Cm)− [G] WW-Str unis227 Cm−A[/C −A◦7/C −B[m/D[−B◦/D229 A[64 − E[7− cad230 M2 A[ A[− E[7 −A[−B[7 − E[ Gr 2, WW+Str imit

235... F]◦7 − E[7 −A[−B[7 − E[7− climax

240 ⊥ A[−D[57 /A[−G−G7/F − C/E−

242 M2 C −<(G7 − C)−<(F/C − C7)− F 2nd stat, PD(c)250 (C − F]◦7 − C)/G− F]◦ −Gm7/B[− C− cad, chrom252 C Dm− C −G]◦7 −Am− C7/B[− F/A− cresc254 (C − F/A− C)/G− F]◦7 −G7/F − C/E−256 Dm/F − C6

4 −G− cad




m M R H Comment

257 M1’ C <(C −G7 − C − F −G)− closing stat: WW+Str261 C − C7/B[−A− [H] trans265 D/A−A7/G− F −B[/F − F−

Con fuoco Coda271 M1’ C <(Dm−G[9

7 /F − C/E −A[97 /G)− climax: WW+Vi1

277... Dm/F − C]◦7/B[−Dm/A− Seq(3×1m;R7)

278 ⊥ E◦7/G− F]◦7/C − C]◦7/B[−279 F]◦7/A−D7/C −G/B −Am/C −Dm−

281 G/B − C/E − F − C64 −G

d− cad

283 D7/C −G/B −Am/C −Dm−285 G/B − C − F− cad286 <(C/G−G7/F − C/E − F/A)−290 C/G−Gm7/F − C7/E−293 M1” F F − C]◦7 −G]◦7/F −D]◦7/F]− climax:WW+Str295 ⊥ /M0 C C/G−Dm7 −G7− FHn299 M0 (C − C7 − C]◦7)/G−Dm/F − E7− FHn (opening)305 Am−A7/G−Dm/F − E −A7/C]−309 Dm−G7− cad311 M1” C− [I] climax: WW

312... <(D7/F]−G7

d− A7/G]−Am−Am7/G)−

316... D/F]− C7/G−D/F]−Dm/A−

318... E7/G]

d− F/A− E7/G]− E◦7/B[−

320... F]◦7/A−B◦7/A[− C/G− E◦7/B[−

322... F]◦7/A−B◦7/A[− C/G−A[[97 /G[− climax (Brs)

324 ⊥ D[/F (N6)−A[7/G[−D[/F − F]◦7− (tutti climax)326 (C −G− C −G[9

7 − C −G7)/G− PD(g)332 C −<(G− C) closing cad (347 m.)



standalone mode.The second group theme has an unusual layout, but has structural similarity to the main

theme; there is a basic chromatically ascending motif in 8th notes, set in imitation. The firststatement is in m. 24 and we may discern the following phrasing M2(aba’b’) (2 + 3 + 2 + 5m.).

9.2.2 Mvt. 2 Scherzo. Allegro vivace




9.2.3 Mvt. 3 Adagio espressivo

Form: ternary song form, A1BA2. The A sections are based on a lyrical melody with wideleaps and appoggiaturas. The middle section B is a fugato for staccato strings (arpeggio-likemotif) and woodwinds (chromatically descending syncopating line). See Table 9.10 and 9.11for the analysis.

The A section main melody has M1(ab) (4 + 4 m.) structure; there is a first statement inthe tonic minor key Cm in violins and a varied repeat in the relative major key E[ in the leadoboe. This longer segment closes with a climax and an 16th-note triplet arpeggio fanfare-like statement in the horns with structure M2(aab) (1 + 1 + 4 m.). In the transition there is alead melody in the first violins, in 8th-note rhythm and ascending chromatism with M3(aab)(2 + 2 + 4 m.) period structure.

9.2.4 Mvt. 4 Allegro molto vivace




Table 9.10: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo

m M R H Comment

1 M1 Cm Cm−A[− Cm/G− A1

[24

]Vi1+2

3... Fm−D∅7 −G7 −G7/F − C/E−

5... Fm7 −B[7 − E[− E[/G−

7 ⊥ Fm7/A[− F7 −B[−B[7/A[−9 M1 E[ E[/G−A[− Fm− 2nd stat: Ob

11... B[[97 /C[−B[/A[− E[7/G−A[−

13... D∅7/F − E[/G− Fm7/A[−B[7/A[− [S6]

15... E[/G−B[7/F − E[[97 /F[− C[9

7 /E − Fm−17 ⊥ D∅7 − E[/G− Fm7/A[−B[7 − E[20 M2 <(A[− E[)− Cm7− climax: FHn, P T (e[)23 ⊥ B[ B[−<(E[m−B[)−B[7/A[−26 M3 E[ E[/G−A[− F7/A−B[−B[7/A[− trans, Vi1+Va

28... E[/G− F7/A−B[−B[7/A[−

30... E[/G− C∅7/G[−B[/F−

32 ⊥ (F7sus4 −B[− E∅7 − F7)/F− cad, PD(f)35 M1 B[ B[− C7/G− Fm− imit: WW

37... D[− F∅7/C[−B[−B[7/A[−

39... E[/G−B[7/F − E[7 − . . .− P i

B(↗)

41 ⊥ E[−G[97 /B −A[/C − E[7/B[−

44 M2 <(A[−D[)/A[−A[− F∅7/A[− [N] Vi1, cad, P (a[)

48 M1’ E[/B[− E[+/B − Cm−A[5/[97 /C]−Gm/D− Vi, P i

B(↗), P (g)

51... E[− C[9

7 /E −B[/F −B[+/F]− P iB(↗), P T (b[)

53 ⊥ Gm− E[5/[97 /G]−Dm/A−B[7− P i

B(↗), Σ(cm>)56 M1’ G7/B − Cm− F [9

7 /A− trans, WW58 ⊥ (E[− F [9

7 −B[7)/B[−

62 Mc E[ E[−G− Cm− F7/A− [O] B, ctp: Str+WW,

63... B[− E[7/G−A[− C7/E− chr desc (fugato)

64... Fm−B[7/A[−

65... E[/G−G7/F − Cm/E[− E[7/D[−

66... A[/C −D7/F]−

67 ⊥ Gm−G7/F − C/E − C7/B[−



Table 9.11: Schumann, Symphony No. 2, Mvt. 3 Adagio espressivo (cont’d)

m M R H Comment

68 Mc Fm/A[−A[∆7/C−

69... D[− F7/A−B[m−D∅7/F−

70... E[7/G− Fm− E[− E[7−

72 ⊥ C7 − Fm/A[−D[∆7/F (N6)

74 M1/c (G−G+ − Cm− C[97 − Fm−D◦)/G− retrans, WW, PD(g)

77... (G−G7 − C7 − Fm−B[9

7 )/G− (Mc: Str)

79... (E[− F]◦7 −G− Cm− F]◦7)/G−

81 ⊥ G−G7/F−

82 M3 C C/E − F −G−G7/F − C/E − F]◦7− A2, Str, PD(g)

85... G−G7/F − C/E −A∅7/E[−

87 ⊥ G64 −A7/E −D7/F]− cad

91 M1’ G G−A7/E −Dm−Dm/F −B[−B[7/A[− imit: WW

94... G7 −G7/F − C/E −G7/D − C7 −B[/D PB(↘)

97 ⊥ E[−B[7/F − E[/G−G◦7 − F/A− C7/G− P iB(↗)

100 M3 F <(F −B[m)/F − F −D∅7/F−104 M1’ C/G− C+/G]−Am− F][57 /A]− Em/B− Vi, P i

B(↗)

107... C −A7/C]−

108... G/D −G+/D]− Em− C][57 /E]−

109 ⊥ Bm/F]−G7− P iB(↗), Σ(cm>)

111 M1’ E7/G]−Am−D[97 /F]− trans, WW

114 ⊥ (C − F]◦7 −G7)/G−

118 M1’ C C − C7 − Fm/C −D[− F [97 /C− Coda, Vi1

120 M3’ D[−G7 − C − C+ −D[/F −A[[97 /G[−

123... D[/F −B[/F −G[5

7 /D[−124 ⊥ <(C − Fm/A[−B◦7/A[)− C6

4 −G7 − C cad (128 m.)


9.3. SYMPHONY NO. 3 IN E[ MAJOR RHEINISCHE, OP. 97


The key relationship diagram is shown in Fig. 9.3. The first two movements have the widestkey envelope. They beautifully illustrate how Schumann moves away from the tonic keyand then, at the most remote point, uses an enharmonically equivalent key to return to thecentral key area. In the opening Allegro this happens at Dm − (F] = G[) − D[ (8–9) andsomewhat later at Fm− (D[m = C]m)−Am−Dm (10–11). The second movement has thepeculiar Fm− E[m− (C[ = B)− C (3–4) key sequence.

The opening Allegro sonata form has the first theme group in the tonic key C, the sec-ondary group in the dominant key G (3). The development section starts in the mediantmajor key E (5) and then starts a long route through many keys, moving from the dominantinto the subdominant domain. In the recapitulation there is the move to the lowered subme-diant major key C − Am − Cm − (A[ = [VI) (14) and the usual coda close by sidesteppinginto the subdominant C − F − C (15).

The scherzo movement starts with complex keys movements from the tonic major keyC into the subdominant domain, passing through the lowered mediant degree major keyE[ = [III (1), on a journey through the minor keys Fm − E[m (3) . The movement has twotrios, one starting in the dominant key and moving to its relative minor G−Em (11-12), theother does the reverse Em−G−C−F (15-16). The first trio retransition uses the intermediatelowered mediant major key B[ = [III/G (13).

The third movement Adagio is in ternary song form and moves from the tonic minorCm to the relative major key E[ and its intermediate dominant key B[ (1). The last A sectionmoves towards the parallel major key C (2).

In the closing Allegro sonata form movement the secondary theme group once again is inthe dominant key G, as is the start of the development (1). This wanders from the dominantarea Dm−Am (2), through the dominant and tonic minor Gm−Cm (3) into the subdominantdomain A[− E[ (4). The dominant key acts as a kind of pivotal point in this movement.

9.3 Symphony No. 3 in E[ Major Rheinische, Op. 97 (1850)

Source: [60]. Schumann later in his life was appointed as symphony orchestra conductor inthe town of Dusseldorf, and wrote this symphony for The Rhenish Festival. An overviewof the formal analysis is shown in Fig. 9.4. This symphony is unusual in the sense that itconsists of five movements. In the long opening movement note the approximately equallength of the exposition and the development. The third movement has a long bridge sec-tion, compared to the outer A sections. The tempo markings are in German, as opposed toItalian in the earlier symphonies.

9.3.1 Mvt. 1 Lebhaft

Form: sonata form.. See Table 9.12 to 9.15 for the analysis. The movement opens with theheroic and majestic main theme; there is no slow introduction section as was the case for theearlier symphonies.1 The main theme is also used in most of the transitions. A brief false

1Probably because of its title (Rheinische) this theme for many years was the signature tune of the West-Deutscher Rundfunk (WDR) regional news programme for Nord-Rheinland-Westfalen ‘Hier und Heute’, withthe music as background behind impressive helicopter footage of the industrial Ruhrgebiet (then still an activecoal mining and steel production centre). Only later I learned that it was a Schumann original.



Mvt. 1 Sostenuto – Allegro

G[m

G[

E[m

E[

Cm

C

Am

A

D[m

D[

B[m

B[

Gm

G

Em

E

A[m

A[

Fm

F

Dm

D

Bm

B

E[m

E[

Cm

C

Am

A

F]m

F]

B[m

B[

Gm

G

Em

E

C]m

C]

6

1,6,13

��6

2,7,15

HHjHHY

-3

��

��

4

�

5

��

-

8,11 ��

t

t9

-HHHY- -

��10 t

t��

�

?

HHHj12 6

��

14

��

�

Mvt. 2 Scherzo. Allegro vivace

C[m

C[

A[m

A[

Fm

F

G[m

G[

E[m

E[

Cm

C

D[m

D[

B[m

B[

Gm

G

A[m

A[

Fm

F

Dm

D

E[m

E[

Cm

C

Am

A

B[m

B[

Gm

G

Em

E

Fm

F

Dm

D

Bm

B

1,5��

2,113,7�

��t

t4,9

�� 6

��

��

10

6?

12,15

13

HHHj 14-�-

16,18 HHHY-17

?�

Mvt. 3 Adagio espressivo

A[

Fm

F

E[

Cm

C

B[

Gm

G

? -�1

-2

-3

?

Mvt. 4 Allegro molto vivace

A[

Fm

F

E[

Cm

C

B[

Gm

G

F

Dm

D

C

Am

A- 1,5,7

HHHHj

-2

�3��

-4 �

�� 6-��*

Figure 9.3: Schumann, Symphony No. 2, key relationship diagram



Mvt. 1 Lebhaft: sonata form (E[,[

34

], 585 m.)

Exposition (185 m.)

Development (183 m.) FRecap (43 m.)


Mvt. 2 Scherzo, sehr maßig: rondo, ABCACA Coda form (C,[

34

], 133 m.)

A B C A’ C’ A” Coda

Mvt. 3 Nicht schnell: ternary, ABA Coda form (A[,[

44

], 55 m.)

A B A’ Cd

Mvt. 4 Feierlich: ternary, ABA Coda form (E[m,[

44

][32

][42

], 67 m.)

A1 B A2

Mvt. 5 Lebhaft: rondo, sonata, ABAC form (E[,[

22

], 329 m.)

Exposition, A1 (98 m.) Dev., B (56 m.)

Recapitulation, A2 (101 m.) Coda (74 m.)

Figure 9.4: Schumann, Symphony No. 3 in E[ Major Rheinische, Op. 97



recapitulation, with unisono horns markedly (markirt) stating the opening motif from themain theme, could also be labeled as a retransition into the real recapitulation (there is no2nd development).

The Exposition main subject has a unique M1(abc) (6 + 8 + 4 m.) structure, where eachphrase has individual character: the a-phrase is the hemiola arpeggio on the tonic majorchord E[, the b-phrase a sequence with imitation and chromatic inner voice movement, andthe c-phrase a cadence into the dominant chord B[. The first group continues with a themewith M2.1(aaab) (2+2+2+4 m.) structure, with the a-phrase an 8th-note scalar run startingon the afterbeat (a great test for symphony orchestra synchronised playing in woodwindand string section) and repeated twice in sequential setting, and the b-phrase a hemiola leappattern, reminiscent of the main theme M1a-phrase. The theme M2.2(aa) (4 + 4 m.) hastransitory character.

The second group contains a lyrical melody, opening in the mediant minor key Gm andclosing in the dominant major key B[, and with M3(aba’b’) (4+4+4+4 m.) period structure.The exposition closing theme M4 takes its rhythm (hemiolas) and melodic shape from theopening theme M1a-phrase, and also has transitory character and function. In the coda thesetwo, M1 and M4, will be combined.

9.3.2 Mvt. 2 Scherzo, sehr maßig




Table 9.12: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft

m M R H Comment

1 M1 E[ E[− . . .− Cm7/E[− F7/E[− Exp, Gr 1/Th 1, a): Fl+Vi1

5... B[/D − E[7/D[−A[/C− P i

B(↘)

9... B[7 − (Gm− Cm7)/B[− b), PB(↘)

11... F7/A− (F∅7 −B[7)/A[−

13 ⊥ E[/G− C∅7/G[− F7 −B[ c), cad19 F7 −B[7 − E[− trans23 (M1) E[/G− Cm−Gm/D − Cm/E[ ac)25 M2.1 Gm Gm/D− Gr 1/Th 2: WW+Str

26... D7 −Gm−B[7/F − E[− Seq(3×2m;R3)

30... B◦7/D − Cm

33 ⊥ D7−

35 M2.2 G−A[/C −D7

d− WW+Str, Seq(2×4m;R−5)

39 ⊥ E[− Cm− F7/C −A∅7/C −D7−43 Gm− . . .− Fm− Fm7 − F∅7/A[− trans50 B[− Fm/A[− F∅7/A[−54 (B[−D −Gm−B[7)/B[− cresc, PD(b[)

57 M1 E[ E[− . . .− Cm7/E[− F [97 /E[− [A] 2nd stat: tutti clim

61... B[/D − E[[97 /D[−A[/C− P i

B(↘)

65... B[7 − (Gm−B[7 − C7 −Gm)/B[− PB(↘)

67... F7/A− (F∅7 −B[7)/A[−

69... E[/G− C∅7/G[− F7−

73 ⊥ (B[−A◦7 −B[)/B[−B◦7− cad, PD(b[)77 M2.1’ Cm Cm− E[7/B[−A[− C7/G− tr, Seq(3×2m;R3),81 ⊥ Fm−D◦/F −A∅7/E[− WW+Str83 M2.2’ D7 − E[7 −D − E[7− WW+Str91 ⊥ Gm <(D −Gm− C]◦7)− [B]

95 M3 Gm D −Gm/D− Gr 2/Th 1, a): WW97 ⊥ (F]◦7 −A∅7 −D7)/G−Gm b):

103 M3’ D/G−D7/C −Gm/B[− 2nd st, a’b’): WW+Vi1

105... Cm/E[− C7/E−

107 ⊥ F −B[− cad111 M4 B[ (B[− E[− C7 − F − F7)/B[− [C] Gr 2/Th 2, P T (b[),

117... (B[− E[− E[m−B[)/B[− M4≈M1

122 ⊥ Gm− F7/A−A7 −Dm64 −A7− cad



Table 9.13: Schumann, Symphony No. 3 Rheinische, Mvt. 1 Lebhaft (cont’d)

m M R H Comment

127 M3” Gm D −D7 −D7/C −Gm/B[−

131... D7 −Gm− Cm/G− C[5

7 /G[−

135... <(F − F7/E[−B[/D)−

139 ⊥ B◦7/C − Cm− E[m− cad143 M2 (B[− E[− E[m)/B[− [D] cl st: Str, f -ped147 ⊥ (B[− C∅7)/B[− F]◦7−153 M1 C7 − . . .− (B[− E◦7 −B[)/F − E[− F7− tutti climax165 M3 B[ <(B[−B[/F − F7 − E◦7)− [E] imit173 ⊥ B[− F7 −<(B[− E◦7 − F7)−177 (M1) B[− . . .− F]◦7−

185 M2 G G−G7 −A[/C −G7− Dev: Bsn+LoStr, mod193 M2 C C − C7 −D[/F − C7− [F] tutti climax201 M3 Fm C7/B[− Fm/A[− imit: WW+Str

203... C7 − E[7/G−D[∆7/A[−

205... G∅7/B[− C7 − Fm−

209... B[m− Fm7/E[− E[7/D[−

211... A[/C −G[9

7 /B−

213... Cm Cm−A[/C −D −D7/C−

216... Gm Gm/B[−D7/C −Gm/B[−D[9

7 /F] Seq(3×2m), P (b[)

220... Gm/B[− E[− E[−

222 ⊥ G/D − Cm−G/B − C − C7 cad225 Fm Fm/C − C[9

7 − Fm trans231 M2 G[/B[−

232... D[7/A[

d− E[m/G[−B[7/F

d− Seq(3×2m;R3)

236 ⊥ C[/E[−G∅7/D[d− (A[m− F [5

7 )/C[−239 M2/3 B[ B[− E[m/G[−D[7/F − C[/E[− [G]

243... E[m B[−B[7 − E[m

247 ⊥ C[/E[−D[7/F −G[− E[m/G[− F7−253 B[m B[m−G[/B[− Fm/A[− E[m/G[− climax256 B[m/F − C◦/E[− C[9

7 /E−259 F F − F7 −B[m− F7/A−B[7− Seq(3×2m), P T (f)266 B[7 − E[m/B[−B[7 − E[7− Seq(3×2m)




m M R H Comment

273 M1’ A[m A[m−A[m/C[−B[[5/[97 /F[−B[/D− [H] Bsn+LoStr

277... E[m E[m− E[m/B[−A[7/C−

279 ⊥ D[m− C]m− F]7/A]− cad281 M1 B (B −G]m− C][97 − F]−B[9

7 )/B− tutti climax, P T (b)

287... (E − F][97 −B∆7 −G][97 )− (ped)

291 ⊥ (C]7 − C]∅7)/B −B7 −B[97 −

303 B[ B[7 −Am7/C −B[−B[[97 − . . .−311 M1’ E[m (E[m− F [5

7 − E[m− F7)/B[− [I] LoStr, PD(b[)315 ⊥ B[m B[m− E[7 −A[m− C]7−319 M1 F] (F]−D]m−G][97 )/F]− tutti clim, P T (f])

323... (C]− F][97 −B − C][97 − F])/F]−

329 ⊥ F]7 − . . .−G[[97 − . . .−

337 M3 F (F −B[m− F7

d− G[)/F− [K] WW+Str, P T (f)

341... B[m (F7 −B[m)/F −G[/B[−A[/C−

347 ⊥ B[m/D[− . . .− C7−351 M3’ Fm Fm−D[/F − Cm/E[−B[m/D[−A[/C− trans355 ⊥ G◦/B[−G[9

7 /B−357 C − C7 − Fm− C7−362 F [9

7 −B[m− F7 −B[[97 −

368 (M1) E[ (E[− . . .− C7 − Fm−B[7 − E[)/B[− [L] False rec, Hns,

383... (B[− E[)/B[− . . .− PD(b[)

387 ⊥ (G7 − Cm)/G−391 (M1) A[− Fm/A[− Fm−<(B[7 − E[)399 ⊥ B[7 −D −Gm−G7/B − Cm− [M] retrans405 (M1) Cm/E[− F [5

7 /C[− tutti, cresc

411 M1 E[ (E[− . . .− F7 −B[)/B[− E[7/D[− [N] Rec tutti clim

417... A[/C −B[7 −Gm− Cm− Cm7/B[−

421... F/A− (F∅7 −B[7)/A[− E[/G− C◦/G[−

425 ⊥ F7 −B[ halfcad429 F7/A−B[7 −G7/B− trans431 Cm−B[7 − E[7 −A[−G[9

7 − C7− Seq(3×4m;R3)439 Fm− F7 − F]◦7−442 <(G− Cm− F7 − F]◦7)−447 G− . . .−




m M R H Comment

457 M3 Cm (G− Cm−G[97 − . . .− Cm)/C− [O] WW

473 M3 G7 −G7/F − Cm/E[− Fm/A[− F7/A− 2nd st: WW+Str477 ⊥ B[−B[7 − E[473 M4 E[ (E[−A[− E[− F7 −B[−B[7)/E[− Vi1, P T (e[)480 ⊥ (E[−B[7 − E[)/E[ (ped)486 Cm− (B[/D −D7 −G−D7)/D−489 M3’ Cm G− Cm/G−G7 − . . .− Vi1495 ⊥ Cm− F [5

7 /B −<(B[7/A[− E[/G)− WW+Str501 (B[m− E◦7 − Fm)/F −A[m− cresc, P (f)505 M2 E[ (E[−A[−A[m− E[)/B[− [P] tr: Str, PD(b[)511 ⊥ (A[−B◦7)/B[−G7/B − Cm−515 (M1) F7 − . . .− (E[−A◦7 − C7 − E[)/B[− trans, tutti climax526 Fm/A[−B[7 − E[− cad

529 Fm/C − E[/B[−B[7/A[− E[/G− [Q] Coda, cad531 (M1/4) B[−B[7 − E[ climax: Hns537 ⊥ A[/C −<(Cm7/B[− F/A)− cresc545 A[7 − Cm/G−A[7/G[− F7− cad547 (M1/4) <(B[− E[−A[−B[7 − E[)/B[ [R] tutti, PD(b[)

554... E[−G7/B − Cm− F7/C −B[− E[7/D[−

559 ⊥ A[/C −G7/B − C7/B[− F7/A−B[7/A[ cad563 M1’ E[/G− E[64 −B[7/A[− Hns, tutti clim

567... E[/G− F7/C − E[64 −B[7− cad

571 ⊥ E[− . . .− P T (e[)581 <(E[−B[)− E[ closing cad (585 m.)



9.3.3 Mvt. 3 Nicht schnell

Form: ternary song form, ABA Coda form. The analysis is shown in Table 9.16 and 9.17. Aswas the case in the previous movement, the A section lyrical main theme (M1) for clarinetsand bassoons is contrasted by a string melody that has a characteristic ascending staccato16th note motif. In the middle section B and the coda these are combined, and a free variationon M2 also returns as a first violins countertheme to the lead melody. The stepwise movingM3, with its prominent use of contrary motion, acts as a kind of concluding theme.

In the analysis the opening melodic line is divided into two separate units: M1(ab) (2 + 2m.) and M2(aab) (1 + 1 + 3 m.). Phrases from M2 will reappear throughout this movement,to begin with the contrasting middle section. Here is is juxtaposed with the M3 motto, with2-part parallel descending scalar melodic curve.

9.3.4 Mvt. 4 Feierlich




Table 9.16: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell

m M R H Comment

1 M1 A[ A[−<(D[− E[7 −A[) A a): Cl+Bsn

3... A[7/G[−D[/F − F7/E[− b) PB(↘)

B[m/D[− Fm47−

4 ⊥ B[m−A◦7/C −B[m/D[− E[7 −A[6 M2 A[−B[7 − E[− a): Vi, Str imit

7... Fm7/A[−B[7/A[− E[/G−G7

d−

8... A[−A◦7− b): Vi+Fl

9... Fm7 −B[7 − E◦7 − Fm7/A[− E◦7/G−

10 ⊥ Fm−B[7 − E[ cad

11 M2’ B[m−B[◦ − E[− Cm/E[ [A] B, a): Fl+Vi

12... F[− E[m/G[− F

[5/[97 /C[− a)

13... E[/B[− E[7/G−A[ b): WW+Str, PB(↗)

14 ⊥ D[− E[7 − C7/E − Fm−D[− E[7 −A[ cad16 M2’/1’ A[ M1’: Cl+Bsn, M2’: Str17 M3 E[ A[− E◦/A[− Bsn+LoStr, Σ(cm>)

18... (Fm− C −D◦)/A[−A◦− Σ(cm)

B[7/A[− C[97 /G−Dm/F−

19... E[−B[/D − Cm− F− (Σ(cm))

B[m−A[/C − E◦−

20... Fm− F7/A−B[7/A[− C7/G−Dm/F− (Σ(cm))

21 ⊥ E[− Fm/A[−B[− E[ cad22 M2 Gm Cm−Gm6

4 −D7 −Gm [B] a): Fl+Vi1

23... Cm−D[9

7 /C −Gm/B[− Cm−Gm− Cm

25... A∅7/C −D[9

7

d− Cm/E[−G7/D−

26 ⊥ Cm−D7 −G[97

d−

27 M2’ Fm/A[−G7 − E[/G−A[− Cm/E[ aa): Vi1+Fl29 M3 Fm Cm/E[− C7/E − Fm−D∅7/F− WW, Σ(cm>)30 M2’ G7 − C − C7− [C] Str+WW31 M3 Fm−A◦7 −B[7/A[− Cm/G− WW+LoStr, Σ(cm)

32... Cm− F7 −B[m−A[/C − C7/E− (Σ(cm))

33... Fm− F7/A−B[7/A[− Cm/G−B[/F−

34 ⊥ E[−A[−B[− E[− E[7− [D] climax, cad35 M2’ E[7 retrans



Table 9.17: Schumann, Symphony No. 3 in E[ Major, Mvt. 3 Nicht schnell (cont’d)

m M R H Comment

36 M1/2’ A[ A[−<(D[− E[7 −A[) A’, a): Cl+Bsn, M2’: Vi1

38... /

... A[7/G[−D[/F − F7/E[− b), M2’ free, PB(↘)B[m/D[− F7/C−

39 ⊥ /... B[m−A◦7/C −B[m/D[

40 M1’/... E[7 −A[− C7− [E] a): Ob+Cl, M2’: Vi1

41... / ⊥ Fm−B[m− b): WW+LoStr

42... E[7 − Cm7 −A◦7/C −B[m− cresc, Σ(cm<)

43... Cm− E◦7 − Fm−B[m/D[−B[7/D

d− climax

44 ⊥ Cm/E[− E[7 −A[

45 M3 (A[−B[m7 −A◦7 −B[m7)/A[− [F] Coda, Bsn+Str, P T (a[)47 M3 (E[7 −A[−A◦7)/A[− Σ(cm>)(ped)

48... (B[m7 − E[7 −A[−D[−A◦7)/A[− Σ(cm)(ped)

49 ⊥ (B[7 − E[7 −A[)/A[−50 M1’ (A[−D[− E[−A[− E[7)/A[−A[ a): Cl (ped)52 M2 (A[−B[7 − E[7)/A[−A[ WW+Str, cad (55 m.)



9.3.5 Mvt. 5 Lebhaft

Form: rondo, sonata form, ABAC. The closing movement can be interpreted as either abinary rondo (ABAB) or sonata form movement. See Table 9.18 to 9.20 for the analysis.

The Exposition main subject has M1(abab) (4 + 4 + 4 + 4 m.) period structure. On thesmaller scale there are single measure cells, with M1ab(cddcde) (2 + 1 + 1 + 1 + 1 + 2 m.)structure. The next melody from the first theme group has M2(aba’b’) (2 + 2 + 2 + 4 m.)period structure, and a somewhat transitory character. It is followed by the third (modified)period theme M3(abab’c) (2+2+2+2+4 m.), where the c-phrase combines the rhythm fromthe other two phrases in condensed form. The transitory motif M4 with its upward leaps isset in imitation.

The second theme group contains a single subject in the dominant key B[ with sentencestructure M5(aa’b) (4 + 4 + 8 m.). The a-phrase is presented in stretto violin and woodwindimitation, the brass dominate in the climactic b-phrase fanfare signals. This theme is the coreelement in the Development section, although a new theme enters the stage in the climax in[D] (m. 130): M6(ab) (2 + 2 m.) for horns and low woodwinds lead. This last theme returnsin varied form in the Coda, just before the closing in the Schneller section.





Table 9.18: Schumann, Symphony No. 3 Rheinische, Mvt. 5 Lebhaft

m M R H Comment

1 M1 E[ E[/G− Fm−B[7/A[− E[/G− Lebhaft, A: WW+Str

3... <(A[− E[)− Fm−Gm/B[−G/B−

6 ⊥ Cm−B[/Dd− Cm7 − F7 −B[− E[

9 M1 Fm−B[7/A[− E[/G− 2nd stat: WW+Str

11... <(A[− E[)− Fm−Gm/B[−G/B−

14 ⊥ Cm−B[/Dd− Cm7 − F7 −B[

17 M2 B[7 − E[−B[7/D − E[− E[/G−A[− WW+Str

20... Cm− C[9

7 /B[− Fm/A[− C7/G− Σ(cm<)

21... Fm−B[7/A[− (E[− E[7)/G−

23 ⊥ A[− Fm/A[− F7/A−B[− E[27 M3 B[7 − . . .− E[−A[ WW+Str

34... B[7 − . . .− E[− Cm−D7 −D7/C−

36... Gm/B[− E[− F − F7/E[− Σ(cm<)

38 ⊥ B[/D − C[97 /B[

d−

39 M2 B[7 − Fm7/E[−B[7/D − E[−A[ tutti climax

42... Cm− C[9

7 /B[− Fm/A[− C7/G− Σ(cm<)44 ⊥ E[/G−A[− Fm7/A[−B[7−47 M4 E[ E[−<(B[7 − E[)−B[/D − F7/C− [A] tr, imit: Brs-(WW+Str)52 ⊥ B[/D − C7 − . . .− F7 − . . .− F7/E[−57 M5 B[ B[/D − C7/B[− F/A−G7/F− stretto imit: Str+WW

59... (Cm− F7)/E[−B[/D

d−

61... Cm− F7/E[−B[/D −B[]57 /A[−

63... E[/G−G7/F − Cm/E[− C/E−

64 ⊥ B[64 − F7/B[−B[ cad66 B[− . . .− E[7 − Fm7/E[− E[ climax72 M3 A[ <(B[m7/D[−A[)−B[m7 − E[−A[ [B] Str+WW

76... <(B[m7/D[−A[)−

78... B[m7/D[− F7/C −B[m7−

79 ⊥ E[−A[−A[+/G− cad80 Fm <(D[/F − C7/E)−<(Fm−D[7)− trans86 E[ B[[97 /D − E[−A[∆7 P T (e[)88 A[+ −G∅7 − C7/G−A[◦7 − F7/A− cresc, P i

B(↗)

91 B[m−A[◦7/Bd− A[/C − C+− PD(b[)

93 D[−B[m/D[− C7 − F∅7/C[−B[7− climax (ped)




m M R H Comment

98 F]m F]m/A− C]− F]m−D/F]−A−D [C] B, Dev: rapid mod103 A[m B[/F − E[− . . .−106 M5 A[m− F − C − F − . . . imit: WW110 M5 F7 −G7/B −A7 −B7/D]− imit: WW, Seq(2×4m;R7)118 M5 Em Em−Bm/D − C]7 − C]7/B− imit: WW+Str122 M5 F]m F]m/A− C]m/G]− E[7/G−A[m imit126 A[m B[7/A[−G◦7 −A[m−128 E7/G]− C]∅7/B − F]7/A]−130 M6 B B − F]−B/F]− F]7− [D] Brs, climax133 B − . . .− F]138 E[ B[/F − . . .−B[7/F − . . .−B[7− [E] tutti, PD(b[)150 M5 E[64 −B[− E[64 −A[− E[64 − E[ tutti climax

154 M1 E[ Fm7 −B[7/A[− E[/G [F] A, Rec WW+Str, clim

156... <(A[− E[)− Fm7 −Gm/B[−G/B− P T (e[)

159 ⊥ Cm−B[/D − Cm7 − F 137 −B[ halfcad

162 M2 B[7 − E[−B[7/D − E[− E[/G−A[− [G] WW+Str

165... Cm− C[9

7 /B[− Fm/A[− C7/G− Σ(cm<)

166... Fm−B[7/A[− (E[− E[7)/G−A[

168 ⊥ Fm7/A[− F7/A−B[7 − E[ cad172 M3 <(B[7 − . . .− E[)− Str

180... D −D7/C −Gm/B[− E[− Σ(cm<)

182 ⊥ F7/E[−B[/D − C[97 /B[

d−

184 M2 B[7 − E[−B[7/D − E[− E[/G−A[ WW+Str

187... Cm− C7/B[− Fm/A[− C7/G− Σ(cm<)

188... Fm−B[7/A[− (E[− E[7)/G

d−

190 ⊥ Fm7/A[−B[7− cad192 M4 E[−<(B[7 − E[)−B[/D − F7/C− tr, imit: Brs-(WW+Str)197 ⊥ B[− C7 − . . .− F7 − . . .− F7/E[−202 M5 B[ B[/D − C7/B[− F/A−G7/F− [H] stretto imit: Str+WW

204... B[/D − Cm− F7/E[−B[/D −B[7/A[−

206... E[/G−G7/F − Cm/E[− C/E−

208 ⊥ B[64 − F7 −B[ cad212 B[−B[/D − Fm7 −B[7− climax217 M3 E[ <(Fm7/A[− E[)− Fm7 −B[− E[ WW+Str

221... <(Fm7/A[− E[)−

222 ⊥ Fm7 −B[7 − E[− E[+/D−




m M R H Comment

225 Cm <(A[/C −G7/B)−<(Cm−D[57 /A[)− [I] trans

231 B[ F [97 /A−B[− E[∆7− P T (b[)

233 E[7 −D∅7 −G7/D − F]◦7/E[− cresc, P iB(↗)

235 C7/E − Fm− F]◦7−237 E[− E[+/G−A[− Fm/A[−G7− climax241 C∅7/G[− F7 −B[7− cad244 E[ B[7 − . . .−B[7/F [K]251 B[7/F − . . .−B[7/E[− b[-ped

255 M1 E[ E[− C, Coda: Brs, climax

257.../M5 E[− . . .− M5: Str

259.../M5 Cm−G7/F − C7/E − . . .−

263... Fm− C7/B[− Fm/A[− C7/G−

265 ⊥ Fm−A[∆7 −B[267 F7/A−B[− E[7/G−A[− Fm7/A[− Seq(2×2m;R−7)271 M4 E[64 −B[−<(E[64 − F7 −B[7)− imit: tutti (5×)

277... E[64 −B[7 − E[64 − C7/B[−

280 ⊥ (Fm7 −B[7 − E[)/B[− Brs, PD(b[)

283 F7/A− E[m/B[− F7/A−D[5/[97 /A[− PB(↘), P T (e[)

287 Cm/G−G7/F − Cm/E[− C7/E tutti cresc291 Fm− C7/B[− Fm/A[− C7/G− Fm−295 E[64 − . . .− F [9

7 −B[7− climax, Brs signal arp

299 E[ E[−<(B[− E[) Schneller303 M2 <(Cm−B[− E[) imit: Str-WW

307... E[/G− Cm7 −A[− P T (e[)

311... A[/C − C7/B[− Fm/A[−G7− Σ(cm<)

313 ⊥ F]◦7 − F7/F − Cm/E[−D−315 M6 Gm−A[7 −A[− C − Fm− Fm7/A[− imit: tutti climax319 ⊥ E[64 − . . .−<(E[64 −B[7)− closing cad323 E[ (329 m.)


9.4. SYMPHONY NO. 4 IN D MINOR, OP. 120

Mvt. 1 Ziemlich langsam – Lebhaft: sonata form (Dm,[

34

][24

], 357 m.)

Intro Exposition Development

Dev (cont’d) Recapitulation Coda

Mvt. 2 Romanze – Ziemlich langsam: ABA form (Am,[

34

], 52 m.)

A1 B A2

Mvt. 3 Scherzo – Lebhaft: scherzo and trio form (Dm,B[,[

34

], 232 m.)

Scherzo Trio

Scherzo Trio Cd

Mvt. 4 Langsam – Lebhaft: sonata form (Dm,D,[

44

], 220 m.)

Intro Exposition Development

Recapitulation Coda

Figure 9.5: Schumann, Symphony No. 4 in D Minor, Op. 120

9.4 Symphony No. 4 in D minor, Op. 120 (1841/1851)

Source: [60]. An overview of the formal analysis is shown in Fig. 9.5. The opening move-ment with its slow introduction section and lively sonata form part is significantly longerthan the other symphony movements. It has a very long development section; compare thiswith the development section of the finale. This latter sonata form movement has more bal-anced proportions. The short second movement Romanze in ternary form is followed by thecompletely symmetrical third movement Scherzo with its identical repeats.

9.4.1 Mvt. 1 Ziemlich langsam - Lebhaft




9.4.2 Mvt. 2 Romanze - Ziemlich langsam




9.4.3 Mvt. 3 Scherzo - Lebhaft - Trio




9.4.4 Mvt. 4 Langsam - Lebhaft

Form: sonata form. See Table 9.21 to 9.23 for the analysis. The slow (Langsam) introduction tothis finale movement uses thematic material from the opening movement; i.e., the first violin16th note rhythm motif, that also returns in the accompaniment of the Lebhaft expositionsection. The first group main theme, M1, is the basis of the development section, whichis full of counterpoint and stretto imitation. This theme is skipped in the recapitulation,that restates the second theme from the first group M2 and the second group theme M3,both in the tonic key. Another striking effect are the bell chords, played by brass sectionin the exposition and recapitulation and returning as a tutti effect in the coda. The coda isdivided into three subsections, with increasing tempo (see the tempo indications Schnellerand Lebhaft, Presto).

The main subject from the Exposition has M1(aab) (2 + 2 + 4 m.) sentence structure. Onthe smaller scale there are two elementary cells at work: the repeated 8th note rhythm leadwith synchronised cadential tutti chords (c) and the dance-rhythm cell (d: 1

8 .+116+ 1

8+ 18 ). This

yields the alternative breakdown into single measures M1((cd)+(cd)+(dc’dc’)). The secondtheme from the first group is in quarter note rhythm with wide leaps and using a two-measure motif cell M2(aa’a”) (2 + 2 + 2 m.).

The leaps from M2 must have been the deliberate transitory introduction to the secondgroup subject M3: this combines the M1 dance rhythm with the leaps (wide upward, thirddownward) from M2. This theme can be subdivided into M3(aa’bbc) (4 + 2 + 4 + 4 + 4 m.)phrase structure. The a-phrase for lead flute, oboe and first violins starts on the offbeat andhas the dance rhythm on beat 3 and 4, against a 8th-note background in 2nd violins andviolas. The repeated and varied a’ is set as a string and woodwind imitation, and receivesa syncopated quarter note background. The b-phrase copies the a-phrase melodic shapeand rhythm in a sequential setting Seq(2×4m;R7), the c-phrase closes the melody with aSeq(3×1m;R7) sequence.

The Development is mainly based on the main subject M1, first in counterpoint setting.From m. 88 onward it is combined with a countertheme, the ‘markirt’ four-measure motifM4(aab) (1 + 1 + 2 m.) for horns and violas. In the Coda there is another Schumann regular:the introduction of new melodic material after the exposition. Here it is the theme M6(aa)(2 + 2 m.), juxtaposed with the bell chord technique, used also in the earlier sections fromthis movement. The ascending 8th-note imitative scales (from low to high register) in theclosing presto may be considered as a final new theme.





Table 9.21: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft

m M R H Comment

Langsam[

44

]Introduction

1 Dm B[−Dm/A− Brs signal, Str tremolo3 E

[5/[97 /G]− E∅7/B[−A−

5 Dm−G7/D − C7 Dm7/F −B[− F− [T] Brs signal9 <(B[∆7 −Gm/B[−A)− cresc

14 A7 − . . .− tutti climax (16 m.)

Lebhaft Exposition1 M1 D || : D −G/D −D − E7 −A Gr 1/Th 1, Seq(2×2m;R7),

3... C − F/C − F − C/E −D7 −G WW+Str

5... Em−A7/G−D/F]− Em7/D−

6... D6

4 −Ad− G/B −B[9

7 /A−

7... Em−A7/G−D/F]− Em7/D−

8 ⊥ D64 −A7 −D

9 D −Am− Em/G−Bm− [U] Seq(2×1m;R7)11 M2 Bm F]7 −Bm−G7 − C∆7− Gr 1/Th 2, Seq(2×6m;R5),

13... F]7 −Bm7/A− E7/G]−Am7/G− Vi1

15 ⊥ D7/F]−G∆7 − C∆7 − F]∅717 M2 Em B7 − Em− C7 − F∆7− 2nd st: WW+Str

19... B7 − Em7/D −A7/C]−Dm7/C−

21 ⊥ G7/B − C∆7 − F∆7/A−B∅723 M3 A <(E7 −A) Gr 2/Th 1: WW+Str29 M3 <(B[9

7 /D]−Am/E −B[97 /F])− Seq(2×4m;R7)

33 ⊥ <(C][97 /E]−Bm/F]− C][97 /G])37 M3 F]7 −B7 − E7 −A/E Seq(3×1m;R7), imit39 ⊥ <(E7 −A/E) [V] WW-Str43 E7 − E7/G]− F]7/A]− trans 1, WW+Str cresc45 G]7/B]− C]m−A7/C]− PB(↗)46 D −Bm− E7sus4 − E7− climax, cad47 E7 − E7/G]− F]7/A]− repeat 8ba49 G]7/B]− C]m−A7/C]− PB(↗)50 D −Bm− E7sus4 − E7− climax, cad51 A−Bm7/A− E/G]− F]7/A]− Brs: bell ch, Seq(3×2m;R7),53 Bm− C][97 /B − F]/A]−G]7/B]− WW+Str scales↗55 C]m−D∆7/C]−G/B −A7/C]−57 M1 A D −B7/D]−A6

4 − E7− final stat59 ⊥ <(A− E)−A−D/A−A : || plagal cad



Table 9.22: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (cont’d)

m M R H Comment

62 Bm <(G− F][97 )− Development, trans 266 M1’ Bm−<(F]7 −Bm) [W] Ctp: WW+Str (4× 3m)

69... Bm/D − F]/C]−<(C]m7 − F])−

72... Bm−<(F]7 −Bm)

75... Bm/D − F]/C]−Bm− F]/C]−

76 ⊥ <(G]∅7/D − C]7 − F])78 M1’ B7 − Em−A7 −D− stretto, Seq(4×1m;R5),80 ⊥ G∆7 − C]m− F]7 −Bm WW+Str82 M1’ <(Em−Bm)−<(G−D) [X] stretto, plagal cad86 ⊥ E7/D −Am/C −D7/C −G/B trans 388 M4/1’ G <(G∆7 −Am/E −D7/F])− M1: WW+Str,90 ⊥ G−Am−D7/A−G+ M4: Hns+Va92 M4/1’ Em Em/G− repeat

93... <(F]m/C]−B7/D]− Em)

95 ⊥ Am7/G−Dm/F −G7/F − C/E− PB(↘)

97 F]7/E −Bm/D −G][57 /D − C] cad99 M2 F]m C]− F]m [Y] trans 3

100... G][57 /D − C]− F]m Seq(3×2m;R7)

102 ⊥ Em F][57 /C −B − Em

104 M2 D Gm/B[−A−D/A Recapitulation, Vi1, PD(a)

106... <(B7 − Em)/A−<(C]− F]m)/A Seq(3×2m;R7)

110 ⊥ (D+ −G− E7 − E[97 )/A PD(a)

113 M3 <(A7 −D)/A WW+Str (ped)119 M3 <(E[9

7 /G]−Dm/A− E7 −B) P T (d), Seq(2×4m;R7)123 ⊥ <(F][97 /A]− Em/B − F]7/C])−127 M3 B7 − E7− imit, Seq(3×1m;R5)129 ⊥ <(A7 −D/A) [Z] WW+Str133 A7 −A7/C]−B7/D]− trans 1, WW+Str cresc135 C]7/E]− F]m−D7/F]− PB(↗)136 G− Em−A7sus4 −A7− climax, cad137 A7 −A7/C]−B7/D]− repeat 8ba139 C]7/E]− F]m−D7/F]− PB(↗)140 G− Em−A7sus4 −A7− climax, cad141 Dm− Em7/D −A/C]−B7/D]− Brs: bell ch, Seq(4×2m;R7),143 Em− F]7/E −B/D]− C]7/E]− WW+Str scales↗145 F]m−G∆7/F]− C/E −D7/F]−147 G− E7/G]−D6

4 −A7− cad



Table 9.23: Schumann, Symphony No. 4 in D minor, Mvt. 4 Langsam - Lebhaft (cont’d)

m M R H Comment

149 M1 D D −<(A7 −D) final stat: tutti

152 Em <(C −B7)− [AA] Coda 1, trans 2156 M5 D <(B7 − Em−A7 −D) imit: Str+WW

160... C/E −D7/F]−G− E7/G]− tutti cresc, bell effect

162 ⊥ D64 −Dm6

4 −A7sus4 −A7− scales↗, clim, cad164 M5 <(B7 − Em−A7 −D) repeat

168... C/E −D7/F]−G− E7/G]− tutti cresc, bell effect

170 ⊥ D64 −Dm6

4 −A4 −A− scales↗, clim, cad

Schneller Coda 2172 D D − F]/A]−Bm−B7/D]− tutti, Σ(cm>)174 Em− Em7/G−D6

4 −A− cad176 D − F]7/E −Bm/D −B7/A− repeat, parts swapped178 Em/G−D6

4 −A− cad180 D −D/F]− Em/G−A7− trans 2, climax, Σ(cm>)182 F]/A]−Bm− Em−A7−184 D −D/F]− Em/G−A7− repeat, climax, Σ(cm>)186 F]/A]−Bm− Em−A7−188 A7 − . . .− E[9

7 /G]− . . .− [BB] tutti clim, stop (194 m.)

Presto Coda 31 D A−D −B7 − Em−A[9

7 /C]−A7/G− scales↗6 D/F]−D7 −G/B −B7/D]− cresc, PD(a)

8 Em/G− Em7 −A[97 /C]−A7/G− tutti climax (ped)

10 D/F]− F]/A]−Bm−B7/D]− Σ(cm>)12 Em− Em7 −D6

4 −A− cad14 D − F]−15 Bm/D −B7/A− Em/G− E7/D− Σ(cm<)17 D6

4 −A7− cad18 <(D −G/D)−D plagal cad (26 m.)


Chapter 10

Johannes Brahms

Biographical data:

1600 1700 1800 1900 2000

∗ 7-5-1833 in Hamburg† 3-4-1897 in Wien

10.1 String Sextet Op. 36 No. 2 (1866)


Mvt. 2 Presto giocoso: scherzo and trio form (Gm−G,[

34

], 371 m.)

Scherzo (120 m.)

Presto (130 m.)

Primo tempo (108 m.) C (12 m.)

Figure 10.1: Brahms, String Sextet Op. 36 No. 2

10.1.1 Mvt. 2 Scherzo, Allegro non troppo

Form: ternary song form (Scherzo - Presto - Primo tempo). Both the scherzo and the presto(the trio) have the ternary ABA’ Coda structure. The M1 theme in the Scherzo A sectionsplits the sextet into two subgroups: the three upper strings provide a block chord texturearound the theme, the three lower parts play pizzicato bass riffs in hoquetus technique. Thesame subdivision returns in the trio A section. The scherzo can also be interpreted in terms ofa sonata form; the B section, with its counterpoint settings, modulations and varied rhythmhas the characteristics of a development. There is even a false recapitulation. The Trio maintheme M4 contains many hemiolas. The Primo tempo section is a repeat of the scherzo, witha coda (Animato). See Table 10.1 to 10.3 for the analysis.


CHAPTER 10. JOHANNES BRAHMS

Table 10.1: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 Scherzo, Allegro non troppo

m M R H Comment

Scherzo [ABA’] Part 1:[

24

]1 M1 Gm || : Gm−D7 −Gm−D

d− A, Exp (a): Vi1

5... Cm− F7 −B[∆7 − E[−B[− (b), syncopes

9... A∅7 −D −D7 −Gm−D− (c)

13 ⊥ Am− . . .−A7− PD(a)

17 M2 Dm Dm− . . .−A[97 − Vi1+Va1: unis triplets

21 M2 Am−G]◦7/B −Am/C − E7/G]−A7− Vc1, sync25 M2 Dm− . . .−A7 −Dm : || Vi2+Va2 (repeat)

34 M3 E[ E[− E[7 −B[[97 − E[ B, Dev, imit38 M3 E E − E7 −B[9

7 − E −B − E42 M3 C/E − F −G/B − C − F Seq(3×2m;R−i), imit,

44... Gm C]/E]− F]m−D/F]−Gm 16ths, P i

B(↗)

46... E[/G− E/G]− Fm/A[−A[7− stretto to climax

48 ⊥ G <(G−D[97 )− climax

50 I(M2’) G− . . .−<(G−D[97 )− imit

56 M1 G−D[97 −G−D9

7− [A] False Recap (a): Vi1

58... G− C/E −G/D − F7

d−

60 ⊥ G−D −Bm−D arp↗66 F]m− F]m/A− Σ(cm<)

69 M1 Gm Gm−D7 −Gm−Dd− A’, Recap (a): Vi1

73... Cm− F7 −B[∆7 − E[−B[− (b)

77... Cm− F7 −Dm7− (c)

80 ⊥ G7 − Cm−Gm64 −D7− cad

83 M2 Gm− . . .−D[97 − Vi1+Vi2: unis triplets

87 M2 Dm Dm− . . .−A7/C]−D7− Va1, sync91 M2 Gm Gm− . . .−D −Gm Va297 <(F −B[−D −Gm)− trans

101 F −B[−A−Dm− C − F cresc to climax, Σ(cm<)105 D −A∅7 −D −Gm

109 M1’ (Gm− E[)/G− Cm− F7 −B[ Coda (a’) dim imit, P T (g)

113 M1’ (Gm− E[)/G−G[97 − Cm−D[9

7 − (a’) dim imit, (ped)117 Gm−D7 −Gm−D −Gm closing cad


10.1. STRING SEXTET OP. 36 NO. 2

Table 10.2: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (cont’d)

m M R H Comment

Presto giocoso [ABA’] Part 2:[

34

]121 M4.a G <(Am/D −D7/C −G/B)− A (aab): Vi1+2, PD(d)127 M4.b Em/G− F]−Bm− Em−A− tutti climax134 ⊥ D −A−G6

4 −D −G cad137 M4.a <(Am/D −D7/C −G/B)− 2nd stat (aab’), PD(d)144 M4.b’ Em/G−A−D −G−148 ⊥ <(C]∅7 − F]7 −Bm) cad

153 M5 D7 − . . .− E7 − . . .− [B] B (aaa’): Vi2+Vc1, Seq160 ⊥ D/F]− Em/G−A7 −D7− (b)165 M4’ <(G− F]◦7/C)− (aab): Vi1 dim, P T (g)169 ⊥ C/E −D −G−A7/G−173 M4’ Bm <(G− F]◦7/C)− Em− 2nd stat (aab)177 ⊥ F]7 − . . .−Bm181 I(M5) D7/C − . . .−Bm− [C] (aa): Vi1, Seq.

185... E7/D − C]∅7− (a’)

187... F]7/E −Bm/D− (b)

188... G∆7/F]− C]∅7/E−

189 ⊥ A7 − . . .−Am−D Σ(cm<)

193 M4.a G <(Am/D −D7/C −G/B) A (aab): Vi1+2, PD(d),200 M4.b Em/G− F]−Bm− Em−A− tutti climax205 ⊥ D −A−G6

4 −D− cad

209 M4.a’ <(G7

d− Am/C −D7)− trans, Vi1

215 M4.a Am/C −D7 −B7/F]− Em− A’, Seq(R7), clim, PB(↗)

219... C]/E]−D/F]−

221... E/G]−Am−D7−

223 ⊥ <(G− Cm)/G P T (g)

227 M4’ G−Gm−D − . . .− [D] Coda, Va1+2: unis dim231 M4’ G− . . .−Gm− . . .− Va1+2: unis243 M4’ Gm D −Gm− . . .− Va2+Vc2, unis247 (M1’) D −A∅7 −D− Vi1 augm



Table 10.3: Brahms, String Sextet Op. 36 No. 2, Mvt. 2 (cont’d)

m M R H Comment

Primo tempo [ABA’] Part 3:[

24

]251 M1 Gm Gm−D7 −Gm−D

d− A (a): Vi1

255... Cm− F7 −B[∆7 − E[−B[− (b)

259... A∅7 −D −D7 −Gm−D− (c)

263 ⊥ Am− . . .−A7− PD(d)

267 M2 Dm Dm− . . .−A[97 Vi1+Va1: unis triplets

271 M2 Am−G]◦7/B −Am/C − E7/G]−A7− Vc1275 M2 Dm− . . .−A7 −Dm Vi2+Va 2 (repeat)

284 M3 E[ E[− E[7 −B[[97 − E[ B, imit288 M3 E E − E7 −B[9

7 − E −B − E292 M3 C/E − F −G/B − C − F Seq(3×2m;R−i), imit

294... Gm C]/E]− F]m−D/F]−Gm P i

B(↗)

296... E[/G− E/G]− Fm/A[−A[7− stretto to climax

298 ⊥ G <(G−D[97 )− climax

300 I(M2’) G− . . .−<(G−D[97 )− imit

306 M1 G−D[97 −G−D9

7− [E] False Recap (a): Vi1

308... G− C/E −G/D − F7

d−

310 ⊥ G−D −Bm−D arp↗316 F]m− F]m/A− Σ(cm<)

319 M1 Gm Gm−D7 −Gm−Dd− A’, Recap (a): Vi1

323... Cm− F7 −B[∆7 − E[−B[− (b)

327... Cm− F7 −Dm7− (c)

330 ⊥ G7 − Cm−Gm64 −D7− cad

333 M2 Gm− . . .−D[97 − Vi1+Vi2, unis triplets

337 M2 Dm− . . .−A7/C]−D7− Va1341 M2 Gm− . . .−D −Gm Va2347 <(F −B[−D −Gm)−351 F −B[−A−Dm− C − F cresc to climax, Σ(cm<)355 D −Gm cad

Animato Coda359 M2’ Gm− . . .− F7 −B[−D− imit, clim, P T (g)363 M2’ Gm− . . .−D7/C−367 ⊥ Gm/B[− . . .−D7 −Gm closing (371 m.)


10.2. GERMAN REQUIEM OP. 45

The opening theme has M1(abc) (4 + 4 + 8 m.) structure with dissimilar phrases; theconnecting element is the pizzicato riff in the lower voices. M2 is a four-measure theme inlegato 8th notes, with three statements in an imitation counterpoint setting. On a somewhatlareger scale the BB section subject has M3(aa’bc) (4 + 3 + 3 + 6 m.) structure.

The Part 2 Presto giocoso first theme has M4(aab) (4 + 4 + 8 m.) period structure. Thestepwise descending motif M5 in legato 8th note rhythmis used in a sequential setting.

10.2 German Requiem Op. 45 (1868)

Source: [12]. Music for orchestra and choir. An overview of the formal analysis is shown inFig. 10.2.

Mvt. 1 ‘Selig sind, die da Leid tragen’, Ziemlich langsam und mit Ausdruck:

ABABA Coda form (F ,[

44

], 158 m.)

Intro A B A1 B1 Tr A2 Cod

Mvt. 2 ‘Denn alles Fleisch es ist wie Gras’, Langsam, marschmaßig – Allegro:

ABAC Coda form (B[m−B[,[

34

][44

], 337 m.)

A1 (75 m.) B (52 m.) A2 (79 m.)

C (105 m.) Coda (34 m.)

Mvt. 3 ‘Herr, lehre doch mich’, Andante moderato: ABC form (Dm,[

22

][32

], 103 m.)

A B Tr C

Figure 10.2: Brahms, German Requiem Op. 45

10.2.1 Mvt. 1 Selig sind, die da Leid tragen, Ziemlich langsam und mit Ausdruck

Form: ABA1B1A2’. The opening movement is without trumpets and violins; there is anoptional organ (for pedal points and sustained bass lines). The positioning of A and B sec-tions yields a bridge form. The tonic pedal point from the introduction section returns in thetransitions and coda. See Table 10.4 and 10.5 for the analysis.

10.2.2 Mvt. 2 Denn alles Fleisch es ist wie Gras, Langsam, marschmaßig




Table 10.4: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen

m M R H Comment

1 F (F − F7 −B[−B[m− F − F◦7)/F− Intro,[

44

], LoStr, P T (f)

7 (C7 − F7 −B[−G∅7 − F −D[7)/F− Str imit11 G[/D[−D[7 − F 6

4 − C7 − E◦7/F − F cad

15 M1 (F − F7 −B[−B[m)/F− A, Ch-Str

19... (F − F7 −B[)/F− Ch

21... Dm−Am− Em− F −Dm

23... Am− C7/B[− F/A−G− C−

25 ⊥ F −B[− C27 M2 F −B[− C − C7− Str+Fl

29... F −Gm7/B[− C7 − F −B∅7/D − E7− [A] Ch+tutti

33... Am− F7 −B[m−G7 − C − C7−

37... <(A/C]− C7)− (C7 − E◦7 −Dm)/F− (Str+Ob)-Ch

43 ⊥ <(F −B[− C − C7)d− Ch-(WW+Brs)

47 M3.1 D[ D[−G[m−A[− E[m−A[7− [B] B, Ch+Str imit

50... G[[97 −A[7 −D[/F − F7 −B[m/D[− +WW

52 ⊥ B[m−D[7/F −G[− E[7/G− climax55 M3.2 A[7 −D[7 −G[− E[7/G− Ch+tutti imit

59... D[/A[− . . .−A[7sus4 −A[7−

62 ⊥ D[− . . .−G[−

65 M4 F (F −B[−B[m− F − F◦7)/F− [C] A1, Ch+Str imit, P T (f)

71... (C7 − F7 −B[−B[m− Fm−D[7)/F− Ch+tutti (see intro)

75 ⊥ G[/D[−D[7 − F 64 − C[9

7

d−

80 M3.3 D[ D[/F −G[m−A[−A[[97 /E[− [D] B1, Ch+Str imit

83... E[[97 /G−A[−D[/F −D[+ − F7 −B[m

86 ⊥ D[7 −G[− E[7/G−88 M3.2 A[7 −D[7 −G[− . . .− Eb7/G− clim, stretto imit

92... D[/A[− . . .−

94 ⊥ A[7sus4 −A[7 −D[− E[m7/D[− cad

96 (D[−D[7 −G[− C◦7)/D[ Str, P T (d[) (see intro)100 5 D[−D[7 − (F −B◦7 − C)/C − C7/E− Ch+Str


10.2. GERMAN REQUIEM OP. 45

Table 10.5: Brahms, German Requiem Op. 45, Mvt. 1 Selig sind, die da Leid tragen

m M R H Comment

106 M1 F (F − F7 −B[)/F − C7 − F −Dm [E] A2, Ch+WW+Hns

108... Am− Em−Dm/F −Gm7 − C7−

111... (F − F7 −B[− E◦7 − F )/F −Dm− Ch+Hns

113... Am− Em−Dm−Am− C7/B[−

116... F/A−G− C − F −B[− C− +tutti

119... F −Gm7/B[− C − F− Ch+WW

122... B∅7/D − E7 −Am

124... B[m−G7 − C − C7− tutti clim

127... <(A/C]− C7)− (C7 − E◦7 −Dm)/F− (Str+Ob)-Ch

133 ⊥ F −B[− C − C7

d− A/C]− Ch+Str

136 M2 F]m/A−D −Am−Dm− trans, WW-Str imit

138... Am/E −Dm/F −B[/D −Gm−

140 ⊥ C7 − . . .− F − F]◦7 −Gm− F/A− C7− tutti clim, cad

144 M2 F <(F − F7 −B[− C7)/F− [F] Coda, tutti imit, P T (f)

148... <(F − C7)− F − F/C− Σ(cm<), climax

150... F − F/C − C7 − F

152 ⊥ Dm−B[− F 64 − C7 − F (158 m.)


10.3. STRING QUARTET OP. 51 NO. 1

10.2.3 Mvt. 3 Herr, lehre doch mich, Andante moderato

Form: ABC. The M0 motif is used as a rhythmic and melodic ostinato in the bass; it returnson many scalar steps, also in melodic diminution. The themes M1 and M2 are in a call-and-response setting for solo bass and full choir. The growing impatience of the pupil is expressedin ever shorter note duration values in the background (starting with half notes and goingto quarter notes and triplets, and finally 8th notes and triplets). Another motif M2’, derivedfrom the M2 melody, is used in imitation as orchestral backgrounds. The C section is full ofimitation and counterpoint over a continuous tonic pedal point (supported by the organ).See Table 10.6 to 10.8 for the analysis.

10.3 String Quartet Op. 51 No. 1 (1873)

Source: [10].An overview of the formal analysis is shown in Fig. 10.3.

Mvt. 1 Allegro: sonata form (Cm,[

32

], 260 m.)



Mvt. 2 Romanze, poco adagio: ABAB Coda form (A[,[

34

], 96 m.)

A B A’ B’ Cd

Mvt. 3 Allegretto molto moderato e comodo: scherzo (ABA) and trio (CDC) form

(Fm− F ,[

48

][34

], 146 m.)

A B A’ C D C’ Cd

Mvt. 4 Allegro: ABCABCA Coda, sonata form (Cm,[

22

], 248 m.)

Exp, A1 B C1 Dev, A2 B C2

Recap, A3 Cod

Figure 10.3: Brahms, String Quartet Op. 51 No. 1


Form: sonata form. This opening movement shows the Brahms characteristic of alreadyvarying and developing main themes in the second statement of the exposition and recapit-ulation. Therefore the real development is relatively short and based on the first themes ofboth groups, M1 and M3, that also appear in combination. The backgrounds are full of ref-



Table 10.6: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich

m M R H Comment

1 M0 Dm[

22

]A, bass motif

2 M1 Dm−Am− F/A−B[− F −Ad− B-Solo, Hns+Str bg

8... B[−Gm7 − E◦/G− . . .−A−

13 ⊥ A−Dm− . . .−A−Dm cad17 M1/0’ F −Am/C − . . .− [A] Ch, Str+WW bg,

19... B[−Gm−Dm−

21... C −B[− F − E∅7 −A−Dm M0’: dim

25... E∅7 − . . .− C]◦7 −Dm−B[−A−

30 ⊥ Dm−Am/C −B[− E∅7/G−Ad−

33 M2 B[ B[no 5 −B[7no 3 − E[m− [B] B-Solo, WW bg

36... B[ B[− . . .−

39.../2’ F]7/A]− . . .− M2’: WW+Str, 4ths tripl

41... (Bm−B7 − Em−Bm)/B−

45 ⊥ E[5/[97 /B[−A7sus4 −A

d−

48 M2 B[−B[7− Ch, Str bg 4th tripl

50... E[m/B[−B[7 −B[7/A[−

52... E[m/G[− . . .− cresc, Σ(cm<)

54.../2’ B7 − . . .− M2’: WW climax

56... Am−A7/G

d− B[/F − E[m− cresc, Σ(cm<)

60... C]◦7/D − F]m/C]−

62 ⊥ (A7 −Dm−Am−B[∆7)/A climax, PD(a)66 M1 Dm (Ano 3 −Dm−Am− F −A)/A− [C] B-Solo, Str bg (ped)

73... Dm−Gm/B[− E∅7/G−A−

74 ⊥ Dm−A−Dm−B[−Dm81 M1 E∅7/G−A7sus4 − E∅7/B[−A− Ch, WW+Str bg

85... C]m/G]− . . .−A−

87... C]m/G]−A−G◦7 − F]7−

89 ⊥ A/F −G]◦7/D −Dm64 −A− cad

93 M2’ Dm− . . .− trans, Vi, 4ths tripl, P T (d)



Table 10.7: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich (cont’d)

m M R H Comment

105 M3/2’ D D −Bm−G]◦7 −A7 − Em−[

32

]B, B-Solo, WW bg

108... E∅7/D − C]◦7 −D7 −B[9

7 −

110... E7 −D7− M2’: augm in B-solo

112 ⊥ G/D − E∅7/G−A7sus4 −A−114 D −D7 −G/D − E∅7/G− WW+Hns+Str116 A7sus4 −A−118 M1/2’ Dm Dm/A−Gm−Dm−Am− F]◦7− [D] B-Solo, WW: M2’ imit

121.../2’ Gm− E◦7 −Dm−Gm Str: M2’ echo

123.../2’ F − C/E − F]◦7 −Gm− E◦7

126 ⊥/0 <(Dm−Gm)129 M3 F F −B◦7/F− [E] Ch, WW+Str: bg

131... C/E − (G∅7 − C]◦7)/B[− [

133... F/A−D[9

7 /C −B◦7 −D[7 − F/C− M2’ imit, (Str 8ths)136 ⊥ B[/F − (Gm−G◦)/B[− F 6

4 − C7− cad138 F/C − F −B[/F − (Gm−G◦)/B[− WW+Hns+Str140 <(F 6

4 − C7)− cad142 M1 Dm A/C]−Dm B-Solo, Str: 8ths tripl144 M4 A/C]−D7/C −G/B −G7/F− [F] Ch, imit147 ⊥ E7 − E7/D −A7/C]−A[9

7 /G−150 M4/2’ <(D/F]− F][97 )− stretto imit, (M2) clim

154... D/F]−Dm/F−

156 ⊥ E7 −G]◦7/D− WW: 4th tripl157 M1 G]◦7/D − . . .−

164 (A−D −A7 −D −D7)/A− Ch imit, trans, PD(a)169 (D]− Em−D −A7sus4 −A7)/A−



Table 10.8: Brahms, German Requiem Op. 45, Mvt. 3 Herr, lehre doch mich (cont’d)

m M R H Comment

173 M5 D (D −D7 −G−A7)/D[

22

]C, Ch imit, P T (d)

175... (D −G]◦7 −A−A7 −D − E7)/D− tutti bg, 8ths

177... (C]◦7 −D −G−A−A7)/D−

180... (D −G]◦7 −A−A7)/D−

181 ⊥ (D −G]◦7 − C]◦7)/D−183 M5 (D −D7 −G−A7)/D− [G] tutti repeat, P T (d)

185... (D −D7 −G−Am−D7 −G)/D−

188... C −D7 −G−G7)/D

190... (C]◦7 −Dm− E∅7 −A−A7)/D−

192... (Dm−B[−A∅7 −Gm−D7 −Gm7)/D−

194 ⊥ (A7 −D −D7 −Gm)/D−196 M5 (A[9

7 −D −G]◦7)/D− [H] stretto imit, clim

198... (A−A7 −D −G]◦7 − E7 −A)/D (WW: 8ths)

200... (A−A7 −D −G]◦7 − C]◦7)/D−

202... (D −D7 −G−D7 − Em7 −G− C)/D− (Str: 8ths arp)

205... (G−G7 − C − C]◦7 −D7)/D−

207 ⊥ (G−D − Em7 −D)/D tutti climax (208 m.)



erences to these themes, using small motifs in counterpoint settings and melodic inversion.See Table 10.9 to 10.11 for the analysis.

The first subject has M1(abbbb’c) (1 + 1 + 1 + 3 + 4 m.) structure. Both the a- and b-phrase are based on ascending dotted-rhythm arpeggios in the violins; the b-phrase containsa downward leap. The c-phrase is a tutti cadence. The second theme has M2(abab) (1 + 1 +1 + 1 m.) period structure, with the a-phrase in half note, the b-phrase in quarter-note tripletrhythm. The second group subject has M3(aabbc) (1 + 1 + 1 + 1 + 4 m.) structure, withthe a-phrase in afterbeat quarter note, the b-phrase in stepwise moving 8th-note rhythme,and the c-phrase in legato quarter note arpeggios. M4 is a through-composed melody. fullof 8th-note arpeggios and dotted rhythm leaps. The last theme has an unbalanced sentencestructure M5(aab) (1 + 1 + 10 m.), with a long-winding tail for first violin.

10.3.2 Mvt. 2 Romanze poco adagio




Table 10.9: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro

m M R H Comment

1 M1 Cm || : (Cm−D[97 − Cm)/C− Exp/Gr 1, Vi1, P T (c)

3... (A[− F7)/C −B[m−

5 ⊥ A[− . . .−G−G[/B[− F cad, climax11 M2/1’ (D[− Fm)/A[−B[m− Fm/A[−G7− (aa’): Vi1, M1’: bg15 M2 C/G−G7/B − C − Fm/A[− (a): Vi2

17... C/G−G7/B − C − F]◦7− (a’)

19 ⊥ G−G/B −D/F]◦7 −G− M1’: Vc23 M1 Cm−D[9

7 /F]− Cm/G− Va+Vc, Vi1: 8ths bg

25... D

[5/[97 /A[− F7/A−B[m−

27 ⊥ A[−A[m− E[− E[m/G[−31 F7 −B[7− trans, climax32 5 E[m F [9

7 /E[−B[−B[[97 − F7− [A] cad35 M3 B[7 − E[m/B[− Fm− Gr 2, Vi1+2 par,

37... E[m−D[−D[7/A[− Va: 8ths bg

39... G[/B[− C[−G[/D[−

40 ⊥ C[/E[−B[m/F − F7−41 5 B[[97 − E[m− E[[97 /D[−A[m/C[− Va-Vi145 M3’ D]◦7/C − F]m/C]−D7 −D]◦7− trans, Σ(cm), P i

m(↗)

47... A/E − F]m−A7/G−

49.../1’ D/F]−Dm/F −A/C]− Vi, M1’: arp↗

51 ⊥ <(Dm−A)/Ad− cad

53 M4 E[ B[7/A[−Gm− Cm7/G− Fm7− Vi1, climax55 ⊥ B[[97 /F − E[/G−A[m− E[64 − F [9

7 −B[57 M4’ B[7/A[−Gm− Cm− Fm7− [B] stretto imit

59... B[7 − E[−A[− Fm−

61 ⊥ F∅7 − F7

63 M5 <(E[/B[− F7)− F7/E[−B[/D− Vi1

67... B[7

d− A[/C −B[7/D − F [9

7 /E[− Vi1 quasi improv

70... F7/E[− E[− F7/C − E[/B[−

72 ⊥ F7/A− E[/B[− F7/C − E[64 −B[− cad75 M1’ E[− E[m/G[− F [9

7 − E[64− trans, Vc78 ⊥ B[7 − E[− E[m/G[−80 1)F]◦7 − Cm6

4 −G7 : || repeat 1), cad80 2)F]◦7 − F7 −Am6

4 −Am 2), cad, Σ(cm<)



Table 10.10: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro (cont’d)

m M R H Comment

84 M1 Am Am/E − F7 −B[/D − E7− Dev, Va88 ⊥ Am/E − F7 −B[/D − E7− imit: Vi1-Vc-92 M1’ Am−Am/C −B∅7/D− imit, Seq(2×8m;R−5)95 ⊥ C/E − F −B◦/D − C −B∅7/D−96 M3 C C − C[9

7 − F −Am−B[97 − Vi1+2

100 M1’ Em Em− . . .−Am/C− imit102 ⊥ G/B − C/E −D7/F]−G− C −D7/A−104 M3 G G−G[9

7 − C − Em− F][97 − Va: 8ths bg108 M1/3 Bm−G[9

7 − Cm/E[−G][97 − Vc/(Vi1+2)

112... C]m C]m−A/E −<(D −G]7)−

118... G][97 − C][97 −Bm/D−

120... G][97 −→F]m− C]m6

4 −G]7d− cad

122 ⊥ F]m−Bm− C][97 −Bm−

124 M3’ D]◦7−→G]◦7 − . . .− E7 − . . .d− imit, cresc, Σ(cm<)

129 F]m7/C] −D/F]−A/E −G][97 /D]− retrans, climax

133 5 A[/C − . . .− Recap, Vc137 M1 Cm A[−D[9

7 /A− Cm/G− Gr 1, Vi1

139... D[9

7 /F]− F7 − F7/E[−B[m/D[− +Vi2, P iB(↘)

141... A[/C − . . .− Σ(cm<)

143 ⊥ A[/C −G−G/B − F]− F]7/A]−Bm− clim, cad149 D − C]◦/E −D/F]−G−A[/C −D−151 M2 G[9

7 /B − Cm/E[−G[97 − Vi1

155 M2 C/G−G7/B − C − Fm/A[− Vi2

157... C/G−G7/B − C − C7 − F/C−

160 ⊥ F/C − E − C7− imit164 M1 Fm−G[9

7 /B − Fm/C− Va+Vc, Vi1: 8ths bg

166... D[7 −B[7/D − E[m−D[− cresc

169... D[m−A[− . . .− tutti climax

172 ⊥ <(A[/C −G)− [C] cad174 M3 G[9

7 − Cm−D7/F]−G7− Gr 2, Vi2+1 par,

177... Cm/G−G7/D − Cm− E[/G− Va bg

179... B[7 − E[/G−A[− E[/B[−

181... A[/C −Gm6

4 −D7−182 ⊥ G[9

7 − Cm− C[97 − Fm−



Table 10.11: Brahms, String Quartet Op. 51 No. 1, Mvt. 1 Allegro (cont’d)

m M R H Comment

186 M3’ C◦7 − E[m/B[− C[7 − C◦7 trans, Σ(cm), P im(↗)

188... G[/D[− E[m−G[7− cresc

190 ⊥ B/D]−Bm/D − F]−Bm− F]− climax, stretto imit194 M4 C G7/F − Em7 −Am7/E −Dm7− Vi1, climax196 ⊥ G[9

7 /D − C/E − Fm− C64 −D[9

7 −G−198 M4 G7/F − Em7 −Am7 −Dm− [D] stretto imit

200... G7 − C − F −Dm

202 ⊥ D∅7 −D7−204 M5 C/G−<(D7 − C)−D7 − Em− Vi1

208... G7

d− F/A−G7/B −D[9

7 − Vi1 quasi improv

212... D7/A− C/G−D7/F]− C/G−D7/A−

214 ⊥ C64 −G7− cad

216 M1’ C − Cm/E[−D[97 /F]− C6

4 −G7− trans, Vc220 M1’ C − Cm/E[−D[9

7 /F]− Cm64 −G7− repeat

224 5 Fm C[97 − Fm− Coda, Vc: 8ths bg, PD(c)

226 M3 G[97 − C[9

7 − Fm−G[97 − Vi1+2

232 M1’ C C − . . .− F . . .− Fm−D[/A[− clim, imit: (Vc+Va)-Vi

238... Cm6

4 −G[97

d− Fm−D[/A[−

242 ⊥ Cm64 −G[9

7 − cad244 M1’/3’ <(C − C7 − F −D[/F − . . .−) climax252 C triplets (260 m.)



10.3.3 Mvt. 3 Allegretto molto moderato e comodo

Form: scherzo and trio, ABA-CDC Coda. The scherzo part covers the sections ABA, thetrio is the CDC section. The contrast lies in the rhythmic values and the minor-major keyrelationship: whereas the basic rhythm of the scherzo is groups of 16th notes (note the de-scending character of the melodic material), the trio has an 8th note groove (in particular the8th note a-pedal point for second violin, alternating between fingered note on d-string andopen 2nd string). The scherzo displays key ambiguity; the opening phrase balances betweentonic and dominant minor, the cadential Fm chord is postponed until the second A section.The transition near the end of the trio contains a melody, that is a reference to the M1 subject,through melodic augmentation. See Table 10.12 and 10.13 for the analysis.

The A section main subject has M1(aab) (4 + 4 + 6 m.) sentence structure, with character-istic 16th-note appoggiaturas and stepwise motion in the a-phrase and the dotted rhythmsin the b-phrase. The second theme is shorter, with M2(ab) (2 + 2 m.) structure in legato 16thnotes, and pedal point and chromatically descending background voices. The B section sub-ject has M3(aab) (1 + 1 + 2 m.) sentence structure. The theme M4(ab) (5 + 3 m.) has a strettoimitation a-phrase (with a one-measure motif, the original in first violin, melodic inversionin second violin).





Table 10.12: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e co-modo

m M R H Comment

Allegretto[

48

]([[[[)

1 M1.a Cm Fm− || : G[97 − Fm−G[9

7

d− A[/C− A, Vi1, 16ths

3 ⊥ D[−A[/E[−B[7/F − E[− Fm halfcad5 M1.a G[9

7 − Fm−G[97 − C7/E− repeat, var

7... Fm−D7/F]− Cm/G−D

[5/[97 /A[−

8 ⊥ Cm64 −G7 − Cm cad

9 M1.b G∅7 − . . .− E[[97 /G− F [97 /A− Vi2+Vc, Seq(3×R7)

13 ⊥ G[97 /B − Cm− Fm7 −G−

15 M2 (Cm−D7 −G7 − C −A[−B[−A[)/C− Vi1, P im(↘), P T (c)

17 ⊥ E[−D◦/F −G7−19 M2 (Cm−D7 −G7 − C −A[−B[−A[)/C− Vi2, P i

m(↘), P T (c)

21... E[−A[− E[−D∅7/F −G7 − Cm

25 ⊥ 1)Cm−D[/F − Fm : ||2)Cm repeat 1), 2)

27 M3 Cm− C∅7 − F]7 −Bm/F]− B, Vc, Seq(2×4m;R−7)30 ⊥ Bm C]∅7 − F]7− syncopes in bg32 M3 Bm−B∅7/A− F7/A−B[m Vi133 ⊥ B[m C∅7/E[− F7 −D◦7 − . . .−38 M4 D[ D[7 −G[7 − C[∆7 −A[97/C− trans, imit, triplets43 ⊥ A[7 − . . .−D[ Vi1+Va par, cad46 M4 F G7 − C7 − F7 −B[∆7 −G7− imit51 ⊥ C7 − . . .− F − . . .−D[/A[− Fm Vi1+Vi2

56 M1.a Cm G[97 − Fm−G[9

7

d− A[/C− A’, Vi1, 16ths

58 ⊥ D[−A[/E[−B[7/F − E[− Fm halfcad60 M1.a Fm G[9

7 − Fm−G[97 − C7/E− repeat, var

62... Fm− C7/G−Am/A[−G∅7/F−

63... Fm6

4 − C7 − Fm−G∅7/F−64 ⊥ Fm6

4 − C7 − Fm− F 64 − C7− cad

66 M2 (Fm−G7 − C7 − F −D[− E[−D[)/F− Vi1, P im(↘), P T (f)

68 ⊥ A[−G∅7/B[− C7−70 M2 (Fm−G7 − C7 − F −D[− E[−D[)/F− Vi2, P i

m(↘), P T (f)72 ⊥ A[−G∅7/B[− C7 − Fm cad76 M1’ Fm− Cm/E[−B[m− [H] trans, imit78 ⊥ C7 −B[m/D[− Fm80 M1’ C7/E −<(B[m− Fm)− plagal cad83 F B[m− . . .− F



Table 10.13: Brahms, String Quartet Op. 51 No. 1, Mvt. 3 Allegretto molto moderato e co-modo (cont’d)

m M R H Comment

Un poco piu animato[

34

]([) C

87 M3 F || : F . . .−Am/C − . . .−Dm/F− Vi1, P (a)

94... Am/E −<(Dm/F −A)− Seq(2×4m;R−7)

98... <(Cm/E[−G)−B[m/D[−

103 ⊥ F − F+ −Dm/F − C64 −G7 − C : || cad, repeat 1), 2)

107 M4 <(C − F − C)/C− D, Vi2+Vc Σ(cm)

111... <(Em−Am− Em)/E−

116 ⊥ Am/E − Em− C7−118 M3’ F − . . .−A∅7/C − . . . C’, VI1+Va var, P (a)127 (M1) F7 −B[−D7/A−Gm− trans

129... F/C −B◦7/F − F/C − C7−

131... F7 −Gm− F7/A−B[−D7 −Gm−

133 ⊥ F/C −B◦7/F − F 64 − C7− cad

135 M3” <(F −Dm− F −Am/C)− Coda, Vi1, P (a)143 F − . . .− Fm− . . . Allegretto D.C. (146 m.)



10.4 String Quartet Op. 51 No. 2 (1873)


Mvt. 4 Finale, Allegro non assai: rondo form (Am,[

34

], 359 m.)

A (58 m.) B (57 m.) A1 (45 m.) B1 (35 m.)

A (55 m.) B (42 m.) A2 (41 m.) C (35 m.)

Figure 10.4: Brahms, String Quartet Op. 51 No. 2

10.4.1 Mvt. 4 Finale, Allegro non assai

Form: rondo (A-B-A1-B1-A-B-A2). See Table 10.14 to 10.16 for the analysis.The sweeping main theme has M1(aab) (3 + 3 + 6 m.) sentence structure with character-

istic appoggiatura hemiolas, that yield an association with Hungarian national music. Thissubject is not only repeated in the later A sections, but also returns in the transitions andcoda. Almost every time this theme is played, it is presented as a tutti climax. The themeM2, in quarter note rhythm, is in the relative major key and has M2(aa’b) (2 + 2 + 6 m.) sen-tence structure. At the end of thematic statements we find harmonic sequences with strettocharacter.

The B section theme has M3(aab) (2 + 2 + 12 m.) structure, with the a-phrase in contrarymotion 8th note arpeggios and the long b-tail in contrary motion quarter note rhythm. M4starts with one-measure cells and has M4(aaaab) (1 + 1 + 1 + 1 + 4 m.) structure.

The B1-section uses the M3 theme for rapid modulations through a set of minor keys.Then the parallel major key A appears until the return to minor in the coda. It is the A2

section where the main theme is treated in melodic diminution and augmentation. An al-ternative interpretation of this movement is a sonata form with ABA1 as exposition, B1 theshort development, AB the recapitulation, and A2 the start of the coda.





Table 10.14: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai

m M R H Comment

1 M1 Am Am−Am/C − E − Em− Em/G−D A (aa’): VI1, clim9 ⊥ Dm/F −<(E −Am)− E7− (b), unis

13 M1’ Am− E − Em−D− [A] 2nd stat, (aa’): Va

19... Dm−<(A/C]−Dm)−Bm (b), unis

25... A7 −D −G7 − C − F7 −B[/D − E7

d− clim cad, Seq(3×R−7)

28... F −B[7 − E[/G−A7 −D −G7 − C − F7− dim, Seq(4×R−7)

31... B[5

7 −<(Am/C −B[57 /F )−A

34 ⊥ Am/C −Dm−Am64 − E

d− cad, Σ(cm>)

37 F/A−Dm7 −D∅7 −G7− [B] trans43 G7/F −D7/F]−45 M2 C G7 −G7/F − C/E − C7/B[− (aa’): Vi1

49... A[9

7 /C]−Dm−G[97 /F − C/E− (b)

53 ⊥ F]∅7 −G− . . .−Gm− halfcad

59 M3 F Gm− C7− [C] B, tutti clim, Σ(cm)

63... F − Em/G−Am7−

65... G[9

7 /B − C/E − E7

d− F

67... B◦7 − C/E −G]◦7−

69... D

[5/[97 /A[− C6

4 −G7− cad71 ⊥ C C − F/A−Dm− C]◦7−75 M4 Dm− F]◦7 −G7− [D] (aa’): Vc79 ⊥ C − F −Dm− C]◦7− (b)83 M4 Dm− F]◦7 −G−G7− 2nd stat, (aa’): Vi187 ⊥ C −G7 −Am−G[9

7 − C7 − F − F]◦7− (b)91 G7 − C/E −<(F]◦7 −G7/F − C/E)− [E] Seq(2×R7),94 <(G]◦7 −Am− C]◦7/G−Dm/F )− 3pt syncopes97 C[9

7 /E − F −D7/F]−98 C/G−A7/G−G7− cad

100 C − F][97 − . . .−B[57 /F− [F] trans, imit, Σ(cm)

108 E − . . .− E[97 − unisono

116 M1 Am Am− E − Em−D− [G] A1 (aa’): Vi1

120... Dm−<(E −Am)− (b), unis

129 ⊥ E7 −A−D7 −G− C7 − F −B7− Seq(3×R−7)



Table 10.15: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (cont’d)

m M R H Comment

132 M2 Em Em− C7 − F −B − Em (aa’): Vi1

136... C7 − F −B7 − E −A7 −D −Gm−D[9

7 − (b)140 ⊥ F Gm−G∅7/B[− C7− [H] cad144 M2 C7 − (F − F◦7)/C− (aa’): Vi1, PD(c)

148... (Gm− C[9

7 )/C − F −G7−154 ⊥ C − Cm−A∅7/C −A7/C]−

161 M3 Dm Dm− E∅7 −A[97 −Dm [I] B1, imitation

164 ⊥ E[97 −Am− F]∅7 −B[9

7 −

166 M3 Em Em− F][97d− G/D − E7/G]− imit, cresc

171... A− F]7/A]−Bm−G][97 /B]−

175... F]m <(C]−G][97 /B]− C]− F]m/C]− tutti climax

178... Dm <(A7/C]− E∅7/D)−A7/C]

d−

182... B[/D −B7/D]−Am7/E −A7/E− P i

B(↗)184 ⊥ Dm/F −B7/F]− cad186 Am (E7 −Am−A7 −Dm− E[9

7 )/E− [K] PD(e)

196 M1 Am Am−D]◦7 − E −D]◦7− [L] A (a): Vi1, clim

201... Em− C]◦7 −D − C]◦7− (a’)

205 ⊥ Dm−<(E −Am)− E − E7− (b), unis210 M1 Am− E − Em−D− [M] 2nd stat, (aa’): Va

214... Dm−<(A−Dm)− (b), unis

222... A7 −D −G7 − C − F7 −B[/D − E7

d− [N] Seq(3×R−7)

225... F7 −B[7 − E[/G−A7 −D− dim, Seq(4×R−7)

227... G7 − C − F −B[5

7 /F−229 ⊥ <(Am/C −B[5

7 /F )−Am/C −Dm/F−234 <(E −D]◦7)/E− [O] trans, PD(e)238 M2 A E7/D −A/C]−A7/G− (]]]) (aa’): Vc

242... F][97 −Bm− E7/G]−A−

246 ⊥ D]◦7 − E − Em cad

251 M3 D Em−A7 −D− [P] B, tutti clim, Σ(cm)

256... D −<(E[9

7 −A/C])−D]◦7−

262... A6

4 − E7− cad264 ⊥ A A−D/F]−Bm−A]◦7−



Table 10.16: Brahms, String Quartet Op. 51 No. 2, Mvt. 4 Finale, Allegro non assai (cont’d)

m M R H Comment

268 M4 Bm− E − E7− [Q] (aa’): Vc272 ⊥ A−D −Bm−A]◦7− (b)276 M4 Bm−D]◦7 − Em− E7− 2nd stat, (aa’): Vi1280 ⊥ A− E7 −D − E[9

7 −A7 −D]◦7−284 E7 −A/C]− [R] 3pt syncopes285 <(D]◦7 − E − E7/D −A/C])− Seq(2×R7)287 <(C]7/E]− F]− F]7/E −Bm/D)−290 A7/C]−D −B7/D]−A6

4 − E7− cad

Poco tranquillo293 M1 A A− F]m−Bm−G]∅7− [S] A2, imitation298 ⊥ E −A7 −D/F]−B7 − E/G]− C]7−301 M1’ F]m−B[9

7 /D]− (a): V1 dim305 ⊥ A/E −A7 −D − Em−A7 −D

309 (A− F]7 −Bm−B7 − E − E[97 )/E− [T] PD(e)

313 A−A7 − F]7 −Bm−B[97 −

317 E7 − E]57 −

320 M1” A−G][97 − C]m− [U] (a) Vi1, augm

322 ⊥ E[97 −A/C]−B[9

7

d− 4pt hemiolas

324 M1” C]m/G]−G][97 /F]− C]m/E− (a)

326... C][97 − F]m/C]−B[9

7 /A−328 ⊥ E/G]−Am− E/G]− PD(e)331 Em/G− F]m− F∆7 P i

B(↘)

Piu vivace Coda (\\\)334 M1’ Am Am− E − Em− C]◦7 −D Vi1, dim337 ⊥ D −A−Dm−D]◦7−342 (M1) E − E7 −Am−A[9

7 −Dm−B[5/[97 /F− [V] Va+Vc, PD(e)

350 M1’ Am/C −D]◦7/A− Vi1 dim, climax352 ⊥ Am/E − . . .− E −Am unisono356 Am6

4 − E −Am cad (359 m.)



10.5 Symphony No. 3 in F major, Op. 90 (1884)


Mvt. 1 Allegro con brio: sonata form (F ,[

64

] [94

], 224 m.)

Exposition (70 m.) Dev. (49 m.) Recapitulation (61 m.)

Coda (43)

Mvt. 2 Andante; ternary song form (C,[

44

], 134 m.)

A1 B A2 Cd

Mvt. 3 Poco Allegretto: scherzo and trio form (Cm−A[,[

34

], 163 m.)

Scherzo Trio Reprise Cd

Mvt. 4 Allegro: sonata form (Fm− F ,[

22

], 309 m.)



Figure 10.5: Brahms, Symphony No. 3 in F Major, Op. 90

Detailed score analysis of the Brahms symphonies was complemented with the formalanalysis presented in [22] and [29].


Form: sonata form. See Table 10.17 to 10.20 for the analysis. The movement opens witha woodwind motto M0 (there is no introduction): an arpeggio dotted whole note pattern(the meter is

[64

]) of an upward minor third leap, followed by an upward major sixth (three

notes covering the interval of the octave). This motto returns as the background in the firstgroup theme and in the transitions. The motto is also quoted in the last movement of thissymphony.

The Expositopn first group subject M1 is a forceful sweeping melody with M1(aa’bb’c)(2 + 2 + 2 + 2 + 4 m.) 12-measure structure for violins in octaves. Its a-phrase has somesimilarity with the motto; at shorter note values we hear a downward arpeggio with theintervals of minor 6th and major 3rd on the downbeats. It is a varied diminution inversionof the motto. The first group theme has a characteristic background of continuous quarternote syncopations, and the motto in both original form and as diminution. The transitionto the second group [A] presents the motto also in ‘disguised’ form, as stepwise ascendingscale, but with the minor 3rd - major 6th pattern still there.

The second group lyrical first theme M2.1 is played in the first statement by clarinetand bassoon in

[94

], in parallel thirds and sixths, over a tonic-dominant pedal point. It has



Table 10.17: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio

m M R H Comment

1 M0 F F − F◦7− Exp[

64

]([) motto: WW

3 M1/0 F − Fm/A[−D[/F −B◦7/F Gr 1/Th 1(aa’): Vi, P T (f),

7... /

... Cm/E[− F]◦7 − C7/G− Sr: syncopes, (b)

9... /

... F/A−B◦7 − F/C − F7− (b’), PB(↗)

11... /

... (B[−G[−G◦ − C7)/B[− (c)13 ⊥ / ⊥ <(F/A− F/C − C7)−15 M0” F − E◦/G− F/A− [A] trans Vi, PB(↗)P T (f),

17 ⊥ B[−B[57

d− CA[9

7 /C]−Dm−G7

d− sync, motto ‘disguised’

19 M0 F/A− C4 − C − F −A[7 WW+Tbn, WW+Vi23 M0” D[ D[− E[m7 [B] WW, PB(↗)

25 ⊥ G[−G[57

d− A[− F [9

7 /A−B[m− E[7d−

27 M0 D[/F −A[7 −D[/F − E7− Bsn+DB, Str imit31 A (A−G]◦7)/A (]]]) trans, P T (a)33 A− F −Dm+7 −D]◦7/D−36 M2.1 <(A− E7)/A− Gr 2/Th 1

[94

](aa’a”b):

Cl+Bsn (1st stat), P (a−e)40 M2.1 (A−Bm7 − E7)/A− (A− E7)/A− (aa’): Ob+Va (2nd stat)42 ⊥ (A− E7 −A−B]◦ −Bm− E7)/A− (a”b)44 M2.2 C] A− C]−G]7 − C] [C] Ob, WW Σ(cm)45 M2.2 B/D]− F]−B/D] Cl46 ⊥ <(A−G]◦7)/A−A/E −D]◦/F]−47 I(M2.1) E[9

7 −A−A]◦7 −Bm/D −G]∅7/D− Vi, Str Σ(cm>)48 ⊥ A/C]−D]◦7 −G]◦7 −A−

A−A]◦7 −Bm/D −G]∅7/D−49 M0 A A/C]− F/C −B7 −A/C]

[64

]closing group, Ob

50 M0/1’ F/C −B7 − E7− I(M1): WW dim imit

53 ⊥ /... A− F/A−B7/D]− E7− M0’: Vi

55 ⊥ A7 −D7 −G7−56 I(M1’) G7 −G]◦7 −Dm/A−G]◦7− WW: stretto im, cresc,

58... Gm7/B[−Dm/A−G]◦7− Str: Σ(cm<)

59 ⊥ G]◦7 − E7/G]− [D]61 M0’ Am/C − F]∅7/C− tutti dim, cresc to clim

63 M0/1’ Em/G− F]◦ − E64 −B7

d− Am/C I(M1): WW dim

65 M1’ F/C −Am/C −Dm−D]◦/A− tutti clim, M1’+I(M1’): Str68 ⊥ E7 − F]◦/A− E7−70 I(M1’) Am− . . .− (C) : || closing



Table 10.18: Brahms, Symphony No. 3, Mvt. 1 Allegro con brio (cont’d)

m M R H Comment

71 M(1’) Am−D −D7

d− Cm−G]7− Dev, tutti clim

77 M2.1 C]m <(C]m−D]−D]∅7 −B]◦7)/C]− [E] (a): Bsn+Va+Vc, P T (c])

79... (C]−B]◦ − E]◦7 − F]m− (a’), Str: Pm(↗) (ped)

80... (C]7 − F]m− F ×◦ −G]7)/C]−

81... <(C]m−G]7)/C]− (b)

82 ⊥ G]m7/B −A− C]m/E −G]−83 M2.1 <(C]m−D]−D]∅7 −B]◦7)/C]− (a): Vi1, P T (c])

85... (C]−G]7 − E]◦7 − F]m)/C]− (a’), Pm(↗) (ped)

86... (C]7 − F]m−G]7)/C]−

87... <(C]m−B]◦)/C]− (b)

88... C]m−G]7/F]− C]m/E− Str cresc

A7/G−D7/F]−A7/G−89 ⊥ D/F]−B7/A− E/G]−

E◦/G−D/F]−B[57 /F−

90 M2.2’ A A− E7 −A− E∅7/B[−A− C]◦7− [F] Canon, Seq(3×2m;R5),

92... D −A7 −D −A∅7/E[−D[9

7 − F]◦− M2.2: WW, I(M2.2): Str

94... G− F]◦7 −G−D∅7/A[−

95 ⊥ G G−D7 −G−D∅7/A[−96 <(G−D7 −G−D][57 /F])− trans98 G−D[5

7 /A[− F/A− F][97 /B[− Str: Σ(cm>)99 B −D7/C − F]/C]−D7− cad

101 M0 E[ E[−G∅7/D[− [G] ([) FHn, Str: sync103 ⊥ C7 − Fm− E[64 −B[−105 M0’ E[− E[m/G[−B[m−D[7− Ob+FHn

107... G[ G[− E[[97 −A[m/C[−G[64 −D[−

109 ⊥ G[− C[97 /G− Fm/A[− E[64 −B[7− cad

112 M1 E[ E[− C[m [H] retrans, WW+Str: imit116 ⊥ A[m7/E[− F∅7/E[−118 F7 − Fm7 − F7/E[− C[5

7 /G[− P T (f)

120 M0 F F −A[7 −D[−G[97 Rec, motto: Fl+Ob

124 M1/0 F − Fm/A[−D[/F −B◦7/F Gr 1/Th 1 (aa’): Vi, P T (f),

128... /

... Cm/E[− F7 − F]◦7 − C7/G− Str: sync, (b), PB(↗)

130... /

... F/A−B[7 −B◦7 − C/C − F7− (b’)132 ⊥ / ⊥ (B[−G[/B[−G◦ − C7)/B[− F/A− (c)




m M R H Comment

136 M0’ F − E◦/G− F7/A−A◦7 −B[m [I] trans Vi, PB(↗), P T (f)

139 ⊥ E[m7 −A[7d− Str: sync, motto ‘disguised’

140 M0 G[/B[−D[ FHn, Str imit142 M0 F]/A]−A− (]]) trans, Ob+FHn+Vi

144 ⊥ D −B[+/D −Gm+7 − C7/Gd−

146 D −B[+ − C]◦7/G−149 M2.1 D <(D −A7)/D− Gr 2/Th 1

[94

](aa’): Cl+Bsn,

151 ⊥ D − Em7 −A7 −D −A7− P (d−a), (a”b): WW153 M2.2 F] F]− C]7 − F] Cl154 M2.2 E/G]−B7 − E/G]− Ob155 ⊥ D D/A− C]◦7 −D/A−156 I(M2.1) F C[9

7 − F − C]◦7 − (Gm− E∅7)/B[− ([) Vi, Str: Σ(cm>)157 ⊥ F/A−B◦7 − E◦7 − F−

F]◦7 −Gm/B[− E∅7/B[−158 M0 F −D[/A[−G7−

[64

]closing group, Ob

160 M0/1’ F −D[/A[−G7 − C7− I(M1): WW dim imit

162... /

... F −D[/F −G7/B− M0;: Vi163 ⊥ C7 −A7/C]−D7 −Gm−166 <(E[−Gm/D − C]◦7 −Gm/D) stretto cresc168 Gm/D −A7/C]− [K] trans, cad170 Dm Dm/F −B◦/D−

172 Am/C −B◦/D −Am/E − E7

d− cresc to climax

174 M1’ <(Dm/F −B[/F )− tutti clim, M1’+I(M1’): Str

176... Dm/F −Gm−G]◦7/D−

177 ⊥ A7 −Dm−A7 −Dm

181 M0’ Dm−G]◦7/B− Coda Bsn+FHn183 M0/1 F F/C − F7/E[− (a): Vi, PD(c)

185 ⊥ /⊥ D[97 /C − (Gm−G7)/C− (a’)

187 M3 C −D[−D[7 −B[7− WW+FHn, (b) Str unis.

189... E[− E − C]7 − F]−D∆7/F]− WW+FHn imit, Str: P i

m(↗)

192... G−G7 − E7/G]−A− C]◦7/B[− cresc, Str: imit, P i

B(↗)194 ⊥ A7 −Gm−195 M1’ C7 −A∅7 −B[/D −Gm− stretto climax

197... C7 −A∅7 −B[−D −B[m/D[−

200 ⊥ C7 −Am/C −D/B[−Gm/B[− climax




m M R H Comment

201 M4/2.2’ <(E◦7/B[− F/A− C7/B[− F/A)− [M] WW+Vi, sync206 ⊥ C7/B[− F/A− F7 − (B[−G∅7 − F )/F−211 B∅7/D − F/C −B∅7−214 Am/C − C7− cad216 M0 F FHn-WW: imit218 ⊥ (B◦7 − F )/F− P T (f)220 M1’ F (a): Vi (224 m.)

M2.1(aa’a”b) (1+1+1+1 m.) structure with one-measure cells. The same instrumentation re-turns prominently in the second movement. A second theme M2.2 with a sequential flavour[C] leads to the inversion of the theme M2.1 by the strings. The closing group combines themotto M0 and M1, both in diminution and imitation.

The Development [E] starts with the lyrical theme, now in the[

64

]meter. Theme M2.2

is treated as a two-part canon [F], combining the original and invert form. In [G] there is adevelopment of the motto M0, over the syncopated quarter notes, and closing with a strettoimitation of M1. The Recapitulation is straightforward. The Coda is based on the maintheme M1 and could also be considered a secondary development of the first group themes.There is some new melodic material: M3 is a two-measure motif for woodwind and horns inimitation over an ascending 8th note background, derived from the M1b-phrase. The sameapproach is used in the three-measure theme M4.

An instrumentation aspect is the use of two trumpets three trombones in this symphony:these are used sparingly around the structural transitions and climaxes or the movements.In this movement there are trombones in m. 3, 19, 68, 116, 122, 177, 183 and 196. The thirdtrombone often states the motto theme M0.





10.5.3 Mvt. 3 Poco Allegretto

Form: ternary song form, ABA Coda. This moderate tempo movement is a pinnacle ofromantic, lyrical and melancholy writing.1 The scherzo has an internal ternary structure, thetrio has binary structure. See Table 10.21 to 10.23 for the analysis.

The Scherzo main theme (M1, first statement for high celli, in the reprise for solo Frenchhorn) is sheer beauty; a textbook example of a melodic curve, with an extended M1(aabb’)(2+2+3+4 m.) sentence structure. Note the irregular length phrases and the rhythmic flowin the background (16th-triplets alternating in the violins and 16th-note arpeggio patternsin violas). At each repeat of the main theme there are subtle differences in instrumentationand background (such as the string arpeggios or the solo countersubject Mc). The motif M2is based on a one-measure 16th note echappee melodic pattern, used in imitation and as asequence.

The Trio theme M3, with its upward appoggiaturas, has a hesitant quality, and returns inthe coda, just before the final tutti climax. It has M3(aaba’a’) (1 + 1 + 2 + 1 + 1 m.) structure,based one-measure cells. The strings answer this with an espressivo subject M4, with M4(aab)(2 + 2 + 4 m.) sentence structure. Except for the two horns, there are no brass instruments inthis movement.



1It’s a favourite for documentaries about lost grandeur in the Habsburg empire, or nature in central Europe.I remember film footage about the river Donau, where the director did not want to end up with good old JohannStrauß, waltzing along the waterfront.



Table 10.21: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto

m M R H Comment

Scherzo – Poco Allegretto[

38

]([[[)

1 M1 Cm <(Cm−D∅7/F )− A, (a): Vc, Str: tripl

5... G[9

7 /B − Cm− Fm/A[− F]◦7− (a’)

8... G− Cm− C7/B[− (b)

9... Fm/A[−B[/F − Fm/A[−

10... B[− E[∆7 −D∅7/F− (b’)

11... A[− Cm/G−D7/F]−G7− PB(↘)

12 ⊥ G7/F −A∅7/E[−G7/D− cad, Σ(cm<)13 M1 <(Cm−D∅7/F )− 2nd st (aa’): Vi1, Vc: Mc

17... G[9

7 /B − Cm− Fm/A[− F]◦7− (b), Str+WW bg

20... G− Cm− C7/B[− (b’)

21... Fm/A[−B[/F − Fm/A[−

22... B[− E[∆7 − Fm−

23 ⊥ D[5/[97 /A[− Cm6

4 −G− cad24 M2 C <(C −B◦7)− C [A] B, Vc-Vi1

29... F∆7 −B∅7 − Em7 −Am7− Seq(3×1m;R−7)

31... Dm7 −B[5

7 /F−32 ⊥ E − . . .−D]◦7/A−36 E −Am−B − E7 −Am− trans, Str38 D]◦7/F]− . . .− Str-WW, 16th tripl arp↗41 M1’ Cm <(Cm−D∅7/F )− [B] A’ (aa’): Fl+Ob+FHn,

45... G[9

7 /B − Cm− Fm/A[− F]◦7− (b), tutti bg

48... G− Cm− C7/B[−

49... Fm/A[−B[/F − Fm/A[− (b’)

50... B[− E[∆7 −D∅7/F−

51 ⊥ D[5/[97 /A[− Cm6

4 −G7− cad52 Cm−A[m [C]

Trio ([[[[)54 M3 A[ A[/E[− . . .−B[∅7/F[−B[7/D− A, WW+FHn,

57... E[7 −B[∅7/D[− Vc: 16ths arp

58... (E[[97 −B[∅7 − E[[97 )/D[

d− repeat 8ba

60 ⊥ F[∆7 −B[∅7 − E[−



Table 10.22: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (cont’d)

m M R H Comment

62 M3 A[/E[− . . .−B[∅7/F[−B[7/D− [D] 2nd st var, WW,

65... E[[97 −B[∅7/D[− Str: 16ths arp↗↘

66... (E[[97 −B[∅7 − E[[97 )/D[

d−

68 ⊥ F[∆7 −B[∅7 − E[−G]m/B70 M4 F] C]m7/E − C]7/E]− F]−B7/D]− B, (a): Str

72... B G]m7 − C]∅7/G− F]]57 −B (a’)

74... E −D]m/F]− C][97 /G]− F]7/A]−B (b): climax, Σ(cm>)

76... B[[97 /F−

77 ⊥ A[m/E[− E[− [E]79 M3’ A[ A[− . . .−B[∅7/D[− E[[97 − A’ 3rd st, WW+Hns,83 ⊥ B[∅7 −B[7/D− Str: 16ths arp (doubled)87 M4’ B[/D − E[7/D[−A[/C B’, (a): Str

89... Fm7 −B[∅7 − E[+ −A[ (a’)

91... A[∆7/C −D[−A[/E[ (b), Σ(cm>)

93.../M3’ B[[57 /E −G

[5/[97 /F− (M3’): WW, P i

B(↗)

96 ⊥ G[7 − E[/G−D[5/[97 /A[−

Scherzo – Reprise ([[[)99 M1 Cm <(Cm−D∅7/F )− [F] A, (aa’): FHn

103... G[9

7 /B − Cm− Fm/A[−D[57 /A[− (b)

106... G− Cm− C7/B[−

107... Fm/A[−B[/F − Fm/A[− (b’)

108... B[− E[∆7 −D∅7/F−

109... A[− Cm/G−D7/F]− PB(↘)

110 ⊥ G7/F −A∅7/E[−G7/D−111 M1 <(Cm−D∅7/F )− 2nd st (aa’): Ob, Bsn: Mc,

115... G[9

7 /B − Cm− Fm/A[−D[57 /A[− (b), Str+WW bg

118... G− Cm− C7/B[−

119... Fm/A[−B[/F − Fm/A[− (b’)

120... B[− E[∆7 − Fm−

121 ⊥ D[5/[97 /A[− Cm6

4 −G− cad



Table 10.23: Brahms, Symphony No. 3, Mvt. 3 Poco Allegretto (cont’d)

m M R H Comment

122 M2 C <(C −B◦7)/C − C [G] B, Bsn-Cl, P T (c)

127... F∆7 −B∅7 − Em7 −Am7− Seq(3×1m;R−7)

129... Dm7 −B[5

7 /F−130 ⊥ E − . . .−D]◦7/A−134 E −Am−B − E7 −Am− trans, Cl+Bsn136 D]◦7/F]− F]◦7− Str-WW: 16ths tripl arp↗139 M1’ Cm <(Cm−D∅7/F )− [H] A’, 3rd st (aa’) Vi+Vc, Bsn: Mc

143... G[9

7 /B − Cm− Fm/A[− F]◦7− (b), tutti bg

146... G− Cm− C7/B[−

147... Fm/A[−B[/F − Fm/A[− (b’)

148... B[− E[∆7 − Fm−

149 ⊥ D[5/[97 /A[− Cm6

4 −G− cad150 5 Cm− . . .− [I]

152 M3’ D[5/[97 /A[− Cm/G−G7− Coda, WW+FHn augm

154... Cm− . . .−B◦7/F− tutti

156... Cm/E[−A[/C − Fm/A[− Fm− tutti climax, Σ(cm<)

159 ⊥ Cm64 −G7 − Cm Σ(cm>), cad (163 m.)



10.6 Symphony No. 4 in E minor, Op. 98 (1885)


Mvt. 1 Allegro non troppo: sonata form (Em,[

22

], 440 m.)



Mvt. 2 Andante moderato: AABAB Coda form (E,[

68

], 118 m.)

A A’ B A” B’ C

Mvt. 3 Allegro giocoso: sonata form (C,[

24

], 357 m.)



Mvt. 4 Allegro Energico e passionato: theme and variations / sonata form

(Em,[

34

][32

], 311 m.)

Exp (64 m.)

Th V 1–3 V 4–7

Dev (64 m.)

V 8–11 V 12–15

Rec (124 m.)

V 16–22 V 23–30

(Reprise V 1–3) Coda (58 m.)

Figure 10.6: Brahms, Symphony No. 4 in E Minor, Op. 98

Detailed score analysis of the Brahms symphonies was complemented with the formalanalysis presented in [22] and [29].

10.6.1 Mvt. 1 Allegro non troppo

Form: sonata form. See Table 10.24 to 10.28 for the analysis. The Exposition section ofthis movement opens directly with the gentle main subject M1, whose main characteristic isthe descending leap of the third motif (that becomes a sixth in its inversion). This intervalis used in varied forms of the theme (such as M1’, the secondary statement), as accentedbackgrounds and in transitions. The overall structure of the main subject is M1(aa’bc) (4 +4 + 4 + 6 m.), with the leaps in the a-phrase, the lead pedal point and 8th note rhythm in theb-phrase, and the cadential closing c-phrase.

The contrasting marcato secondary subject (M2, unisono winds and brass, mixed rhythmwith staccato and 4th-note triplets) also has an arpeggio in thirds flavour. This might al-ternatively be considered a motto M2(ab) (2 + 2 m.) that introduces the lyrical (stepwisevs. sweeping character) melody M3. This has M3(aaaa) (4 × 2 m.) structure (based on atwo-measure cell) with half note appoggiaturas as a starting point.


10.6. SYMPHONY NO. 4 IN E MINOR, OP. 98

Table 10.24: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo

m M R H Comment

1 M1 Em (Em−Am−B7 − Em)/E− Exp/Gr 1 (a): Str-WW imit

5... C −G−Dm−Am−

9... B[9

7 /D]−Am/E − F7 −D[97 /F]− (b) P i

B(↗), Hns: P (c)

13... C/G−G]◦7 −Am− E7/B− PB(↗)

15 ⊥ (Am− F][57 )/C − F]7 − Em64 −B7 cad

19 M1’ Em− C − F]∅7 −B7/D]− Em/G− [A] 2nd st, (a): Str imit, var

23... C − F]◦7/C −G− C]◦7 −G− tutti imit

25... D −G]◦7/D −A−Am7−

27... B[9

7 /D]−D7 − F]m/C]−D7/C− (b) cresc, P iB(↘) , Σ(cm<)

31... B7 − Em/G−A7 − F][97 /A]−

37... B[9

7 −B7/A− Em/G− F]∅7 −Bm7− tutti climax

40... Em7 −Am7 −D7 −G∆7−

41 ⊥ F][97 . . .d− G−Bm−D]5

7 − PD(f])

45 Bm G−Bm− F][97 −Bm/D− [B] Gr 2, trans, Str imit49 C −G/D − C/E−51 A∅7/E[−G/D −G/B −G7/F−53 M2 F]− . . .−Bm− C]− F]− WW+Hns unis marcato

57 M3/1 F]7 −Bm− C]∅7 − F]7d− [C] (FHn+LoStr)/others

63 ⊥ G− Em− C]∅7 − F]7 −Bm− C]7−65 M3/1 F]7 −Bm− Em7/G−A7 −D− 2nd st HiStr/others

69 ⊥ Em− F]7d− G− Em7 − F]7

d−

73 M2 G− . . .−D[97 − WW+Brs, tutti climax

75 G−B[97 /D]− Em6

4 −B7

d−

77 M2 C − . . .−A[−80 M1’ C∆7/B −A]◦7 −Bm7/A− E9

7/G] Str-WW imit, P iB(↘)

84 ⊥ G∆7 −A]◦7/G− F]7−

87 B (B − F]7 − C][97 )/F]d− [D] tutti, episode gr,

89 E+ − C]m− F]7 −B PD(f])91 M4.1 G]m7 − C]7 − F]− C]7 − F]7− HiStr95 M4.2 B − F]7 − E/B − F]7 −B−97 ⊥ C]m− C]∅7 − F]7/E −B/D]−99 M4.3 Bm7/D −G]∅7 − C]7− Ob+FHn, Str: M1’ imit

101... C]m7/E − F]7 −D]7/C]−



Table 10.25: Brahms, Symphony No. 4, Mvt. 1 Allegro non troppo (cont’d)

m M R H Comment

103... G]/B]−G]7 − C]− C]7/B−

105 ⊥ F]/A]−B − F]/A]−107 <(E7 −G]◦7)/G]− . . .−G7− Str arp, P (g])110 M2 B/F] [E] closing gr, WW+Hns114 <(C]7 − E]◦7)/E]− . . .− E7− Str arp, P (e]), P i

B(↘)117 G]m/D]− E7/D − C]7 tutti cresc, Σ(cm<)119 M2 B/F]− F]7 −B − E −B − F]− Str123 ⊥ (F]−B)/F]− WW echo, P (f])125 M2 D F]−D/F]−A7− Str

127... D −G−<(D −Bm)− tutti

129... F]−Bm7/F]− F]−

130... F]7/A]− F]7 −B− tutti climax, P (f])

133 ⊥ <(E − F])−

137 5 G−B7 − Em−D7 −B[97 /D]− [F] Dev, Str-WW imit

145 M1 Em (Em−Am−B7 − Em)/E− False Rec, (a): Str-WW imit

149... C −G−Dm−Am−

153... <(C7 − F )/C− (b)

155 ⊥ C7/B[− F/A−A∅7/G−D7/F]− cad, PB(↘)

157 M1’ Gm Gm− Cm−D[97 −Gm− [G] 2nd Dev, WW: var, Vi: Mc

161... E[−B[−B[m−D[−A[−

165... <(E[7 −A[)/E[− (b)

167 ⊥ E[7/D[−A[/C − C∅7/B[− F7/A− cad, PB(↘)169 M1” B[m B[m− E[m−A[−D[− F7− var, tutti

173... B[m− E[m−A[−D[/F − F7− tutti stretto imit

177... B[m/D[−G[/B[−B[7/D − E[m tutti climax

180... F]7/A]−B − F]/A]−Bm−

182... F]7

d− G− F]7 − Em7−

183 ⊥ F]7sus4 − F]7d− cad

184 5 Bm G− . . .− [H] Dev 2nd part, Str imit188 M2 Cm Fm−B◦ − C7 − Fm−G[9

7 − WW, rapid mod192 (M1) D[m <(Cm−A[)/C −A[7/C− Str arp, (a’): WW, P (c)

196... Dm F]m7/C]− . . .− (F+ −A)/C] P (c]), P i

B(↗)200 ⊥ (B[−G[+ −B[7)/D−202 (M2) (B −B7 − . . .−)/D]− WW imit, P (d]−b)




m M R H Comment

206 M2 Em F]∅7 −B7 − E7 −Am−B −G+/B− [I] (a) Brs+Str climax

210... <(C − Fm)−B[m− WW echo

212... E[7/B[−A[− Fm− E[ (b) WW+Str

214 ⊥ G]m D]7 −A]∅7/C]−D]7 −G]m (b): tutti, PD(d])217 M2/1 G]m− C]m7 − F]−B WW/Str

221 ⊥ E −B −B7/F]d− C]m

227 (M1) D]7 −B[∅7/F[− E[7/D[− C7− [K] retrans, WW-Str imit

231... F7 − C∅7 − F7/E[−

234... D7 −G7 − E7/G]−A7− Seq(3×2m;R7)

238 ⊥ F]7/A]−B −<(F]∅7 −B[97 )− cad

246 M1’ Em Em− . . .− [L] Rec/Gr 1, WW unis aug249 ⊥ C − . . .− C+− Str arp254 M1’ D]◦ WW unis augm

255... G+ − Em− . . .−G7− Str arp

259... C −G−Dm−Am− Str-WW imit

263... B[9

7 /D]−Am/E − F7 −D[97 /F]− (b) P i

B(↗), Hns: P (c)

267... C/G− E7/G]−Am− E[5

7 /B[− PB(↗)

269... (Am− F][57 )/C − F]7−

271 ⊥ Em64 −B]5

7 − cad273 M1 Em− C −Am− F]∅7− 2nd stat, (a): Str imit, var

275... B −G+ − C −D[9

7 /C−

278... (G−Gm− C]◦7)/G− tutti imit

279... (D − E[9

7 )/D −A−Am

281... B[9

7 /D]−D7 − F]m/C]−D7/C− (b), P iB(↘) , Σ(cm<)

285... (B7 −G− C∆7 − F]∅7)/B− PD(b)

286... B7 − . . .−

288 ⊥ C − Em−G+ −G]57 − cad

289 C − . . .− Em/G− F −G97 trans, Str imit

294 G7

d− F/A−D∅7/A[−G−

296 C/E − F]7/A]−297 M2 B − . . .−B − Em− F]−B [M] Gr 2, WW+Hns unis




m M R H Comment

301 M3/1 B7 − Em−Am− Em−Am− F]∅7− (Hns+LoStr)/others

305... Am− F]∅7 −B7 − F]∅7 −Am

308 ⊥ F]7 −B7/D]− Em64 − F]7− cad

309 M3/1 B7 − Em−Am7/C −D7/F]−

312... G− Em−Am−B[9

7 − cresc

315 ⊥ F]∅7 −Am7 −B[97

d−

317 M2 C − . . .−G7− WW+Hns, tutti climax

320 ⊥ C − E[97 /G]−Am6

4 − E7

d−

321 M2 F − . . .−D[− WW+Hns324 M1’ F∆7/E − Em7/D − C]∅7− Str-WW imit, P i

B(↘)328 ⊥ C∆7 −D]◦7/C −B7−331 E (E −B7 − F][97 −B)/B− [N] tutti, episode gr,333 (F]m− F]∅7 −B7)/B − E− PD(b)

335 M4.1 C]m7 − F]7 −B − F]7 −B −B]57 − HiStr

339 M4.2 E −B7/D]d− A−A+−

341 ⊥ A+ − F]∅7 −B7/A− E/G]−343 M4.3 C]∅7/G− F]−

345... D]∅7/A−G][97 /F]−

347... C]/E]− C]7 − F]− F]7/E−

349 ⊥ B/D]−B − E −B/D]−351 <(A7 − C]◦7)/C]− C7− Str arp, P (c])354 M2 (E −B7 − E)/B −A− E −B− WW+Brs, P (b)358 <(F]7 −A]◦7)/A]−A7− Str arp, P i

B(↘)361 C]m/G]−A7/G− F]7 cresc, Σ(cm<)363 M2 E/B −B7 − E −A− E Str367 ⊥ <(E −B)/E− WW echo, P (b)369 M2 G]m B −G]m−D]7 −G]m− Str

373... F∅7 −B[7 − E[7− tutti

376 ⊥ A[m− F∅7 −B[7−377 M2 Em <(B − Em)− [P] trans, tutti imit379 ⊥ Am− F]◦7/A−G− Em/G−D

381 D[97 − . . .−D7 −Gm− Str imit

384 M2 F (N/I) WW clim385 B[9

7 − . . .− Str imit387 <(B[9

7 − Em)−390 (M1) F][97 /A]− . . .−B− tutti climax, Str arp↗




m M R H Comment

394 M1 Em Em−Am− F]∅7 −B7/D]− [Q] Coda, tutti clim,

397... Em/B − C/E −G−Bm/D− stretto imit

400... D −Dm/F − F −Am/C−

402... B[9

7 /D]−Am/E − F7 −D[97 /F]− (b) tutti clim, P i

B(↗)

406... C/G− E[9

7 /G]d− Dm/A− F][97 /A]

d−

408... Em/B −B[9

7 /Ad− C/G−G[9

7 /F− Σ(cm<)

410... C/G− E[9

7 /G]d− Dm/A− F][97 /A]− repeat, P i

B(↗)

412 ⊥ Em64 − . . .−A]◦7/C

d− cad

414 (C −Am−B[97

d− Am)/C− [R] tr, WW+HiStr, P (c−e)

418 Em− F][97d− Em/G−B7− Str+WW, Σ(cm>)

420 Am/C −B7/D]− Em− C − F]∅7/A−421 <(Em6

4 − C)− Em64 −B7− tutti, Str arp

426 Em− Cm/E[−G/D − Cm−G− closing428 Cm/E[−G/D − F]/C]− F]m−B7−431 <(Em−B7)− Em/B −Am/C− tutti cresc434 F]∅7 −B7 −<(Em−B)− Em tutti climax (440 m.)



The M4 theme group is used as a transitory episode. On a larger scale this melody hasM4(aaa’bb’a”a”ccd) ((1+1+2)+(2+2)+(2+2)+(2+2)+3 m.) structure: the a-phrase is thestepwise descending dotted quarter note rhythm, the b-phrase contains chromatic stepwisemotion and quarter note triplets, the c-phrase uses the a-phrase rhythm for a neighboringnote motof, and the d-phrase concludes with an ascending 8th note legato string arpeggioover trumpet pedal point.

The Development section starts with a (exceptionally early) false recapitulation, beforetaking on the real development of the main theme. This movement is harmonically very rich,with many sudden, intermediate modulations, (chromatically) ascending and descendingbass lines, dynamic curves, and contrary motion.

10.6.2 Mvt. 2 Andante moderato




10.6.3 Mvt. 3 Allegro giocoso

Form: sonata form, with rondo character. See Table 10.29 to 10.31 for the analysis.The extended main subject in the exposition can be divided into three, completely dif-

ferent phrases M1(abc) (5 + 5 + 8 m.): the a-phrase in 8th notes, with contrary motion andharmonized with triads; the b-phrase with 16th note staccato patterns and legato arpeggios;and the c-phrase with sustained accented notes and triplets. The second phrase is presentedin varied form M1b’ as an intermediate group, before the second group theme enters.

The secondary theme has M2(abab’) (2 + 2 + 2 + 5 m.) period structure, with the de-scending arpeggio from the a-phrase continued in the b-phrase. The second b’-phrase is anascending 8th note arpeggio in sequence setting.

It is in the development, where the main theme first phrase M1a gets its rondo character;most of the development is based on variations of the second phrase M1b’. With the thirdphrase M1c we have suddenly landed in the recapitulation. The second group now is pre-sented in the subdominant key, which also holds for the first main theme statement M1a inthe coda, notwithstanding the extended dominant pedal g.

10.6.4 Mvt. 4 Allegro energico e passionato




Table 10.29: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso

m M R H Comment

1 M1a C C − Em− F −G− F/A−G− Exp/Gr 1 (a): 8ths,3 ⊥ C − Em− F −Dm−G− Em− F tutti clim, Σ(cm)6 M1b B∅7/F − C/E − C −G−B∅7/F− (b): Str 16ths9 ⊥ C/E − F]∅7/C −G− E[/G−

11 M1c B[− E[−B[7 − E[− Fm7/A[− (c) WW+Str 8th tripl16 ⊥ G−G7 − . . .−19 M1b’ <(G−B∅7/F − C/E − C)−G− [A] (b): Vi1+Fl,

24... <(G− C/E)−G−G7− (intermediate group)

28... Dm−Am/C −B∅7 − F/A− Brs: PD(g)

30... Em/G−Dm/F − C/E −B◦/D− [S6]

32 ⊥ Am/C − F/A−Dm/F −G7− Str 16ths sc runs35 I(M1a) C − C∆7/B − F/A−G− F −G− (a): tutti clim37 ⊥ C − C∆7/B − F/A−Dm− E −Am/C−40 M1b F]◦/C −G/B −D −Am/C −G/B −G− (b): tutti clim44 ⊥ A◦ − E[/G−B[7 −B◦− [B] trans, LoStr unis48 Cm−D7 −G halfcad, WW+Str

52 M2 G C −G−D −G−Dm−G− C −G− [B] Gr 2 (aa): Vi1, D58 ⊥ A−D −B − Em−G7− (b) Seq(2×2m;R7)63 M2’ C −G−D −G−Dm−G− C −G− [C] Var, (a): WW+Vi169 ⊥ A7 −D −D7 −G−G7 −<(C −G) Va: 8th tripl76 G7/F − C/E −A

[5/[97 /E[− trans: Str

78 G/D −G[5/[97 /D[−Am/C

80 D −G− . . .−A[57 /G

85 G− C]◦7 −Dm−G Σ(cm<)

89 M1a C C − Em− F −G− F/A−G− [D] Dev (a): tutti clim,

91... C − Em− F −Dm−G− Em− 8ths

93 ⊥ F − . . .−Dm/F − . . .−D]◦7/C− tutti clim, 12note imit

106 M1b B[57 /F − C/E − C −G− (b): tutti 16ths

109... D]◦7/C −B[5

7 /F − C − E

113... Am− F −Dm− E− (a): V+Vc, (b): Vi

115 ⊥ Am7 −Dm−B∅7 − E−117 M1b’ Am Am−G]◦7/D −Am/C −D]◦7 −A [E] (b): Bsn+Vi1

119... E −G]◦7/D −Am/C −D]◦7/A−



Table 10.30: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (cont’d)

m M R H Comment

121... E −B◦/D −Am/C −G/B− (b’): WW, [S6]

123... F/A− Em/G−Dm/F − E− (a’) PD(e)

125... A− E∅7/G−Dm/F − C7/E

d− (b’): HiStr, WW: 16th Mc,

127 ⊥ B[/D −Am/C −Gm/B[−A7− syncopes129 M1b’ Dm−Am/E −Gm/D − F∆7/C− (b’): LoStr

131... Em7/B −Dm7/A− C/G−B[9

7 −133 ⊥ E − . . .− tutti arp↗ imit139 I(M1a) A A− F]m/A−G]− F]m/A− (a): WW unis clim, var

141 ⊥ A− E/G]d− F]m

143 M1a’ G]m7no 3 − . . .− C]m7− (a’): Str unis clim147 F]m7 −D]∅7 − E −A]◦/C]−D]−151 M1a’ C]m G]7/B]− C]m−A−G]◦/B− (a’): HiStr unis

153 ⊥ G]7d− A−D]∅7/F]−G]−

155 C]m/E −B]◦7/F]− C]m/E −G]−157 M1b’ C]m−B]◦7/F]− C]m/E −G]7 (b’): Vi1159 M1b’ C]m7 − F]m7 −G]7− (a): LoStr, (b’): Vi1161 ⊥ C]m7 − F]m7 −D]∅7 −G]−163 M1a’ C]m7 −G]− C]m7 − F]m− (a): LoStr166 ⊥ D]∅7 −G]− C]m168 M1’a D[ D[−G[/B[−A[− [F] (a’): WW+Hns171 ⊥ D[−G[/B[−A[− Fm174 M1a’ G[− C[∅7 (a’): Bsn177 ⊥ F − Fm−181 M1” D[/F − . . .−D[−G[ retrans, (a/c”): Bsn+FHn

187... E[7 −D[/F −G7/F− (a’): WW-Str Σ(cm), P (g)

193 ⊥ G[97 − . . .−<(C]◦7 −Dm)/G− (ped)

199 M1c E[ E[/G−B[− E[− Rec/Gr 1, tutti, 8th triplets203 ⊥ B[7 − E[− Fm7/A[−G7−208 M1b’ G−B∅7/F − C/E − C− (b): Ob-Hn-Vi1,

210... G−B∅7/F − C −Am/C −G−G7− (intermediate group)

213... <(G− C/E)−G−G7−

217... Dm−Am/C −B∅7 − F/A Brs: P (g)

219... Em/G−Dm/F − C/E −B◦/D− [S6]

221 ⊥ Am/C − F/A−Dm/F −G7− Str 16th sc runs



Table 10.31: Brahms, Symphony No. 4, Mvt. 3 Allegro giocoso (cont’d)

m M R H Comment

224 I(M1a) C C − C∆7/B − F/A−G− F −G− (a): tutti climax

226... C − Em− F −Dm−G− Em

228... A7 −Dm−B7 − Em− C7 − F Seq(3×1m;R7)

231 ⊥ Dm− E −Am/C−233 M1b E◦/B[− F − C − E◦/B[− F (b): tutti 16ths237 ⊥ C − E[7 −A[/E[− E[7 − C7/E− [G] trans, Str242 C7 − F −G7 − C− WW

247 M2 F F − C −G− C −Gm7 − C − F − C Gr 2 (aa): Ob+Vi1, SD253 ⊥ D −G−B∅7/D − E −Am− C7− (b) Seq(2×2m;R7)258 M2’ F − C −G−Gm− C − F − C− Var, (a): Hns+Str 8th tripl

264... Fm− C7 −D7 − E− Seq(3×1m;R7)

268... Am− E7

d− F − F7 −B[−G−

272... C −Gm− C − C7/B[−

276... F/A−D[5

7 /A[− C/G− C7/B[− tutti climax

278... F/A−D[5

7 /A[− C/G− C[5/[97 /G[−

280 ⊥ F − E7 − Cm/E[−D−

282 <(G− C]◦)/G−Gm− [H] Coda, Str-WW imit,286 (M1a) (Gm−A∅7 −D[9

7 )/G− (a): WW imit, PD(g)288 <(Gm− C]◦)/G−292 (M1a) (E◦ − Fm−G)/G− (a): WW imit295 <(E[−G)/G− Str cresc 16ths299 (G−G+ − Cm− C7 − F − F]◦7)/G− tutti cresc305 (G−G7 −Dm− F )/G−307 (Dm7 −G−Gm)/G− C7−311 M1a F −Am−B[− C −B[/D − C− (a): Str+Bsn+FHn, SD

313... F −Am−Gm−

314... C −Am−Dm−B[− E[− C− Seq(3×1m;R7)

317 ⊥ <(F −G7)/F − F7 [I] tutti clim, 12note imit

326 M1b <(F7 −B[)/F − (B[−Dm)/F− (b): Str P T (f)331 ⊥ G]◦7/F −<(E7 −G]∅7/D −A/C])−337 M1c C E − C/E − . . .− F/A− . . .− [K] (c): Brs, tutti clim343 ⊥ Dm− . . .−G7− cad347 M1a’ <(C − F −G) closing, (a): Str unis351 ⊥ F −G−Dm−G− C cad (357 m.)




The key relationship diagram is shown in Fig. 10.7. Only the first and third movement aredisplayed in the diagram since the other two have simple and straightforward key relation-ships: tonic-dominant-tonic E − B − E in the second movement and minor-major-minorEm− E − Em in the finale.

Mvt. 1 Allegro non troppo

D[m

D[

B[m

B[

Gm

G

Em

A[m

A[

Fm

F

Dm

D

Bm

E[m

E[

Cm

C

Am

A

F]m

B[m

B[

Gm

G

Em

E

C]m

Fm

F

Dm

D

Bm

B

G]m

- 6

@@@I

1

?

2

3

��

��

��4

6

��*�

��

5

Mvt. 3 Allegro giocoso

D[

B[m

B[

Gm

G

Em

E

A[

Fm

F

Dm

D

Bm

B

E[

Cm

C

Am

A

F]m

F]

B[

Gm

G

Em

E

C]m

C]

-�16

6

2 ��*

6

t

t3

-�4

Figure 10.7: Brahms, Symphony No. 4, key relationship diagram

The opening Allegro with sonata form has two characteristics: the symmetry relationsalong the vertical axis with the relative major-minor and the minor third (3i) property. Seethe Bm−B −D (1) and the Em−Gm−B[m sequence (2). The other remarkable fact is theextended (chromatic) ascending key relationship Bm− Cm−D[m−Dm− Em (3).

The third movement is fairly regular, with its alternating moves towards dominant C −G − C in the opening and towards the subdominant C − F − C in the closing section. Theexception is the middle section with the relative minor-major changes and the sequence(C] = D[) − E[ − C, which is based on an enharmonic equivalence between two remotekeys.


Chapter 11

Peter Ilyich Tchaikovsky

Biographical data:

1600 1700 1800 1900 2000

∗ 25-3- (17-4) -1840 in Wotkinsk† 25-10 (6-11) -1893 in St. Petersburg

11.1 Symphony No. 4 in F Minor, Op. 36 (1877)

Source: [69]. An overview of the formal analysis is shown in Fig. 11.1. This symphony isdedicated A mon meilleur ami (being Nadezhda van Meck). It has received the nickname”Fate Symphony”, thanks to the brass signalling motif at the introduction of the openingmovement, and returning in other movements.

The outer movements have sonata form, with the opening movement longer than theclosing. Both contain a secondary development section and a coda. Mvt. 1 has a number ofvery extended development sections; there is even a main theme development episode in theexposition. The two central movements display symmetry in the sense that the A sectionsare about equally long and significantly longer than the contrasting bridge sections.

11.1.1 Mvt. 1 Andante sostenuto - Moderato con anima



CHAPTER 11. PETER ILYICH TCHAIKOVSKY

Mvt. 1 Andante sostenuto - Moderato con anima: sonata form (Fm,[

34

][98

], 422 m.)

Intro (26 m.) Exposition (107 m.)

Development (97 m.) FR Development (47 m.)

Recap (29 m.)2nd Development (68 m.) Coda (41 m.)

Mvt. 2 Andantino in modo di canzona: ABA form (B[m,[

24

], 304 m.)

A (125 m.)

B (71 m.)

A’ (105 m.)

Mvt. 3 Scherzo, Pizzicato ostinato, allegro: ABCA Coda form (F −A−D[,[

24

], 414 m.)

A (132 m.)

B (37 m.) C (48 m.)

A (129 m.)

Coda (68 m.)

Mvt. 4 Finale - Allegro con fuoco: sonata form (F ,[

44

], 293 m.)

Exposition (59 m.) Development (59 m.) Recap (30 m.)

2nd Developm (51 m.) Interlude (33) Coda (60 m.)

Figure 11.1: Tchaikovsky, Symphony No. 4 in F Minor, Op. 36


11.1. SYMPHONY NO. 4 IN F MINOR, OP. 36




11.1.2 Mvt. 2 Andantino in modo di canzona

Form: ternary song form, ABA form. The ternary structure of this slow movement maybe subdivided as follows: A:[A1B1A2B2] – B:[C1D C2] – A’:[A3B3A4] – Coda. The maintheme M1 may be deconstructed at two levels: on a larger scale this melody has M1(abab’)(4 + 4 + 4 + 8 m.) period structure, where M1.b’ is a melodic sequence. On the smaller scalethe first phrase has M1.ab(ccb) (2 + 2 + 4 m.) sentence structure. The opening statements arefor oboe and celli. In the thematic material there are numerous (descending) appoggiaturas.another feature are the countermelodies during varied restatements of the melodies; theseare also full of (ascending) appoggiaturas. In the instrumentation there is regular doublingat the octave.

The theme M2 has similarity to the M1.a motif and has M2(aa’ab) (4 + 4 + 4 + 12 m.) ex-tended sentence structure. The B section contrasting theme consists of a fourfold statementof a short motif with appoggiaturas M3(aaa’a”) (2 + 2 + 2 + 2 m.) played first by woodwindsin octaves (clarinets and bassoons), repeated by unisono strings in octaves. The transition,leading into M3, has a descending dotted rhythm pattern (dotted 8th - 16th, like M3), thatmay be considered as a binary rhythm variant of the opening movement main theme. This ismore obvious in the treatment of M3; in the retransition (m. 173 ff.). Another potential quoteare the 32th note runs in woodwinds in m. 200 ff., that may refer to the secondary theme ofMvt. 1. The analysis is shown in Table 11.1 to 11.3.

11.1.3 Mvt. 3 Scherzo, Pizzicato ostinato, allegro




Table 11.1: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 2 Andantino in modo di canzona

m M R H Comment

Andantino ([[[[[)

1 M1 B[m B[m− Fd− G[− C∅7/E[− F− A:A1, a): Ob, Str pizz

6 ⊥ B[m− E[m−G∅7 − F b), halfcad

10 M1’ B[m− Fd− G[− C∅7/E[− F− a): Ob

14... B[m/D[− E[m7 −A[7 −D[− b’): Seq(3×2m;R−7)

18 ⊥ G[∆7 − C∅7 − F7−22 M1/c B[m/D[− F− 2nd st, a): Vc, WW bg

24... /

... B[m− C∅7/E[− F7/E[−

26 ⊥/... B[m/D[− C∅7 − F −G∅7/B[− F b)

30 M1’/... B[m/D[−B[m− C∅7/E[− F7/E[− a)

34... /

... B[m/D[− E[m7 −A[7/C −D[− b’): Seq(3×2m;R−7)38 ⊥/⊥ G[∆7/B[− E[m7 − F7 −B[m

42 M2 D[ A[−G[−A[− E[m [A] A:B1 (aa’): Str unis

50... A[−G[−A[−D (ab)

58... F]m/C]− F/C− cresc, Σ(cm<)

62... A[/C − . . .− tutti clim, Str in 16ths

73 ⊥ A[+/C = C+ − F [97 /C− dim

75 F [97 /C− [B] trans

78 M1 B[m (B[m− F −B[m)/B[− C∅7/E[− F− A:A2, Bsn, Str var

82... B[m− E[m− F −B[m−

84 ⊥ F −G∅7/B[− F halfcad86 M1’ (B[m− F −B[m)/B[− C∅7/E[− F− Vi+Va unis, WW bg

90... B[m− C∅7/E[−A[−D[− Seq(3×2m;R−7)

94 ⊥ G[− C∅7/E[− F7 −B[m

98 M2 D[ A[−G[−A[− E[m [C] A:B2 (aa’): Str unis

106... A[−G[−A[−B/F] (ab), sym roots R3i

114 ⊥ D − F/C− cresc, Σ(cm<)118 <(D7 −Gm− C − F )− C7 − . . .− trans, WW+Hns

Piu mosso ([)126 M3 F F − C7/G− F − C7/E− B:C1 (aa): Cl+Bsn130 ⊥ Dm−A7 −Dm−G7 − C (a’a”) halfcad



Table 11.2: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 2 Andantino in modo di canzona(cont’d)

m M R H Comment

134 M3 F − C7/E − F − C7/B[− 2nd stat (aa): Str unis,130 ⊥ F/A− C/E −A−Dm−G− C− (a’a”), WW P i

L(↗), halfcad141 M3 A[ A[− E[/G− Fm−B[− E[− [D] clim, st 3, WW unis,

145... A[−D◦/F − C− Str Mc P i

m(↗)147 ⊥ A[m/C[−B[7 − E[7−

150 M3’ (E[7 − Fm− F7 −B[m)/E[− B:D Str, tutti trans, PD(e[)

154... (E[7 −A[− F [9

7 −B[m)/E[−

156... (B[7 −G7

d− A[)/E[− (ped)

158... (F7

d− E[m7 −G7

d− A[)/E[−

162... (F7 −B[m−G7 − Cm)/E[−

164 ⊥ B[7/D −G[57 /D[− C−

166 M3 F F − C7/E − F − C7/G− B:C2 (aa): WW+Str, clim

170 ⊥ A7/E −Dm−G7 − Cd− (a’a”) halfcad

174 M3’ D[ (D[−A[7 − Fm− E[7 −A[[97 )/D[− retrans, Str P T (d[)

178... (D[−A◦−)/D[−

180... (B[m−A[7 − E[7 −A[7)/D[−

182... (D[−A[7 −D[− C7 −A[[97 )/D[− P T (d[)

186... (D[−A[7

d− B[m)/D[−

190 ⊥ A[7 − F [97 − . . .− rit

Tempo I ([[[[[)199 M1 B[m B[m− F7 − C∅7 − F A’:A3, Vi1, Str+WW bg

204... B[m− C∅7/E[− WW 32ths runs

206 ⊥ F −G∅7/B[− F −B[m208 M1’ B[m/D[− F7 − C∅7/E[− F

212... B[mE[m7 −A[/C −D[− Seq(3×2m;R−7)

216 ⊥ G[∆7/B[− E[m− F7 −B[m

220 M2 D[ A[−G[−A[− E[m [A] A’:B3 (aa’): Str unis228 ⊥ A[−G[−A[− (a)234 M1’ B[m B[m−A[7/G[− . . .− F7 − C◦/E[− WW, trans

244 ⊥ A[[5/[97 /D − . . .

d−



Table 11.3: Tchaikovsky, Symphony No. 4 in F Minor, Mvt. 2 Andantino in modo di canzona(cont’d)

m M R H Comment

248 M1’ G[ (G[−D[7 −G[)/D[− F∅7/A[− Str, WW bg

252... G[7 − C[− E[7/B[−

255... A[m− . . .− E − . . .−A/C]− . . .− Vc

267 ⊥ F7/C − . . .− F−

275 M1 B[m B[m− F7

d− G[− C∅7/E[− F A’:A4, Bsn Str pizz

279... B[m− E[m7 − E[− F − C7 − F halfcad

283... B[m/D[− E[m7 −A[/C −D[− Seq(3×2m;R−7)

287 ⊥ G[/B[− C∅7 − F7−

291 M1’ <(B[m−G[7/B[−B[m/F )− Coda, Vi1299 M1’ B[m Cl-Vc (304 m.)



11.1.4 Mvt. 4 Finale - Allegro con fuoco





The key relationship diagram is shown in Fig. 11.2. The opening sonata form movement, inthe tonic minor key Fm, shows the use of almost the complete tonic axis T(F (m) − A[m −B(m) − Dm) key set. The exposition main theme 2nd statement is in the dominant areaAm (1). The secondary theme is in A[m (2), then moving to B(m) at the beginning of thedevelopment. This is where we see a chain of minor keys Am−Gm−Cm−Fm−B[m (3-6),before ending in the key of B major (7). We have now arrived at the tritone-related root (notethe F − B relationship). The recapitulation uses the last tonic axis member, the submediantminor Dm (8), which alternates with the tonic major F . The coda makes a sidestep to thesubdominant area, lowered submediant key D[ major (9), before ending in the tonic minor.

In the ternary song form Mvt. 2, Andantino in modo di canzona, both A sections are inthe tonic minor key B[m, alternating with the relatve major key D[ (1,3). The middle sectionstarts on the regular dominant major key F , alternating with A[ (2). Near the end there is anexcursion towards the lowered submediant major key G[ = [VI (4).

Mvt. 3, Scherzo, Pizzicato ostinato, clearly reflects the major third (4i, four semitonessymmetric division of the octave) root layout. This yields a focus on the diagonal in the keydiagram. Both A sections start on the tonic major key F . The middle sections start on A(2) and D[ (4), respectively. All sections move back and forth towards a major third distantmajor key. The closing section moves through all three related major keys F−A−F−D[−F ,except for the B section, that alternates with the relative minor key F]m (3).

Mvt. 4 looks like a plate of spaghetti, centered around the tonic major key F . Theexposition and recapitulation sections, or, equivalently, the main rondo elements, remainfairly static. The secondary theme is in the mediant minor key Am (1). The developmentsections use this contrasting theme for a sequence of mostly minor key modulations inB[m − G[ − Cm − Em (2-4) and Dm − B[ − C − Dm − Em − Fm − Gm − B[ (5-9), re-spectively. The ‘Fate’ motif briefly establishes the tonic minor key Fm (10), before closing inthe parallel tonic major key F .

11.2 Symphony No. 5 in E Minor, Op. 64 (1888)

Source: [69]. An overview of the formal analysis is shown in Fig. 11.3. The ternary formthird movement, a waltz, has fairly balanced proportion subsections. The finale is a lengthysonata form movement with a secondary development and an extremely long recapitulationsection. The coda is split into two subsections.

11.2.1 Mvt. 3 Valse, Allegro moderato




Mvt. 1 Andante sostenuto-Moderato con anima

Am Em Bm F]m

A E B F]

G[m D[m A[m E[m

G[ D[ A[ E[

E[m B[m Fm Cm

E[ B[ F C

Cm Gm Dm Am

C G D A

Am Em Bm F]m

��

��

1,4

?2

?3 t

t�5tt��6

AAAAAAU

t

t

7

?68

?

��*��9 Mvt. 2 Andantino in

modo di canzona

G[ D[ A[

E[m B[m Fm

E[ B[ F

?61,3

��

2

��*��4

Mvt. 3 Scherzo,Pizzicato ostinato

D[ A[ E[

B[m Fm Cm

B[ F C

Gm Dm Am

G D A

Em Bm F]m

��

��

1,2 6?

3

4

��

��

5

Mvt. 4 Finale - Allegro con fuoco

G[ D[ A[ E[ B[

E[m B[m Fm Cm Gm

E[ B[ F C G

Cm Gm Dm Am Em��*

1

AAAU

��2

tt 3

��

4,7��9

6��

5HHHY

6

PPi8,10

tt9

?

HHHj 6

Figure 11.2: Tchaikovsky, Symphony No. 4 in F Minor, key relationship diagram



Mvt. 3 Valse, Allegro moderato: ternary, ABA Coda form (A− F]m,[

34

], 266 m.)

A1 B

A2 Coda

Mvt. 4 Finale, Andante maestoso – Allegro vivace: sonata form

(E − Em,[

44

][22

][64

], 565 m.)

Introduction (57 m.) Exposition (70 m.) Development (74 m.)

F.Rec (32 m) 2nd Dev. (62 m.)


C1 (32 m.) Coda2 (61 m.)

Figure 11.3: Tchaikovsky, Symphony No. 5 in E Minor, Op. 64



11.2.2 Mvt. 4 Finale, Andante maestoso – Allegro vivace

Form: sonata form. The sonata form is not very evident to identify in this movement. Themain theme from this symphony, i.e., the Fate motif (‘Das Schicksalsthema’), here labeled asM0, returns prominently in the introduction section, at the end of the development and therecapitulation section, and in the coda.

The main theme has M0(aabba’a’bb) structure with all phrases of equal length, i.e., twomeasures, the a-phrase (dotted quarter note with two 16th notes) as a characteristic motif,and suggesting a period structure on the larger scale.

The sonata Exposition main theme (m. 58 ff.) also has M1(aabb) period structure withshort two-measure phrases; note the group of accented downbow quarter notes for strings.The contrasting theme (arch-shaped scalar stepwise motion in dotted quarter note - 8th noterhythm) then brings four-measure phrasing; this pattern is continued in M3(aa) (4 + 4 m.).The Development section starts with a new theme, M4, which returns in the secondarydevelopment section. It has M4(abab’) (4 + 4 + 4 + 8 m.) period structure, the last b-phrasebeing a sequence. The Coda (m. 546 ff.) brings a closing two-measure signalling motif M5,first played by oboes and trumpets, and repeated by the horns. See Table 11.4 to 11.6 for theanalysis.

An alternative formal analysis yields MA1MA2MA3 (measures 1-57, 58-171, 172-201, 202-425, 426-471, 472-565, respectively), where M is the main theme and the development themeis incorporated as closing theme (part of the second group of themes) of the exposition. Thedevelopment element is now the elaborated and varied restating of all themes in A2 and inthe coda, A3.





Table 11.4: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale

m M R H Comment

1 M0 E E −A− E − . . .− C]m− Intro, main theme: Str

5... B −D][97 −G]m−A]◦7 −B − F]−B

9... A− E − F]m7 −D]∅7 − E − C]m−

13 ⊥ B −D][97 −G]m−A]◦7 −B − F]− PB(↗)16 M0’ B −<(C]∅7 −B7 − Em)−B7− [A] tr, signal: Brs, PD(b)20 <(Em−G)−Am− F]∅7 −B7−24 M0 E −A− E − . . .−A]◦− 2nd st: WW, tripl, PB(↘)

28... B −D][97 −G]m−A]◦7 −B − F]−B

32... A−D]◦7 − E − F]m− E −A]◦− [B]

36 ⊥ B −D][97 −G]m−A]◦7 −B − F]−

39 M0’ B −<(C]∅7 −B7 − Em)−B7

d− trans, Brs, climax

44 <(C −G)− F]∅7 −G46 Em G−<(F]∅7 − Em)/G− Em/G [C] P (g)

58 M1.aa Em <(Em−Am− Em)− . . .− F]∅7− Exp, Gr 1/Th 1: Str, P (g)63 M1.bb <(Em− F]∅7 −B)−65 M1.aa <(Em− . . .− F]∅7/A)− 2nd st: tutti cl, staccato70 M1.bb <(C −D7)/C [D] WW, P (c)74 M1.aa C −Am7 −G− Em−G− Em−Am tutti climax, asc bass80 G− F]∅7 − Em− C −G− Em−B− trans, Σ(cm<)82 M2/(1’) D Em−A7− [E] Gr 2: LoStr/WW86 ⊥ D − F]7 −Bm−B7 − Em−B−90 M2/(1’) Em−A7 −D − F]7 −Bm/D −B7− repeat: WW-Str, var97 M3 A <(E7 − F]7 − E7 −A]◦7 −Bm)/E− [F] imit: Str, PD(e)

106 M3 D <(A7 −B7 −A7 −D]◦7 − Em)/A− rep: WW+Str var, PD(a)114 Em (A7 − Em− C]∅7 −B7)/A− [G] tutti climax, Σ(cm<)118 Em/G trans, P (g)

128 M4 D A7/G−D/F]−A7/E −D −A7/G [H] Dev, new th: WW136 M4 A7/G−D/F]− 2nd stat: WW, PB(↗)

140... C]7 − F]m−D∆7 −G− E7 −A− Seq(3×2m;R7)

144 ⊥ F]7 −Bm−A7

d− Bm− F]m− E− Seq, climax

148 M4.a’ C <(C/E −G7/F )− [I] imit: Str-WW156 M4.b’ <(C − Em− F −A7 −Dm7 −G)− Str, PB(↗)

164 M4.b’ C −A[97 −Dm−B[9

7 − Em7 −A− [K] Seq(3×2m;R7)169 ⊥ F]m−B7 −G7/B −G7/D− cresc to climax172 M0 C − F/A− C − . . .− F − C −Am− Brs, climax, Σ(cm)180 ⊥ <(G−Am−G−D]◦7 − Em)− [L] PB(↗)



Table 11.5: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (cont’d)

m M R H Comment

188 M0 C − F/A− C F − C −Am− 2nd stat: Brs, Σ(cm)196 ⊥ <(G−Am−G−D]◦7 − Em)− PB(↗)

202 M1.aa Em <(Em−G−D]◦7) [M] Rec: tutti, Σ(cm)206 M1.bb <(Em− F]∅7/C − C −D7/C) WW+Str, P (c)210 M1.aa C <(C −G− C)−Am7/G [N] repeat: tutti, clim214 M1.bb <(C∆7 −Am7/G)218 M1/c1 C7/B[− . . .−G7/B − Em/B− WW+Str, Mc: Brs,

224... C7 − . . .− C]◦7− tutti climax, P i

B(↗)227 ⊥ Gm7/D − C]◦7/E −B[m7/F−230 M1’ C]◦7/G− F] [O] trans: WW+Str

234 M4/c2 F] F]/C]−B − F]7/E −B/D]− F]7− 2nd Dev, Str, Mc: Cl242 M4/c <(F]/C]−B)−B[[97 − 2nd stat: WW+Str250 M4/c2 E[m B[7/F − E[m−B[[13

7 − E[m−B[[137 Bsn+Str, Mc: Fl, clim

258 M4/c B[7 − E[m(7) −A[m7 −D◦7 − E[m [P] WW+Str, PB(↘)

266 ⊥ F[ F[ = E − . . .− Em/G− trans, dim282 Em F]∅7 − . . .−Am/E −Am−D]◦7/A− [Q] dim cont’d

296 M1/c3 Em Em Rec, Gr 1, Mc: WW+Vi304 M1/c3 Em repeat, tutti climax (ctp)312 M1.bb <(C −D7)/C WW, P (c)316 M1.aa C −Am7 −G− Em−G− Em−Am tutti climax, PB(↗)321 G− F]∅7 − Em− C −G− Em−B− trans, Σ(cm<)324 M2/(1’) D Em−A7− [R] Gr 2: WW-Str328 ⊥ D − F]7 −Bm−B7 − Em−B−332 M2/(1’) Em−A7 −D − F]7 −Bm/D −B7− repeat, var340 M3 A <(E7 − F]7 − E7 −A]◦7 −Bm)/E− [S] imit: Str, PD(e)348 M3 D <(A7 −B7 −A7 −D]◦7 − Em)/A− rep var: WW+Str, PD(a)

356... (A7 − Em− C]∅7 −B7)/A− [T] Seq(3×4m;R7)

360... Em (Em−B7 − C]7/B − C][97 )/B− cresc to clim, PB(↗)

364 ⊥ F]m (F]m− C]7 −D]7/C]−D][97 )/C]− tutti climax, PD(c])368 G]m G]m/B [U] trans, P (b)378 M4 F] C]7/B − F]/A]− C]7/G]− F]− C]7 dev th: WW, PB(↘)386 M4 C]7/B − F]/A]− 2nd stat

390... F7 −B[m−G[∆7 − C[−A[7 −D[− [V] Seq(3×2m;R7)

395 ⊥ B[7 − E[m−D[7d− E[m−B[m−A[ Seq, climax

398 M4.a’ E <(E/G]−B7/A)− [W] imit: Str-WW406 M4.b’ <(E −G]m−A− C]7 − F]m7 −B)− Str



Table 11.6: Tchaikovsky, Symphony No. 5, Mvt. 4 Finale (cont’d)

m M R H Comment

414 M4.b’ E − C][97 − F]m−D][97 −G]7 − C]− [X] Seq(3×2m;R7)

419... A]m−D]7 −B7/D]−B7/F]− cresc to climax

422 ⊥ E7/G]−Am/E−426 M0 Em (Em− . . .−Bm7 − Em−B7)/B− Brs, tutti clim, PD(b)

432 ⊥ Em/B −Am7 −B[97 − Em− PB(↘)

436 M0’ B − C]∅7 −B − Em−B7 − Em−A9 −B Brs, clim, PB(↗),444 M0’ C]∅7 −B7 − Em− F]m−G+ −A PD(b)

448... B9

7 − Em−B97

d− (climax)

452 ⊥ <(C/E −G)− [Y] climax456 C −G−Am− Em− F]m− C −D −Am trans, Σ(cm)460 D − C − F]∅7 − Em− F]∅7 − F]7−464 B closing

472 M0 E <(E −A− E)− C]m− Coda, main th: Str

478... B7

d− G]m− C]m−B7 − F]7 −B7

d−

482... A−D7 − E − F]m7 −D − E − C]m [Z]

486 ⊥ B −D]7 −G]m− C]m7 −B − F]97 −B−490 M0 <(E −A− E)− F]97− [Aa] 2nd stat: Ob+Brs,

494... B −D][97 −G]m− F]97 −B −D][97

d− climax, PB(↗)

497 ⊥ <(C]m−B −D][97 )−499 G]m−B7 − E −B]◦− [Bb] (climax) PB(↗)501 C]m− E6

4 − C]m−B− cad, climax, Σ(cm<)

504 M1’/2’ E7 − C]7 − F]m− C]97− Presto[

22

], Σ(cm<)

507... F]m−A−B − F]m− C]m− E/B− WW+Str, cresc to clim

510 ⊥ Em− E −A−A]◦7 −B −G]− F]m512 M1’/2’ E7 − C]7 − F]m− C]97− [Cc] repeat515 ⊥ F]m−A−B − F]m− C]m− E/B− cresc to climax518 M4’ F <(C7/B[− F/A) tutti climax522 C7/B[− (E − C]7 − F]m)/B− trans526 E B7 − F]7 − C]−G7 −B/F]− [Dd] Σ(cm<)531 E −B7 −G− C]7 −Am−B−534 <(E −Bm− C]7 − F∅7 −B)−538 E P T (e)

546 M5 <(E −A)[

64

]Brs, clim (ped)

554 E [Ee] desc-asc lead562 E close (565 m.)



11.3 Symphony No. 6 in B Minor Pathetique, Op. 74 (1893)


Mvt. 4 Finale, Adagio lamentoso: ABACAB Coda form (Bm,[

34

], 171 m.)

A1 B1 A2 C A3 B2 Coda

Figure 11.4: Tchaikovsky, Symphony No. 6 in B Minor Pathetique, Op. 74

11.3.1 Mvt. 4 Finale, Adagio lamentoso



11.3. SYMPHONY NO. 6 IN B MINOR PATHETIQUE, OP. 74





The key relationship diagram is shown in Fig. 11.5. The Finale’s ternary form structure isreflected in the key relationships. The outer A sections are in the tonic minor key Bm, thecontrasting middle section is in the relative major key D.

Mvt. 4 Finale

D

Bm?6

Figure 11.5: Tchaikovsky, Symphony No. 6, key relationship diagram

11.4 Nutcracker Suite, Op. 71a (1892)

Source: [70]. This suite for orchestra contains pieces from the original ballet music. Anoverview of the formal analysis is shown in Fig. 11.6.

11.4.1 Mvt. 1, Ouverture miniature

Form: binary form, A1B1A2B2. This overture is known for its string section instrumentation:there are neither celli nor contrabasses, while all higher string instruments (violins and vi-olas) are playing divisi. This adds to the light (miniature?) character of the movement (fora similar instrumentation, see Mendelssohn’s Midsummer Night’s Dream Overture, Sec. 8.1).The A section main theme has a regular M1(abab’) (2 + 2 + 2 + 2 m.) period structure.Melody M1.2 is a four-measure motif, acting as middle sentence in a larger scale structure.The B section presents a new theme with an unfamiliar M2(abb’) (4 + 2 + 8 m.) structure,where the second b-phrase with its stepwise ascending 16th-note turnaround patterns leadsto a climax. See Table 11.7 and 11.8 for the analysis.

11.4.2 Mvt. 2a, Danses caracteristiques, Marche



11.4. NUTCRACKER SUITE, OP. 71A

Mvt. 1 Ouverture miniature, Allegro giusto: ABAB form (B[,[

24

], 183 m.)

A1 B1 A2 B2

Mvt. 2 Danses caracteristiques

2a) Marche, Tempo di marcia: ABACABA form (G,[

44

], 88 m.)

A1 B A1 C A2 B A2

2b) Danse de la Fee-Dragee: ternary ABA form (Em,[

24

], 52 m.)

A1 B A2

2c) Danse russe Trepak: ternary ABA Coda form (G,[

24

], 84 m.)

A B A Co

2d) Danse Arabe: ABABAB Coda form (Gm,[

38

], 102 m.)

A1 B1 A2 B2 A3 B3 Cod

2e) Danse Chinoise: ABA Coda form (B[,[

44

], 32 m.)

A1 B A2 C

2f) Danse des Mirlitons: ABACA form (D,[

24

], 77 m.)

A1 B A2 C A3

Mvt. 3 Valse des Fleurs: ABA Coda form (D,[

34

], 341 m.)

Intro (33 m.) A (100 m.) B (84 m.)

A’ (72 m.) Coda (51 m.)

Figure 11.6: Tchaikovsky, Nutcracker Suite, Op. 71a



Table 11.7: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature

m M R H Comment

1 M1.1 B[ B[−→E[/G− E[− C97 − F− A1, ab):: Vi1

5 ⊥ B[−→E[−B[− F7 −B[ ab’)9 M1.1 B[−→E[/G− C9

7 − F− 2nd stat: Vi1, 16th accomp13 ⊥ B[−→E[−B[− F7/E[−B[/D17 M1.2 Gm D7/F]−Gm−D7/C −Gm7/B[− [A] Fl19 ⊥ A∅7/C −Gm6

4 −D7 −Gm cad21 M1.2 F C7/E − F − C7/B[− F/A− 2nd stat: Cl23 ⊥ B[− F/C − C − C7 − F25 B[ <(C∅7/G[− F )− F −G[7/E− Tr1, dom ext

30 G7/Dd− A[/C−→E[7/D[− F/C− Σ(cm<), Seq(5×R7), clim

33 M1.1 B[−→Cm/G− C7/G−B[/F − F7− [B] WW, 16th accomp

37... B[−→D◦7 − E[− E◦7 − F − F]◦7−

39 ⊥ Gm−A[57 /E[−D− cresc, climax

41 G7/B − Cm−G− Cm/E[− C[97 /E− Tr2: Str

45 M2 F F −B[−B[/D − F]◦7/E[− C7/E− B1, a): Vi1

49... <(C9

7/B[− F/A− F ) b), 16th-notes53 ⊥ C]◦7/B[−→Dm/A−G7 − C7− b’): PL(↗), climax57 M2 F −B[−B[/D − F]◦7/E[− C7/E− [C] 2nd stat: Vi1

61... <(C9

7/B[− F/A− F )65 ⊥ F7/E[−→B[/D −A7−70 M2’ Dm Dm−<(D7 −Gm)−<(A7 −Dm) Σ(cm>)

75... Dm−G[5

7 /D[− F/C − C]7/B− Σ(cm<), P iB(↘) , cresc

77... F Gm7 − C7 −<(F −A7 −Dm− C7)− tutti climax

83 ⊥ <(C7 − F )− F − . . .− C7 − F cad

90 M1.1 B[ B[−→C7 − F −B[−→F7− [D] A2: tutti (see m. 1-8)98 M1.1 B[−→C7 − F −B[ F7 −B[ Vi1 (see m. 9-16)

107 M1.2 Gm D7 −Gm D7 −Gm [E] Fl (see m. 17-20)111 M1.2 F C7/E − F − C7/B[− F/A Cl (see m. 21-24)115 B[ <(C∅7/G[− F )− F −G[7/E− Tr1, dom ext (see m. 25-29)120 G7/D −A[/C−→E[7/D[− F/C Σ(cm<), Seq(5×R7), clim123 M1.1 B[ C7 − F7 −B[ D◦7− WW (see m. 33-38)

129... E[ F]◦7 −Gm A7/E[−D− cresc, climax (see m. 39-40)

131 ⊥ G7/B − Cm− C7 − F [F] Tr2: Str (see m. 41-44)



Table 11.8: Tchaikovsky, Nutcracker Suite, Mvt. 1 Ouverture miniature (cont’d)

m M R H Comment

135 M2 B[ B[− E[− E[/G−G]◦7 − F7/A− B2, a): Vi1

139... <(F 9

7 /E[−B[/D −B[) b)143 ⊥ F]◦7/E[−→Gm−G7 − C7− b’), PL(↗), climax147 M2 B[− E[/G− E[−G]◦7 − F7/A− [G] 2nd stat: Vi1

151... <(F 9

7 /E[−B[/D −B[)155 ⊥ B[7/A[−→E[/G− E[−D7−160 M2’ Gm Gm−<(G7 − Cm)−<(D7 −Am)

165... Gm− C[5

7 /G[−Dm/F − F]7/E− Σ(cm<), P iB(↘) , cresc

167 ⊥ B[ E[− C7/E − F7− [H] tutti climax169 <(B[−D+ −Gm− F7)173 <(B[− F7)−B[ tutti climax, cad (183 m.)



Table 11.9: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse de la Fee-Dragee

m M R H Comment

1 Em <(Em− F]∅7 −A]∅7 −D]◦7)/E Intro, Str pizz, P T (e)5 Ma (Em− F]∅7 −D]◦7 −A]◦7 −D]◦7)/E A1: Cel, (ped)7 ⊥ (A]◦7 −D]◦7 − Em− F]∅7 − Em)/E Str: 8th pizz (ped)9 Mb F][57 /A]−D]◦7/A− Em/G− F][97 BCl, Σ(cm<)

11 ⊥ G]∅7/F]− F]7 −B − F][57 /C −B13 Ma (Em− F]∅7 −D]◦7 −A]◦7 −D]◦7)/E 2nd stat: Cel, P T (e)15 ⊥ (A]◦7 −D]◦7 − Em− F]∅7 − Em)/E (ped)17 Ma’ F]7 − Em− E7 −A− [A] trans, Seq(3×1m;R7)19 D7 −G−B/F]− Em tutti cad

21 Mc C]∅7/B −B − Em/G B1, PD(b)25 Mc C]∅7/B −B − Em/G (ped)29 Mc C]∅7/B −B − Em/G (ped)33 B7 −D7 −B7 − F∆7 B2 retrans, Cel35 B

[9/[137 −D7 −B7 −D7 −B7− solo cadenza arp

37 Ma (Em− F]∅7 −D]◦7 −A]◦7 −D]◦7)/E [B] A2: Cel, P T (e),39 ⊥ (A]◦7 −D]◦7 − Em− F]∅7 − Em)/E Str: 16th arco (ped)41 Mb F][57 /A]−D]◦7/A− Em/G− F][97 BCl, Σ(cm<)43 ⊥ G]∅7/F]− F]7 −B − F][57 /C −B45 Ma (Em− F]∅7 −D]◦7 −A]◦7 −D]◦7)/E 2nd stat: Cel, P T (e)47 ⊥ (A]◦7 −D]◦7 − Em− F]∅7 − Em)/E Str: 16th arco (ped)

49 Ma’ F]7 −B − E7 −A− Coda, Seq(3×1m;R7)51 ⊥ D7 −G−B7 − Em tutti cad (52 m.)

11.4.3 Mvt. 2b, Danses caracteristiques, Danse de la Fee-Dragee

Form: ternary song form, A1BA2. This dance has become part of the classical music canon.The unique orchestration aspect is the use of the celesta; the story is that Tchaikovsky sawthis novelty in Paris, liked the sound, and then decided to use the instrument in this balletmusic. Also note the very low bass clarinet, answering the celesta phrases.

The A section main melody has M(abab’) (4 + 4 + 4 + 4 m.) period structure, with theb’-phrase as a melodic and harmonic sequence. The B middle section has a larger scaleconstrasting melodiy with a modified Mc(ababa’) (2 + 2 + 2 + 2 + 4 m.) period structure, andextended use of pedal point. See Table 11.9 for the analysis.

11.4.4 Mvt. 2c, Danses caracteristiques, Danse russe Trepak




11.4.5 Mvt. 2d, Danses caracteristiques, Danse Arabe

Form: ABABA Coda form, rondo form. This folk dance has a (g−d)-pedal point (tonic anddominant) throughout, played by violas and cellos. The introduction A returns twice as atransitory interlude. The opening motif M0 is a four-measure phrase in three-part sectionalharmony voicing for English horn and two clarinets. The main rondo melody appears inthe B section and has M1(ab) (4 + 4 m.) structure. The oboe countertheme M2 in the B3

section contains a chromatically descending [1 −∆7 − 7 − [6 − 5]-motif. See Table 11.10 forthe analysis.

11.4.6 Mvt. 2e, Danses caracteristiques, Danse Chinoise




Table 11.10: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse Arabe

m M R H Comment

Allegretto[

38

]P (g−d)

1 Gm Gm− . . .− A1, Intro: Va+Vc (mute),5 M0 Gm− . . .− EHn+2Cl, 2×

14 M1 Gm− . . .− B1, Vi22 M1 Gm− . . .− [A] 2nd stat, var

33 M0 Gm− . . . A2, trans: EHn+2Bsn, 2×

42 M1’ (Gm−G7 −G[97 −D[9

7 )/G− [B] B2, Vi: var

46... (D[9

7 −D[7 − C −D[7)/G−48 ⊥ (C −D[7 − Cm−Gm)/G

50 M1’ (Gm−A[97 −Gm)/G− 2nd stat

52... (Gm− . . .− F]◦7 −Gm)/G−

54... (Gm−A7 −A[)/G−

57 ⊥ (A7 −A[−G− . . .−Gm− . . .)/G NB: intermediate major

61 M0 Gm− . . .− [C] A3, trans: EHn+2Cl,65 ⊥ Gm− . . .− Str (open), 2 stat

69 M2 Gm− B3 Ob: desc motif70 M1/⊥ Gm− . . . Vi1+Va, WW: arp response78 M1/2 Gm− . . . [D] 2nd stat, M2: EHn 8ba

86 M0’ <(Gm− Cm)/G [D] Coda, Cl88 M1’ G Bsn: app, NB: major90 M0’ <(Gm− Cm)/G 2nd stat92 M1’ G94 M0’ (Gm− Cm−G)/G− 3rd stat, NB: major97 G morendo (pppp) (102 m.)



11.4.7 Mvt. 2f, Danses caracteristiques, Danse des Mirlitons

Form: ABACA form. This dance is a feature for the three flutes, that play 3-part parallellines (sectional harmony, as in jazz big band writing) in the A and B sections. The C sectionis a contrasting middle section, with the brass dominating this tutti.

The A section main theme has M1(abab’) (4 + 4 + 4 + 4 m.) period structure. The con-trasting theme in the bridge B, set for English horn, has M2(aa’b) (2 + 2 + 4 m.) sentencestructure. The C section presents a four-measure 16th-note staccato motif M3 for brass sec-tion with lead trumpets. In the repeat (m. 51 ff.) there is a tutti orchestration with highstrings doubling the trumpet melody at the octave. See Table 11.11 for the analysis.

11.4.8 Mvt. 3, Valse des Fleurs Tempo di Valse




Table 11.11: Tchaikovsky, Nutcracker Suite, Danses caracteristiques, Danse des Mirlitons

m M R H Comment

Moderato assai[

24

]1 D D − . . .− A1, Str: pizz3 M1 D −A7 −D −G/D −D/A− E∅7 −A7− a): 3Fl

7... A9

7/C]−D −A97/E −D/F]− b), cresc, PB(↗)

9 ⊥ E∅7/G− E7/G]−A− clim, halfcad11 M1 D −A7 −D −G/D −D/A− E∅7 −A7− 2nd stat, a): 3Fl15 ⊥ A9

7/C]−D − E]◦7 − F]m−G]∅7 −A− b’), cresc, PB(↗)

19 M2 A97 − . . .− [A] B, EHn: arp

25 A7 − . . .−

27 M1 D −A7 −D −Bm7/D −D/A− E∅7 −A7− A2, 3Fl, Str: bg

31... A9

7/C]−D −A97/E −D/F]− cresc, PB(↗)

33 ⊥ E∅7/G− E7/G]−A− clim, halfcad35 M1 D −A7 −D −Bm7/D −D/A− E∅7 −A7− [B] 2nd stat: 3Fl

39... C]∅7 −D − C]∅7/E −D/F]− cresc, PB(↗)

41 ⊥ E∅7/G−A−D clim, cad

43 M3 F]m <(F]m− C]7)− [C] C, Tpt+Brs, tutti47 M3 <(F]m− C]7)− P (f]− c])51 M3 <(F]m− C]7)− [D] Tpt+tutti55 M3 <(F]m− C]7)−60 <(F]m− C]7)− 3Fl: retrans

62 M1 D D −A7 −D −Bm7/D −D/A− E∅7 −A7− A3, 3Fl, Str: bg

64... A9

7/C]−D −A97/E −D/F]− cresc, PB(↗)

66 ⊥ E∅7/G− E7/G]−A− clim, halfcad70 M1 D −A7 −D −Bm7/D −D/A− E∅7 −A7− [E] 2nd stat: 3Fl

74... C]∅7 −D − C]∅7/E −D/F]− cresc, PB(↗)

76 ⊥ E∅7/G−A−D clim, cad (77 m.)


Chapter 12

Edvard Grieg

Biographical data:

1600 1700 1800 1900 2000

∗ 15-6-1843 Bergen† 4-9-1907 Bergen

12.1 Peer Gynt Suite No. 1 Op. 46 (1888)

Source: [24]. This four-movement suite is derived from the original music written in 1874for the play Peer Gynt by Henrik Ibsen. The overview of the formal analysis is shown inFig. 12.1.

All movements are fairly short and have a straightforward binary or ternary structure.The exception is Mvt. 4, ‘In the Hall of the Mountain King’, which has ‘triple A’ status. Sub-sections within the movements are of comparable length. Variation technique is appliedwithin the subsections, there is no significant development of musical elements. The open-ing movement ‘Morning Mood’ is the only piece in a major key E, the others are in minormode.

12.1.1 Mvt. 1 ’Morning Mood’ Allegretto pastorale



CHAPTER 12. EDVARD GRIEG

Mvt. 1 ’Morning Mood’ Allegretto pastorale: ABA-Coda form (E,[

68

], 87 m.)

A B A’ Cd

Mvt. 2 ’Aase’s Death’ Andante doloroso: AB form (Bm,[

44

], 45 m.)

A B

Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka: ABACA form (Am,[

34

], 91 m.)

I A1 B A2 C A3

Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato:

AAA Coda form (Bm,[

44

], 88 m.)

A1 A2 A3 Coda

Figure 12.1: Peer Gynt Suite No. 1 Op. 46


12.1. PEER GYNT SUITE NO. 1 OP. 46




12.1.2 Mvt. 2 ’Aase’s Death’ Andante doloroso

Form: AB,, binary form. See Table 12.1 for the analysis. The movement is for strings onlyand displays symmetry and mirror structure. Both sections are of equal length and while theopening section A is rising in pitch and dynamics, the closing section B follows the reversepath.

The theme has regular M(aab) (1 + 1 + 2 m.) sentence structure. In the A section it isplayed three times in tonic-dominant-tonic key statements. Each statement consists of anM-M’ pair, the latter with a different harmonisation of the a-phrase (note the augmentedsixth chords) and a variation of the b-phrase with a closing cadence. The rising pitches anddynamics pattern (p−pp→ mf−p→ f − ff ) support the climax building.

The closing section B has a (chromatically) descending lead voice (depicting death) witha rhythm derived from the main theme. The shape of the viola parts most resembles theoriginal melody. Again, we hear a set of tonic-dominant key statements, augmented sixthchords and closing cadences. But now the four theme statements start at lower pitches andsofter dynamics (p−pp), with a morendo closing chord.

12.1.3 Mvt. 3 ’Anitra’s Dance’ Tempo di Mazurka




Table 12.1: Peer Gynt Suite No. 1 Op. 46, Mvt. 2 ’Aase’s Death’ Andante doloroso

m M R H Comment

Andante doloroso[

44

](]]) A

1 M Bm <(Bm− F])− aa): Vi1, Str only, soft p

3... Bm− C]m7 − Em−Bm/D− b), Σ(cm)

4 ⊥ C]m7 − E7 − F] Σ(cm>)5 M’ <(Bm− C][57 /G)− aa): Vi

7... C]m7 − E7 − F]− E7 − C]◦/E− b’), Σ(cm)

8 ⊥ F]7/C]−Bm cad9 M F]m <(F]m− C])− aa): Vi, 2nd st, dyn mf

11... F]m−G]m7 −Bm− F]m/A− b), Σ(cm)

12 ⊥ G]m7 −B7 − C]m

13 M’ <(F]m−G[57 /D)− aa): Vi

15... G]m7 −B7 − C]−B7 −G]◦/B− b’), Σ(cm)

16 ⊥ C]7/G]− F]m cad17 M Bm <(Bm− F])− aa): Vi1, 3rd st, loud f

19... Bm− C]m7 − Em−Bm/D− b), Σ(cm)

20 ⊥ C]m7 − E7 − F] Σ(cm>)21 M’ <(Bm− C][57 /G)− aa), climax ff

23... C]m7 − E7 − F]− E7 − C]◦/E− b’), Σ(cm)

24 ⊥ F]7/C]−Bm cad

25 (M) <(C][57 /Gd− D)−D7 [A] B, Vi PL(↘), D

28 ⊥ C][57 − F]−

29 (M) <(F][57d− G)−G7− 2nd stat, T

31 ⊥ F][137 −Bm cad

33 (M) <(C][57 /Gd− D)−D7 3rd stat, 8ba, D

36 ⊥ C][57 − F]−

37 (M) <(F][57d− G)−G7− 4thd stat, T

40 ⊥ <(F][137 −Bm) cad

44 Bm morendo (45 m.)



12.1.4 Mvt. 4 ’In the Hall of the Mountain King’ Alla marcia e molto marcato

Form: AAA Coda. The full orchestra returns in the closing movement of this suite. SeeTable 12.2 for the analysis.

The division is ternary on the global and local scale: there are three equal length A sec-tions, with the main theme statements in tonic-dominant-tonic keys. The bass parts are fullof quarter note (tonic-dominant, root-fifth) ostinato patterns, changing to 8th note lowerstring riffs in section A3. The development of this movement obviously lies in the orchestra-tion, which is building up to an overall tutti climax at the end.

A number of elements and orchestration details contribute to this Bolero avant la lettre:

• Dynamics: the opening is very soft, pizzicato lower strings (celli and basses) playingp, and bassoons pp. The p piano dynamics continue in the strings (m. 26, A2) until thecrescendo e stretto poco a poco in m. 34. Medium loudness is reached in m. 46 with mf inthe strings and f in the woodwinds. Then, after a brief return to p in m. 43 there is theff outburst in m. 45, A3, with triple forte fff in the closing measure.

• Tempo: the movement starts as a somewhat fast march (138 BPM). The tempo picksup speed in section A3 at the Piu vivo, followed by the stringendo al fine in m. 66.

• Octave selection for the melody, which is supporting the title (‘Climb every mountain’):in section A1 the low strings play in octaves starting on the tonic pitch {B1, B2}, dou-bled with the tonic pedal point in bassoons (2nd bassoon is playing in very low regis-ter). Section A2 has the violins stating the theme again in parallel octaves, now startingon pitches {B3, B4}, and answered in the same octaves by clarinet and oboe (m. 30 ff.).Finally, in section A3 the high strings (violins and viola) are playing in double octaves{B3, B4, B5}.

• A few orchestration details: the opening low register for bassoon has been mentionedalready. In A2, m. 26, violas start their dominant pedal, offbeat 16th note turn patternsin the low register, on pitch F]3 and later very low C]3. These offbeat patterns in thebackground are picked up by the celli (m. 42 ff.) and violins (m. 46, 16th note quin-tuplets), and then by the full woodwinds in m. 50 ff. The strings open with pizzicatoplaying, gradually changing to arco; note the offbeat patterns in violas in m. 26, vi-olins in m. 46, lower string ostinato riffs in m. 48. There is measured tremolo in thestring lead parts in section A3. Horns are playing offbeat dominant pedal accents: halfnotes on pitches {F]3, F ]4}, {A2, A3}, {C]3, C]4} in section A1, quarter notes in sectionA2. In section A3 horns play very loud tonic pedal pitches {B3, B4}, now supportedby offbeat trumpet dominant pedal point {F]4, F ]5}. Timpani have joined the pedalpoint group in m. 42 ff.. Full brass and other percussion (bass drum, piatti) completethe climax setting in section A3.


The key relationship diagram of the Peer Gynt Suite No. 1 is shown in Fig. 12.2.Apart from the opening movement, the key envelopes in this suite are very limited.

Movement 2 moves from the tonic minor key Bm to the dominant minor key F]m and back.Movement 4 basically remains in the tonic minor key Bm; it is only the 2nd main themestatement in each section that hints at the dominant major key F].



Table 12.2: Peer Gynt Suite No. 1 Op. 46, Mvt. 4 ’In the Hall of the Mountain King’ Alla marciae molto marcato

m M R H Comment

Alla marcia e molto marcato[

44

](]])

1 F]no 3− Hns2 M Bm Bm−D − C]− C −Bm−D A1, Stat 1, LoStr pizz, Bsn P (b−f])6 M Bm−D − C]− C −Bm−D Bsn, LoStr P (b−f])

10 M’ <(F]−D+)− F] Stat 2, LoStr pizz D14 M’ <(F]−D+)− F]− Bsn18 M Bm−D − C]− C −Bm−D Stat 3, LoStr pizz, Bsn P (b−f])22 M Bm−D − C]− C −Bm−D Bsn, LoStr P (b−f])

26 M Bm−D − C]− C −Bm−D [A] A2, Vi pizz, P (b−f]), Va 16ths30 M Bm−D − C]− C −Bm−D Ob+Cl, LoStr+Hns P (b−f])34 M’ <(F]−D+)− F] Vi D, P (f]−c])38 M’ <(F]−D+)− F]− Ob+Cl,42 M Bm−D − C]− C −Bm−D Vi, Bsn P (b−f]), Vc 16ths46 M Bm−D − C]− C −Bm−D Ob, Vi+Va 16ths turns, arco

Piu vivo A3

50 M Bm−D − C]− C −Bm−D [B], HiStr, Brs P (b−f]),54 M Bm−D − C]− C −Bm−D LoStr 8ths runs, WW 16ths58 M’ <(F]−D+)− F] HiStr+Brs D, P (f])62 M’ <(F]−D+)− F]− Ob+Cl,

Stringendo al fine66 M Bm−D − C]− C −Bm−D [C] VI, Bsn P (b−f]), Vc 16ths70 M Bm−D − C]− C −Bm−D Ob, Vi+Va 16ths turns, arco

74 B◦7 −Bm [D] Coda, tutti accts climax76 (M) Bm− F]−Bm WW cad78 B◦7 −Bm tutti accts80 (M) Bm− F]−Bm WW+HiStr cad82 B◦7 − . . .−Bm tutti accts (88 m.)



Mvt. 1 ’Morning Mood’Allegretto pastorale

Gm

G

Em

E

C]m

C]

B[m

Dm

D

Bm

B

G]m

G]

F

��

1

��6

2

-

-

-

Mvt. 2 ’Aase’s Death’Andante doloroso

Bm F]m-�

Mvt. 3 ’Anitra’s Dance’Tempo di Mazurka

Dm

D

Am

A

HHHY?

-

Mvt. 4 ’In the Hall of the Mountain King’Alla marcia e molto marcato

Bm

B

F]m

F]

��

Figure 12.2: Peer Gynt Suite No. 1 Op. 46, key relationship diagram

The contrasting and transitory middle sections in Mvt. 3, Anitra’s Dance, show a coun-terclockwise key pattern A −D −Dm from the tonic T to the subdominant axis SD. In theopening movement, Morning Mood, there is a similar, but now clockwise key pattern throughthe dominant axis D in the opening A section: E−G]−B. The middle section B moves fromthe tonic major key E towards the relative minor key C]m, then remains on the tonic axis T.The closing A section is static, in the tonic major key E.

12.2 Peer Gynt Suite No. 2 Op. 55 (1891-2)

Source: [24]. This is the second suite derived from the original music for the play Peer Gyntby Henrik Ibsen. The overview of the formal analysis is shown in Fig. 12.3.

The two middle movements, depicting scenes with a specific musical mood, are some-what longer than the outer movements. Movement 2, the ‘Arabian Dance’, has a clear ternaryABA structure. The ‘Journey Home’ in the third movement is a throughcomposed piece, butstill may interpreted in terms of a three-section ABC structure. For a gentler atmospherethere are the lamenting opening ‘The Abduction of the Bride’ and the peaceful closing move-ment ‘Solveig’s Song’, both with a binary AB structure. These movements both have alternat-ing time signature, and the coda mirroring the introduction.

12.2.1 Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso

This section is included in the full version of the book.



Mvt. 1 ’The Abduction of the Bride (Ingrid’s Lament)’ Allegro furioso:

Introduction AB Coda form (Gm,[

24

][34

], 82 m.)

Intro) A B Coda

Mvt. 2 ’Arabian dance’ Allegretto vivace: ABA-Coda form (C,[

44

],147 m.)

A1 B A2 Coda

Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato: ABC Coda form (F]m,[

68

], 192 m.)

A B C Coda

Mvt. 4 ’Solveig’s Song’ Andante - Allegretto: Introduction ABAB Coda form

(Am−A,[

44

][34

], 76 m.)

I A1 B1 A2 B2 C

Figure 12.3: Peer Gynt Suite No. 2 Op. 55

Order the E-book from the webstore.



12.2.2 Mvt. 2 ’Arabian dance’ Allegretto vivace

Form: ABA Coda. See Table 12.3 and 12.4 for the analysis.A percussion groove with the cliche combination of bass-drum (downbeats), piatti and

triangle (offbeats), as is typical for a ‘Marcia alla Turca’ mood, sets off section A1. A piccoloand flute pair opens with main theme M1, in parallel thirds S(2p), suggesting a diatonicparallel harmony ~H‖d . The melody is in C major (Ionian mode, see later) and has structureM1(aabb’) (2+2+2+2 m.). The quasi-Arabian mood is continued with a unisono statementin woodwinds of a Mixolydian mode theme M2 (m. 12 ff.) in sequential setting. This themeis answered by forte rhythmical accents in brass and strings (hammering out the 7th of thechords). Theme M1 returns (m. 21 ff.), now as a variation M1’(ab) for flutes and violins,and again in parallel thirds. There is tonic-dominant support in the strings and brass, withadded tambourine percussion. The key alternates between the tonic and mediant degreemajor C − E − C. This opening section is concluded with a transition (m. 34 ff.) whichjuxtaposes a unisono dominant pedal g climax with a quote from the main theme Mt (fromm. 21). A brief fanfare motif for bassoons and horns (with a textbook example of the horn5ths) leads into the concluding unisono statement of M1 with plagal cadence.

The middle section B moves into the relative minor area Am (m. 46 ff.) with a strings onlysetting. First violins play a gentle melody with M3(aab) (2 + 2 + 4 m.) sentence structure.There is a continuous countermelody Mc in the cello, with pizzicato beat-afterbeat 8th notepatterns in the other strings. The second statement is a variation with an extended b-phraseover a harmonic sequence. The move to the parallel major key A (m. 66 ff.) acts as a transi-tion, with lead for flute, clarinets and high strings in a three-part setting and a unisono quotefor clarinet and bassoon, suggesting the main theme M1’. The contrasting theme M3 in Amreturns (m. 74 ff.), with minor instrumentation changes: the lead is now in divisi 1st violins,playing in parallel octaves. The b-phrase is once more extended in the second statement.

The Arabian mood returns in m. 98, section A2 with the Mixolydian motif M2. Thematerial from m. 20 with theme M1’ is copied in m. 106 ff., as is the case for the transitionand conclusion in m. 120 ff. (copied from m. 34). The Coda mirrors the opening of thismovement: a two-part setting of M1 for woodwinds and upper strings softly finished by thestrings in the lower octave and leading into p percussion only in the final measures.

12.2.3 Mvt. 3 ’Peer Gynt’s Journey Home’ Allegro agitato




Table 12.3: Peer Gynt Suite No. 2 Op. 55, Mvt. 2 ’Arabian dance’ Allegretto vivace

m M R H Comment

Allegretto vivace[

44

]A1

1 Perc3 M1 C F − Em−Dm− C aa): Pi+Fl S(2p) C-Ion, ~H‖d7 ⊥ <(Am− Em) bb’)

12 M2 C7/B[− WW unis C-Mixol, Seq(2×4m;R−7)16 M2 B[7/A[− Mixolyd, Str+Brs accts20 C [A] Str+Hns clim, P (c−g)21 M1’ (F − C∆7)/C− ab’): (Fl+Vi)-WW S(2p) Ion24 ⊥ (Dm7/F − C∆7)/C− ab’) repeat27 E E [B] Str+Hns clim, P (e−b)28 M1’ (A− E∆7)/E− ab’): (Fl+Vi)-WW S(2p) Ion31 ⊥ (F]m7 − E∆7)/E− ab’) repeat34 [C] trans, clim, unis PD(g)35 Mt C C Fl+Vi S(2p), P (c−g)36 repeat, unis PD(g)37 Mt C Fl+Vi S(2p), P (c−g)38 Mf <(Gno 3 − C) Bsn+Hns fanfare42 M1’ Am7 − Em− F∆7 − C a’): WW+Str unis, plagal cad

46 M3/c Am <(Am−G]◦7 −Am) [D] B, aa): Vi, Mc: Vc50 ⊥ / ⊥ <(E −Bm)− E b), Str pizz bg52 M3/c <(Am/C − C+ − F∆7 −G]◦7) [E] 2nd stat, aa)

56... /

... B[/D − F7/E[− c), N6, Seq(2×3m;R−7)

57... /

... B[/D − E7/D−

58... /

... Am/C − E7/D−

59... /

... Am/C −D7/C−

60... /

... G]◦7/B − E[5/[97 /B[

d−

61 ⊥ / ⊥ F −B[/D −Am64 − E−

62 E − E7− [F] Hns PD(e)(]]])

66 A A− F][97 /A]− E97/B − E7− trans, Ob+Cl+Vi, PD(e)

68 A− F][97 /A]− E97/B − E− repeat

70 (M1’) <(D −A− E)− Cl+Bsn unis(\\\)

74 M3/c Am <(Am−G]◦7 −Am) [G] B, aa): Vi div, Mc: Vc78 ⊥ / ⊥ <(E −Bm)− E b), Str pizz bg



Table 12.4: Peer Gynt Suite No. 2 Op. 55, Mvt. 2 ’Arabian dance’ Allegretto vivace (cont’d)

m M R H Comment

82 M3/c <(Am/C − C+ − F∆7 −G]◦7) [H] 2nd stat, aa)

86... /

... B[/D − F7/E[− c), N6, Seq(2×3m;R−7)

87... /

... B[/D − E7/D−

88... /

... Am/C − E7/D−

89... /

... Am/C −D7/C−

90... /

... G]◦7/B − E[5/[97 /B[

d−

91... /

... F −B[/D −Am64 − E−

93... /

... E[97 − F/C − E[9

7

d− repeat

95... /

... F −B[/D −Am64 − E−

96 ⊥ / ⊥ Am64 − E −Am cad

98 M2 C7/B[− [I] A2, WW unis, Seq(2×4m;R−7)102 M2 B[7/A[− Mixolyd, Str+Brs accts106 C C Str+Hns clim, P (c−g)107 M1’ (F − C∆7)/C− ab’): (Fl+Vi)-WW S(2p) Ion110 ⊥ (Dm7 − C∆7)/C− ab’) repeat113 E E [B] Str+Hns clim, P (e−b)114 M1’ (A− E∆7)/E− ab’): (Fl+Vi)-WW S(2p) Ion117 ⊥ (F]m7 − E∆7)/E− ab’) repeat120 trans, clim, unis PD(g)121 Mt C C Fl+Vi S(2p), P (c−g)122 repeat, unis PD(g)123 Mt C Fl+Vi S(2p), P (c−g)124 Mf <(Gno 3 − C) Bsn+Hns fanfare128 M1’ Am7 − Em− F∆7 − C a’): WW+Str unis, plagal cad

132 M1 C − C∆7 − C [K] Coda, ab): WW+Hi Str S(2p)

136... <(Am− C∆7) bb’), P T (c)

140 ⊥ <(Am− C∆7) [L] bb’): Str S(2p)144 Perc (147 m.)



Mvt. 1 ’The Abduction of the Bride(Ingrid’s Lament)’Allegro furioso

Gm

Mvt. 2 ’Arabian dance’Allegretto vivace

C

Am

A

G

Em

E

��

1,3

��

6

2

?

Mvt. 3 ’Peer Gynt’s Journey Home’Allegro agitato

F]m C]m-�

Mvt. 4 ’Solveig’s Song’Andante

Am

A6?

Figure 12.4: Peer Gynt Suite No. 2 Op. 55, key relationship diagram

12.2.4 Mvt. 4 ’Solveig’s Song’ Andante

Form: Introduction ABAB Coda. See Table 12.5 and 12.6 for the analysis.In the closing movement of the second ‘Peer Guint’ suite there is another alltime classical

music hit. The instrumentation of this elegy is light: a string and harp texture with occasionalsustained chords and pedal point support in woodwinds (flute and clarinet) and horns.

All melodic lines are for 1st violins, playing unisono in sections A1 and B1, and divisiinto parallel octaves in A2 and A2. The melody structure is M1(aa’bb’) (4 + 4 + 3 + 4 m.) andM2(2+2+4+5 m.). The M1b-phrase has the chromatically descending lead and inner voice,that is so charecteristic for a number of melodies in these suites.

The contrast in the B sections lies in the key selection (parallel major A vs. minor in theA sections), the meter changes from

[44

]to[

34

]and the tempo from Andante to Allegretto.

The Coda mirrors the Introduction, with a unisono line for strings only.


The key relationship diagram of the Peer Gynt Suite No. 2 is shown in Fig. 12.4. Three move-ments are in a minor key, only the second movement, ‘Arabian Dance’ is in major. Like in thefirst suite, there is very limited key scope in these pieces. The outer movements remain inthe tonic minor key, Gm and Am, respectively.

In the ternary form Mvt. 2 the outer A1, A2 sections move from the tonic major key C tothe mediant major key E and back. The middle section B opens and closes in the relativeminor key Am, reaching its parallel major key A in the centre.

In the stormy episode of Movement 3 the major part is in the tonic minor key F]m. Theopening section 2nd statement is in the dominant minor key C]m.



Table 12.5: Peer Gynt Suite No. 2 Op. 55, Mvt. 4 ’Solveig’s Song’ Andante

m M R H Comment

Andante[

44

]Introduction

1 Am Am/C − C/E− Str unisono4 Emno 3/B − E

8 Am A1, Harp P (a−e)10 M1 Am− E[9

7 −Am− E −Am a): Vi1, Str-(WW+Hn) bg

14... Am−G− C −Dm7− a’)

16... G7 − C

18... E7/D −Am/C− [A] b), PB(↘)

19... B7 − E[5

7 /B[−A−A[57 /E[− P i

L(↘), P im(↘)

20... D7 −B[7/D − E/G]−

21... E7/D −Am/C− b’)

22... B[5

7 /F −Dm/F − (A−Am)/E− P im(↘)

23 ⊥ (F∆7 −B∅7 − E97 −D)/E −Am

Allegretto tranquillamente[

34

](]]]) B1

25 M2 A <(E7 −A) aa): Vi1, P (a−e)

29... E9

7 −A− E7 −A b)33 ⊥ E9

7 −A− E7−Andante

[44

]37 (A−D −A)/A− trans, Str-WW

(\\\) A2

39 Am Am Harp+Hns P (a−e)41 M1 Am− E[9

7 −Am− E −Am a): Vi1 div, Str-(WW+Hn) bg

45... Am−G7 − C −Dm7− a’)

47... G7 − C

49... E7/D −Am/C− [B] b), PB(↘)

50... B7 − E[5

7 /B[−A−A[57 /E[− P i

L(↘), P im(↘)

51... D7 −B[7/D − E/G]−

52... E7/D −Am/C− b’)

53... B[5

7 /F −Dm/F − (A−Am)/E− P im(↘)

54 ⊥ (F∆7 −B∅7 − E97 −D)/E −Am



Table 12.6: Peer Gynt Suite No. 2 Op. 55, Mvt. 4 ’Solveig’s Song’ Andante (cont’d)

m M R H Comment

Allegretto tranquillamente[

34

](]]]) B2

56 M2 A <(E7 −A) aa): Vi1 div, P (a−e)

60... E9

7 −A− E7 −A b)64 ⊥ E9

7 −A− E7−Andante

[44

]68 (A−D −A)/A− trans, Str-WW

70 Am Am/C − C/E− Coda, Str unisono72 F/A−Amno 3/E − E76 Am HiStr (76 m.)


Chapter 13

Gabriel Faure

Biographical data:

1600 1700 1800 1900 2000

∗ 12-5-1845 in Pamiers (Ariege)† 4-11-1924 in Paris

13.1 Requiem in D Minor, Op. 48 (1877-90)

Source: [20]. Music for orchestra and choir; this is the final version, orchestrated in 1900. Anoverview of the formal analysis is shown in Fig. 13.1.

The orchestration is for winds, brass, percussion, strings and organ; the general settingis light. In the string section the violas and celli are the main parts, playing divisi in twosubgroups; doubling the register of the choir. Violins are often used for effect, playing coun-termelody, and contrabasses give local extra support (cello group 2 is playing the bass part).Although the work is orchestrated for full orchestra, there are many tacet parts in the in-dividual movements, see the instrumentation overview in Table 13.1 (the score shows allstaves on every page, although many remain empty). The result is a most transparent or-chestration. The vocal parts are for mixed choir (sopranos, altos, tenors and basses) and solosoprano and baritone. The organ part contains numerous errors (flats, sharps, compare withthe string parts). There are climaxes in every movement, but no extended loud sections willbe found.

Most melodies are diatonic. The same holds for the harmony. Occasionally there areexact parallel chord structures on symmetrically distributed roots, especially on dominantchords under a chromatic melody. This concerns dominant 7th chords S7 with roots dis-tributed at the (minor R3i or major R4i) third, e.g., alternating <(D7 − B7) sequences (seeMvt. 7).

13.1.1 Mvt. 1 Introıt et Kyrie, Molto largo – Andante

Form: introduction ABC. The longer opening movement has vocal solos (tenors in the A sec-tion, sopranos in the A and C section), brass tutti support (see the instrumentation overviewin Table 13.1). See Table 13.2 and 13.3 for the analysis.


CHAPTER 13. GABRIEL FAURE

Mvt. 1 Introıt et Kyrie, Molto largo – Andante: ternary song form (Dm,[

44

], 91 m.)

Intro. A B C

Mvt. 2 Offertoire, Adagio molto: ternary song form, ABA’ Coda (Bm−D,[

44

][34

], 95 m.)

I A B A’ C

Mvt. 3 Sanctus, Andante moderato: ternary song form, ABA’ (E[,[

34

], 62 m.)

A B A’

Mvt. 4 Pie Jesu, Adagio: AABA form (B[,[

44

], 38 m.)

A A’ B A”

Mvt. 5 Agnus Dei, Andante - Molto largo: ABCA’ form (F ,[

34

][44

], 93 m.)

I A B C A’

Mvt. 6 Libera Me, moderato: ternary song form, ABA’ (Dm,[

22

][64

], 136 m.)

A B A’

Mvt. 7 In Paradisum, Andante moderato: ABACA form (D,[

34

], 59 m.)

A B A’ C A”

Figure 13.1: Faure, Requiem in D Minor, Op. 48


13.1. REQUIEM IN D MINOR, OP. 48

Table 13.1: Faure, Requiem in D Minor Op. 48, Instrumentation overview. (m: muted strings)

Movement: 1 2 3 4 5 6 7Introıt Offertoire Sanctus Pie Agnus Libera In para-

Instruments: et Kyrie Jesu Dei Me disum

Flute 1-2 +Clarinet in B[ 1-2 +Bassoon 1-2 + + + +Horn in F 1-2-3-4 + + + +Trumpet in F 1-2 + +Trombone 1-2-3 + +Timpani +Harp 1,2 + + +Violin 1,2 m + mViola 1,2 + + + m + + mCello 1,2 + + + m + + mContrabass + + + + + + +Organ + + + + + + +

Soprano solo + +Baritone solo + +Sopranos + + +Altos + + + + +Tenors + + + + +Basses + + + + +



Table 13.2: Faure, Requiem in D Minor Op. 48, Mvt. 1 Introıt et Kyrie

m M R H Comment

Molto largo Introduction1 M1 Dm Dm Am/C − F/C− Choir: Requiem aeternam

7... B[− F/A−B[− E[/G− F − F7/E[ [A] et lux perpetua, climax

13... E[− F7/E[

d− G[/D[−D[7 − F/C− [B] luceat eis

16 ⊥ A7/C]−B∅7/D −A

Andante moderato18 M2.a <(Dm−Am−A/C])− A Stat 1, T: Requiem aeternam

24... Dm− F −B[9 − C7− [C]

26 ⊥ F∆7 −B[∆7 − E∅7/B[−Dm64 −A7−

28 M2.a’ <(Dm−Am−A/C])−Dm Stat 2, T: Requiem aeternam

33... E/G]−Am−Dm7/C− [D]

34 ⊥ E7/G]−Am− F−35 M2.b C/E −B7/D]− Em−B[/D− T: et lux perpetua

37... Am/C −Am6

4 − E7−

38... Am− F]∅7 − E7/G]−Am− Brs+Str climax

39 ⊥ C]◦7/G− F/A−Gm7/B[

40 A[97 −Dm/A−G/B − F7/C [E] Trans

42 M3.a B[/D − E[/G− Stat 1, S: Te decet hymnus

43... F7/A−B[+ − C/E −D/F]−

44 ⊥ Gm− E[− Cm7 − F7/A− F7/E[−46 M3.a’ B[/D −Dm/F − E[/G− Stat 2, S: et tibi reddetur

47... F7/A−B[+ − C/E −D/F]−

48 ⊥ Gm−Dm64 −A−Dm

50 M4 (F −Dm− F −A+)/F− [F] B Ch: exaudi, clim, PD(a)

54... F]m/A−A+ −B[m/F − F+−

58 ⊥ B[m/F − F − F+/A−A+− diminuendo

61 M2.a <(Dm−Am−A/C])− [G] C Stat 1, Ch: Kyrie

67... Dm− F/A−B[9 − C7− [H]

69 ⊥ F∆7 −B[∆7 − E∅7/B[−Dm64 −Am−



Table 13.3: Faure, Requiem Op. 48, Mvt. 1 Introıt et Kyrie (cont’d)

m M R H Comment

71 M4 <(F]◦7/A−A7)d− Ch: Christe eleison, clim, PD(a)

75... B[/D − F − C+ − F/A−A7− [J] Coda, Ch: Christe eleison

78... Dm A− chr asc,

81 ⊥ E[/B[−B[− E∅7no 5/G−A− choir unisono82 M4’ Dm A− repeat Ch: eleison

85... E[/B[−B[− E∆7no 5/G−A∅7 [K]

86... D7/F]−Gm− E[5

7 − Em7 − E7/G]−89 ⊥ Dm/A− E∅7no 3 −Dm (91 m.)

13.1.2 Mvt. 2 Offertoire, Adagio molto




13.1.3 Mvt. 3 Sanctus, Andante moderato

Form: ABA’, ternary song form.Both A sections are characterized by extended pedal point and the continuous ostinato

16th note arpeggio background patterns in harp and violas. The choir is set as a call-and-response in M1 and M2, with unisono tenors and basses answering the soprano calls. Theselower voices are accompanied by a countermelody in the high violins (first unisono, laterin octaves). The melody is slightly varied each time reaching slightly higher (first a second,then minor and major third in [A], and finally a fifth in [B]). In [C], the order changes: firstthere is the soprano call, while the violins act as a connection to the lower voices response.

The middle B section is the movement climax with the three unisono brass motif Mbstatements (this Hosanna section never fails to impress and lead to goose bumps), and theblock chords in harp, strings and organ. The coda, the A’ section has the only entrance of thealtos, in a choir tutti over an extended tonic pedal. See Table 13.4 for the analysis.

13.1.4 Mvt. 4 Pie Jesu, Adagio




Table 13.4: Faure, Requiem in D Minor Op. 48, Mvt. 3 Sanctus, Andante moderato

m M R H Comment

1 E[ E[/G− A, Harp+Va: 16ths, P (g)3 M1 (E[− E[6 − E[−A[∆7no 3)/G− St 1: S: Sanctus5 M1 (E[− E[6 − E[−A[∆7)/G− TB unis, Vi: 8ths7 M1 (E[− E[6 − E[−A[∆7no 3)/G− St 2: S9 M1 (E[− E[6 − E[−A[∆7)/G− TB unis, Vi: 8ths

11 M1’ (E[− E[6 − E[−A[∆7no 3)/G− [A] S: dominus13 M1’ C7/G−B[7/A[− TB unis, Vi15 M1’ (E[− E[6 − E[−A[∆7no 3)/G− S17 M1’ C7/G−B[7/A[− TB unis, Vi19 M2 D Gm−Dm/F − E∅7/G− C7/G−D/F]− [B] S: Sanctus23 M1 (D/F]−Bm−G∆7 −D)/F]−B[7− TB unis: Deus27 M2’ E[ (E[− E[6 −Gm−A[∆7)/G− [C] S: Pleni sunt, P (g)29 ⊥/Mc E[/G− C7− Mc: Vi31 M2’ (E[− E[6 −Gm−A[∆7)/G− TB unis: Gloria, P (g)

33 ⊥/Mc E[/G− C7

d− Mc: Vi

35 M2 B[m B[m/D[−G[∆7 −D[64 −A[7− [D] S: Hosanna

38... B[7/A[−Gm−B[7/F−

39... C7/E −B[7/F − E[/G−A[∆7− PB(↗)

41 ⊥ B[7sus4 −B[7− cresc

42 Mb E[ E[− E[/G− Fm7 − E[∆7/G−A[− [F] B, Brs unis, climax44 M3/b <(E[− E[/G− Fm7 − E[∆7/G−A[)− TB: Hosanna48 M3/b <(E[− E[/G− Fm7 − E[∆7/G−A[)− S: stat 2

52 E[− . . .− A’=Coda P T (e[)53 M4 E[− . . .− (TB): Sanctus

54... E[− . . .− (SA): imit

55 ⊥/Mc E[ Vi57 Mc <(E[−B[7sus4)/E[− E[ (62 m.)



13.1.5 Mvt. 5 Agnus Dei, Andante

Form: introduction ABCA’ (Coda). This movement opens and closes with a sweet melodyMc for high strings and organ. This ascending arpeggio-like syncopated becomes a counter-subject, interwoven with the main melody M1. The A section has an inner AABA structure(see the three statements of the main theme and the bridge subsection with melody M2. Thetransition from the A to the B section is based on symmetrically distributed roots starting onthe dominant chord of the main key R4i : C − E −A[.

The first contrasting B section contains a double statement of M3, with downward chro-matic lead voice over a harmonic sequence. See Table 13.5 to 13.6 for the analysis.

13.1.6 Mvt. 6 Libera Me, Moderato




Table 13.5: Faure, Requiem in D Minor Op. 48, Mvt. 5 Agnus Dei, Andante

m M R H Comment

Andante[

34

]1 Mc F F − F∆7/A−B[9 − E∅7/G− Intro, Vi+Va unis

3... F∆7/A−G7/B

d− F/C − C9

7/G−Am/C− [S6]5 ⊥ Dm− F/A− C9

7 −Dm− C97−

6 M1/c F − F∆7/A−B[9 − E∅7/G− A, T: Agnus Dei, Mc: Va

8... /

... F∆7/A−G7/Bd− F/C − C9

7/G−Am/C− [S6]10 ⊥ /⊥ Dm− F/A− C9

7 −Dm− C97−

11 M1/c F − F∆7/A−B[9 − E∅7/G− [A] st 2, T: dona eis,

13... /

... F∆7/A−G7/Bd− F/C − C9

7/G−Am/C− Mc: Vi+Va unis15 ⊥ /⊥ Dm−D7 − E7 −Am−D9

7 − E97

17 M2 Am Am− (Cm7 − F]◦7 −D]◦7)/C− [B] bridge, Ch: Agnus dei,19 ⊥ F]◦7/C −G]◦7/B −Am/C ~H‖i↗21 M2’ Am− (Cm7 − F]◦7 −D]◦7)/C− [B] bridge, Ch: Agnus dei,

23... F]◦7/C −G]◦7/B− ~H‖i↗

24... F7/C − Cm7/B[−D7/A

d− E[/G− tutti climax, Brs, PB(↘)

26... B[4 −B[−B[/F −Dm/F− [C]

27 ⊥ Am4 −Am−Dm7 − C7−29 Mc F F − F∆7/A−B[9 − E∅7/G− Org31 M1/c F − F∆7/A−B[9 − E∅7/G− st 3, T: Agnus Dei, Mc: Va

33... /

... F − F∆7/A−B[9 − E∅7/G− Mc: Vi+Va unis

35... /

... F∆7/A−Dm/F−

36... /

... B[∆7 − C7/B[d− Dm7/A− [D]

37 ⊥ /⊥ E∅7 −Am7/G−Dm97/F − C/E −G7−

38 Mt C C − E/G]− C/E − Em/G− C/E− trans, T: sempiternam44 M3 S: Lux aeternam, sym R4i

46... A[ A[− Cm− C[/E[− [E] B, Seq(3×2m;R−7),

48... G[−B[m−A/C] = B[[/D[ Ch, P i

L(↘)

50... F[ = E −A[m

51 ⊥ A[m/C[− C[7 −D[m− E[7−53 M3 A[− Cm− C[/E[− st 2, Ch: cum sanctis, Brs

56... G[−B[m−A/C] Seq(3×2m;R−7), P i

L(↘)

58 ⊥ E −G]m/B −A[/C − Fm7/C − E[7d−



Table 13.6: Faure, Requiem Op. 48, Mvt. 5 Agnus Dei, Andante (cont’d)

m M R H Comment

60 M4 Fm (Fm−B[m7no 3 − Fm)/F − C/E [F] Ch: cum sanctis, P T (f)

62... (F◦ − Fm−D[)/F − E◦7no 5−

64... (Fm−D[−D◦ −Dm)/F− Brs, tutti clim

66 ⊥ Am7/E −B[∆7/D −A−69 Dm Dm−Am/C −B[∆7 −A− [G] trans, clim, HiStr unis

Molto largo[

44

]74 M5 Dm−Am/C − F/C− C, Ch: Requiem, Brs unis

80... B[− Fm/A[−D[/A[−D[/F− [H] Et lux, tutti climax

84... A7/E −Dm−Dm7/C − E∅7/B[− PB(↘)

85 ⊥ Dm64 −A7− cad

1. Tempo[

34

]87 Mc D D −D∆7/F]−G9 − C]∅7/E− A’=Coda, HiStr unis

89... D∆7/F]− E7/G]− [S6]

90... D∆7/A− C]∅7/E − F]m/A−

91... Bm−D/F]−A9

7−92 ⊥ D −Bm7 −A7 −D Brs, cad (93 m)



Table 13.7: Faure, Requiem in D Minor Op. 48, Mvt. 7 In Paradisum, Andante moderato

m M R H Comment

1 D D6 − . . .− A3 M1 D6 − . . .−<(Em7/D −A7sus4) S: In paradisum

10... <(Em7/D −A7sus4)− [A] in tuo adventu

13 ⊥ D6 −A7sus4 −D/F]− Em7−15 M2 D7 −B7 −D7− trans, et per18 ⊥ B7 −D7− [B]

20 M3 G−Bm7/F]− E7 B, Ch: Jerusalem

23... E7/D − E7/B

d− D/A− F

26 ⊥ F]m/A−A7− [C]

28 D6 − Em7/D −A7sus4− A’, Harp30 M4 <(D6 − Em7/D −A7sus4)− S: Chorus angelorum34 ⊥ D6 −A7sus4−

35 M5 F]m <(C][137

d− D −Bm7)− [D] C, S: et cum Lazaro

39... D7/C −D7/A−B7−

42... C]7/G]

d− D/F]− C]m7− cresc

44... F/A−Bm7 − F/C− [E] climax

46 ⊥ F]m/A−A7− Ch: Requiem

48 D <(D6 −Bm/F])− A”=Coda,51 M6 <(D6 −Bm/F])− [F] Ch: aeternam53 ⊥ D6 − . . .−D (59 m.)

13.1.7 Mvt. 7 In Paradisum, Andante moderato

Form: introduction ABA’CA”. The main characteristic of the closing movement are the con-tinuous staccato 16th note arpeggio figures in the accompaniment for organ and (later) harp.There is a long, through-composed melody M1–M6.The mood is light, dolce and express-ing relief and joy in paradise. The angelic choir obviously is represented by the sopranos(tenor Tony Soprano absent, attending business in another department). The strings playwith mutes. Harmonically there is the two-measure tonic-dominant riff in the A sections.See Table 13.7 for the analysis.





13.2 Pelleas et Melisande, Suite for Orchestra Op. 80 (1892)

Source: [19]. Music for orchestra. An overview of the formal analysis is shown in Fig. 13.2.The suite consists of four short movements, which are of comparable length. Three of thefour are in triple meter

[34

]and have ternary form. The well-known Sicilienne seems the

exception in this suite, having different form and meter.

Mvt. 1 Prelude, Andante molto moderato: ABA Coda form (G,[

34

], 96 m.)

A B A Coda

Mvt. 2 Fileuse, Andantino quasi allegretto: ABA Coda form (G,[

34

], 73 m.)

A B A C

Mvt. 3 Sicilienne, Allegretto molto moderato: rondo form (Gm,[

68

], 86 m.)

A B C A B’ C A Cd

Mvt. 4 La Mort de Melisande, Molto adagio: ABA Coda form (Dm,[

34

], 63 m.)

A B A B’ Cd

Figure 13.2: Faure, Pelleas et Melisande, Suite Op. 80

13.2.1 Mvt. 1 Prelude, Andante molto moderato

Form: ABA Coda. See Table 13.8 and 13.9 for the analysis. This movement opens the Asection with a simple four-measure theme M1, with mainly stepwise motion in 8th noterhythm. The tranquil mood changes with the ascending character M2 (m. 9 ff.), that hasdotted rhythm, parallel motion (an ascending series of second inversion triads [S6

4 ] ), andthicker instrumentation. The melody has a three-phrase M2(abc) (6 + 4 + 6 m.) structure.After sequential treatment and two climaxes, the first theme returns (m. 22 ff.).

A sequential transition leads into the middle B section (m. 32 ff.). Over a 8th-notetriplet rhythm in the strings (note 3-part setting S(3p) for 2nd violins and violas) there isa new melody in woodwinds (flute and bassoon) and solo cello. This has period structure:M3(abab’) (2 + 2 + 2 + 3 m.). The second statement is a variation, with tutti instrumentation,a climax, and contrary closing motion.

The A’ section (m. 55 ff.) has a triple statement of M1, as a sequence, returning to the maintonic key as Em−F]m−G. This is followed by the a-phrase from M2, with the same setting(diatonic parallel chords, building up to climax). The coda (m. 69 ff.) has tonal ambiguityE[−G, supported by repeated notes in solo horn and flute. There is a final statement of theM3 theme (clarinet), before the strings close the movement with M1 in lead violins.


13.2. PELLEAS ET MELISANDE, SUITE OP. 80

Table 13.8: Faure, Pelleas et Melisande, Suite Op. 80, Mvt. 1 Prelude

m M R H Comment

Andante molto moderato[

34

](])

1 M1 G G− C∆7/G−Am− F]∅7 − Em A, Str, plagal cad5 M1 G− C∆7/G−Am− F]∅7 − Em 2nd stat, repeat9 M2 Dm7 − E − F∆7 −G− [1] a): Str S(2p), [S6

4 ]↗, PB(↗)

11... Am7 −B −A]◦7 −G/B −Bm7− Str+Fl

13... A7 −D7sus4 −D7− Str

14... G∆7 − F − E7 −Am− F − F]7− [2] b): Str+WW, Seq(3×1m;R7)

16... Bm−A−G7 − C clim

18... <(C∆7 −B/G−A7)− [3] c): Cl+Hrp, Seq(2×2m;R7)

20... <(D −A/C]−B7)− cresc

22 ⊥ E − E7/D− tutti clim23 M1 C]∅7 − C∆7 − F]∅7/C − Em Ob, plagal cad, PB(↘)

25 ⊥ G]◦7/B = E[97 − Str imit

26 M1 C]7 − C∆7 −Am/C− 2nd st, Fl+Cl, PB(↘)

27... D]◦7/A− Em

28 ⊥ A97 −D∆7/A−G∆7 − C][97 − [4] tr, Seq(3×1m;R7), Pm(↗)

32 M3 D <(F][97 −D/F])− [5] B, ab): Fl+Bsn+Va, P (f]),

34... E∅7 − C]◦7/E − C9

7 − E∅7− a’), Vi2+Va triplets S(3p)

38... Am−B[/D − F]m−D]∅7− b’): Fl+Bsn+Vi1+Va, Str tripl

40 ⊥ A+/E]−Bm7/D −A/C]−42 M3 F]

[9/[137 −D/F]−D/A− [6] a): Cl+Bsn+Vc, Seq(2×2m;R7)

44... G]

[9/[137 − E/G]− E− a’): WW+Str imit

46... C]m7 −Bm/D −D/F]− b’): WW+Hn+Vi1+Vc, clim,

47... E7 − C]◦ −G7/F− Σ(cm>)

48... F∆7 −G7/F−

49... C∆7 −D7 − F]∅7/C−

50 ⊥ G∆7 −G7 −G6− PL(↘)51 G7/F −Dm7/F − Em− retrans, Str52 Em7/D − C −Am53 F]∅7/A−A7−54 D − C −B7− [7] Seq(3×3m;R7)



Table 13.9: Faure, Pelleas et Melisande, Suite Op. 80, Mvt. 1 Prelude (cont’d)

m M R H Comment

55 M1 Em Em− A’, a): Ob, b): Str57 M1 F]m Em−D − C]7 − F]m− Cl60 M1 G F]n− E −D7 −G−Am/C− Ob, Str [S6

4 ]↗62 M2 Am7 −B −Am/C −D]◦− a): Ob+VI1 S(2p)

63... C∆7 −D −G− Em7 − F]

[9/[137 − cresc

65 ⊥ G]◦7 = E[97 −

66 (Dm7 −B◦7 − F −B◦7)/C− [8] tr, tutti clim, PL(↘)

68 (B◦7 − F )/C −Dm7

d−

69 E[ G+ = E[+/G− . . .− Coda, Str, Hn-Fl solo74 M3’ G[13

7 − E[/G− . . .− a): Vc solo78 M3’ F][97 −G7 − F][97 −G[9

7 − ab’): Cl, Str bg

82... D9

7 −D9/+57 −G[9

7 −D7/G− P iL(↗)

85 ⊥ G G87 M1 C∆7/G−D −Am/D −Dm−Am/C− Vi1, Str bg90 ⊥ G plagal cad (90 m.)

13.2.2 Mvt. 2 Fileuse, Andantino quasi allegretto




13.2.3 Mvt. 3 Sicilienne, Allegretto molto moderato

Form: rondo, ABCAB’CA. See Table 13.10 and 13.11 for the analysis. This well-known dancemovement in

[68

]meter has an A section main melody with regular M1(aba’b’) (2 + 2 + 2 + 2

m.) period structure. The phrases move through the modes: the first b-phrase contains thee\ = \6 (m. 4) in support of the Dorian mode, in the second a-phrase the a[ = [2 belongs tothe Phrygian mode, while the f] = ]7 in the closing b-phrase is from the ascending melodicminor scale. The characteristic descending-ascending bass pattern g− f − e− f and g− f −e[ − d are confirming the melody mode and another returning element in this movement.The charm of the piece is strengthened by the harp playing 16th note ascending arpeggiobackgrounds.

The secondary theme M2 in the contrasting B section picks up the rhythm and the shapefrom the last b-phrase of the main melody. It is repeated three times as M2(aa’aa’) (2+2+2+2m.). Again, there is the hovering between major and minor modes, note the b\− b[ pitches inthe lead (m. 18). This section leads into a bridge climax with theme M3, repeated once. M3consists of a two-measure motif: descending leap, followed by stepwise descending dottedrhythm phrase in 2-part parallel setting S(2p).

The second contrasting theme in the B’ section is another M4(abab’) (4 + 4 + 4 + 4 m.)period structure, with dotted rhythm descending stepwise motion in woodwinds. There isa countermelody in the solo cello that has similarities to M1. In the last statement (m. 55ff.) the roles are reversed, with strings taking the lead and flute plus bassoon playing thecountersubject. The repeat of the C section (m. 62 ff.) has some instrumentation changes.The coda plays variations on the M1 a-phrase.

13.2.4 Mvt. 4 La Mort de Melisande, Molto adagio




Table 13.10: Faure, Pelleas et Melisande, Suite Op. 80, Mvt. 3 Sicilienne

m M R H Comment

Allegretto molto moderato[

68

]([[)

1 Gm Gm A, main theme,2 M1 Gm−Gm7/F −Gm6/E −Dm/F− a): Fl, Harp 16th arp

4... <(B[− C7/B[)−D b), Str pizz

6... Gm−Gm7/F − Fm7/E[−G7/D− a’), PB(↘)

8 ⊥ C7 − C◦7 −D7 −Gm b’), cad10 M1 Gm−Gm7/F −Gm6/E −Dm/F− [A] 2nd stat, a): Vi1

12... <(B[− C7/B[)−D b): Fl+Vi1

14... Gm−Gm7/F − Fm7/E[−G7/D− a’)

16 ⊥ C7 − C◦7 −D7 −Gm b’), cad

18 M2 E∅7 − E[7 − F 137 −B[−B[7− B, a): Vi1, Str

20... E∅7 − E[7 −D7 −Gm a’)

22... E∅7 − E[7 − F 13

7 −B[− [B], a): repeat WW+Str24 ⊥ E∅7 − E[7 −D7 −Gm a’), Σ(cm<)

26 M3 D F 97 − E∅7/G− [C] C, a): tutti , clim

27... A7 −D b): (Fl+Va)/(Cl+Vi1) S(2p)

28... F7 − E∅7/G− a): Fl+Hn+Str

29 ⊥ Am7 −A7 −D b’) Str, Σ(cm>)30 M3 F 9

7 − E∅7/G− repeat. a)

31... A7 −D b)

32... F7 − E∅7/G− a)

33 ⊥ Am7 −A7 −D b’), Σ(cm>)

34 M1 Gm Gm−Gm7/F −Gm6/E −Dm/F− [D] A, a): Fl+(Vi2)

36.../c <(B[− C7/B[)−D b): Fl+Vi1, Mc: Bsn

38.../

... Gm−Gm7/F − Fm7/E[−G7/D− a’): Vi1+Fl S(2p)40 ⊥/⊥ C7 − C◦7 −D7 −Gm− E[ b’): Vi1, Mc: Cl, cad



Table 13.11: Faure, Pelleas et Melisande, Suite Op. 80, Mvt. 3 Sicilienne (cont’d)

m M R H Comment

[E] B’ ([[[)44 M4/1’ E[ E[− E[7− M4a): Fl+Bsn S(2p), P T (e[),

46... /

... (Cm− F∅7 − E[− Cm)/E[ M1’)=Mc: Vc solo

48... /

... (B[7 −Gm)/B[− a’), PD(b[)52 ⊥/⊥ B[7 − E[ a”), PD(b[)55 M4’/1’ (E[− E[7 − Cm− F∅7)/E[ [F] M4’: Str, M1’): Fl+Bsn58 ⊥ <(A∅7 − C[∆7 − E[)/E[− P T (e[)

[G] C ([[\)62 M3 D F 9

7 − E∅7/G− a): tutti , clim

63... A7 −D b): (Ob+Vi1)/(Cl+Va) S(2p)

64... F 9

7 − E∅7/G− a): Ob+Cl+Str65 ⊥ Am7 −A7 −D b’) Str, Σ(cm>)66 M3 F 9

7 − E∅7/G− repeat, a): WW+Str

67... A[9

7 −D b): (Cl+Vi1)/(Fl+Vi2) S(2p)

68... F 9

7 − E∅7/G a)69 ⊥ D∅7/F − E[−D7− b’)

70 M1 Gm Gm−Gm7/F −Gm6/E −Dm/F− [H] A, a): Fl, Harp 16ths

72... <(B[− C7/B[)−D b)

74... Gm−Gm7/F − Fm7/E[−G7/D− a’), PB(↘)

76 ⊥ C7 − C◦7 −D7

d− b’)

77 E[ E[− E[7− [K] Coda, PB(↘)78 M1’ E[/B[−B[7sus4/A[− a’): Cl, Σ(cm<)

79... E[/G− F 9

7sus4−80 ⊥ E[−D7− cad81 M1’ Gm Gm−Gm7/F a’): FHn+Vi2, Σ(cm<)

82... −Cm7/E[−D7−

83 ⊥ Gm−<(Gm− Cm)/G− Cl-Fl, cad85 Gm (86 m.)



13.3 Masques et Bergamasques, Suite for Orchestra Op. 112 (1919)


Mvt. 1 Ouverture, allegro molto vivo: sonata form (F ,[

22

], 246 m.)


Mvt. 2 Menuet, allegretto moderato: ternary song form (F ,[

34

], 103 m.)

A B A’

Figure 13.3: Faure, Masques et Bergamasques, Suite Op. 112

13.3.1 Mvt. 1 Ouverture, Allegro molto vivo

Form: sonata. See Table 13.12 and 13.13 for the analysis. The main theme has an overallM1(ab) (16 + 8 m.) structure, where the a-phrase is subdivided into four statement of a4-measure a-motif, each time repeated at a higher starting pitch. The b-phrase is a sort ofconclusion, leading into a descent and closing with a cadence.

The second theme M2(aaa) is a melodic sequence, Seq(3×4m;R7), set in imitation forwoodwinds and strings; it opens with three repeated quarter notes followed by an upwardoctave leap. The contrasting theme in the second exposition group has M3(aab) (4 + 4 + 6m.) sentence structure, with strings instrumentation in octaves. Like M1, the a-phrase isrepeated at a higher pitch.

The development starts with a new theme M4, a staccato arpeggio in quarter notes, pre-sented in descending and ascending form in imitation for woodwinds. It continues by de-veloping the theme M2. The main theme M1 returns in the recapitulation, as do the melodicsequences of M2 and the three a-phrase statements of M3. The coda is based on a constantlyascending climatic variation of the main theme M1’.

13.3.2 Mvt. 2 Menuet, Tempo di minuetto. Allegretto moderato



13.3. MASQUES ET BERGAMASQUES, SUITE OP. 112

Table 13.12: Faure, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture

m M R H Comment

1 M1.a F <(F − C7/G)− Exp, Gr 1/Th 1 aa’a”a”: Vi1

9... Am− C13

7 /B[−Am− C7/B[17 M1.b D9

7 − C/G−D7/F]−21 ⊥ C −G9

7sus4 −G137 − C9

7sus4 − C7− cad25 M1.a <(F − C7/G) [1] 2nd stat, aa’): WW+Vi1

33... F/A− F7/A−Gm7/B[−G[9

7 /Bd− a”): climax

37 ⊥ F/C −D[97 /F]− C9

7sus4 − C137 − cad

39 (M1’) (F −B[−Dm)/F −D∅7/C − C7− [2] trans, M1: Vi2, Mt: WW43 F −Dm7/F −B◦7/C − C7−47 M2 F − F∆7/A−B[−B[∆7 − E[ Gr 1/Th 2, imit: Str-WW

51... E[97/D[− C − C]5

7 /E− melodic sequence, P im(↗)

55 ⊥ F − F9/+57 /E[−D − Em7 −D7/F]−

59 G <(G−G7 −D7/F])− [3] trans: WW

65 M3 C F/A− F −G137 − C9

∆7− Gr 2/Th 1 in D, a) Str

69... C −Am−B[13

7 − Em− a)73 ⊥ E∅7 − F+

∆7 −D7/F]− E b)77 M3’ A E −A−A/E− [4] Fl+Cl81 M3’ Am E −Am− Em− F∆7 Vi1

86... G7/F −Am7/E −G7/D − F/C− PB(↘)

88... B[− C7/B[−

89 ⊥ B[/F − F∆7 −G7sus4 −G137 −

92 M1’ C <(C − C9∆7 −Dm7 −G7)C− [5] cl clim, P T (c)

102 M4 F C7/E − F −A7/C]−Dm− [6] Dev, imit: Vi1, I(M): Bsn110 M4’ Dm <(Gm7 −Dm)− E[/G− E7/G]−A motif imit: Vi1-WW117 (M2’) F F −B[/D − C7 − F/C− [7] motif imit: WW121 (M2’) Dm Dm−Gm/B[−A7 −Dm127 (M2’) G7 − C − Cm F7 −B[ imit: Str134 M2’ Gm−Dm−Dm/A− [8] Cl+Bsn

138... B[∆7 −G7/B − F/C−

142... Dm−B∅7/D −Dm7 −Am/E−

144... Dm7/F−

145 ⊥ F∆7 −D97/F]− C6

4 −G97 −G7− climax, cad

146 C −G/B − C97− [9] retrans



Table 13.13: Faure, Masques et Bergamasques, Suite Op. 112, Mvt. 1 Ouverture (cont’d)

m M R H Comment

152 M1.a F <(F − C7/G) Recap, Gr 1, aa’): Vi1

160... Am− C13

7 /B[−Am− C7/B[− a”a”)168 M1.b’ F/A− F7/A−B[−G[9

7 /B− [10] WW+Vi, climax172 ⊥ F/C −D[9

7 /F]− C97sus4 − C13

7 − P iB(↗), cad

174 (M1’) (F −B[−Dm)/F −D∅7/C − C − 7− F trans, Vi1, Mt: WW179 ⊥ Dm7/F −B∅7/D − C7− cad182 M2 F − F∆7/A−G9

7/B − Em− Em7/G− [11] imit: Str-WW

188... Am7 −Am7/C −Dm7 −Dm7/F−

192 ⊥ G7 − F/A−A]◦7 −G7/B−194 <(C − C7 −B∅7)− C − C7 trans, WW202 M3 B[ B[/D −B[− F/C − C7 − F∆7 [12] Gr 2: Str

206... F −Dm− E7 −Am

210 ⊥ A∅7 −B[+∆7 − Em7/B −A214 M3’ D A −D [13] WW218 M3’ Dm A−Dm−Am− F∆7/A Str

222... B[− C7/B[

d− Dm/A− C7/G−Dm/F−

225 ⊥ E[− F7/Cd− (E[−Gm7)/B[−B[m− C7− climax, cad

229 M1’ F <(F −Dm−Gm7 − C7)/F− [14] Coda: Vi, P T (f)

235... (Gm7 − C7 − F )/F −B[−

238 ⊥ F/C −B∅7/D − C7−241 F closing cad (246 m.)


Chapter 14

Giacomo Puccini

Biographical data:

1600 1700 1800 1900 2000

∗ 22-12-1858 in Lucca† 29-11-1924 in Brussels

14.1 Opera Madama Butterfly (1902-1904)

Source: [42]. The analysis presented in this chapter is incomplete; it contains major sectionsand arias from the first act, and fragments from the second act (to be completed). Return-ing melodic material is labeled with either characters (e.g., Mb: Butterfly, Mp: Pinkerton) orwith a mood (e.g., Mf: fugue subject, Mj: Japanese pentatonic). Through-composed vocalmelodies are labeled Mv. The lyrics are indicated in italic (first words), to facilitate keepingtrack of the vocal parts.

14.1.1 Overture, Atto Primo (#1–4) Collina presso Nagasaki

Form: fugue. The overture starts with a four-part fugue for strings, woodwinds and horns.The fugue subject Mf consists of two phrases: the a-phrase is the accented repeat of an em-bellished minor third leap and an ascending scale in 16th notes. The b-phrase is a descendingmelodic sequence. This fugue theme will return throughout the first act in brief snippets, inparticular the a-phrase. Writing a fugue as introduction to this late romantic, impression-istic seems like an anachronism, reminding us of the classical period (in particular Mozartoperas). The fast tempo with its many 16th note patterns and the leaps in the countersubjectleads to a hurried mood.1

The transition motif Mt with its staccato and accented 16th notes is another connectingelement, returning in the first act. In #2 it is played first in a tutti climax setting. Both ele-ments, Mf and Mt are repeated in #3, but now the fugue subject a-phrase has a chromaticallydescending pizzicato 8th note pattern in the high strings as countersubject; this accompani-ment will return later in the act. See Table 14.1 for the analysis.

1Maybe the sense of urgency in the opening fugue is meant to expose latecomers in the opera theatre. Car-riages that got held up in the evening Milan traffic?


CHAPTER 14. GIACOMO PUCCINI

Table 14.1: Puccini, Madama Butterfly, Overture

[#]+m M R H Comment

Allegro[

24

]([[[)

0 Mf Cm Cm−G7 − Cm Fugue subject, (a): Vi0+4 ⊥ Gm− Fm− E[−D◦ − Cm (b): Seq(4×1m;R−7)0+8 Mf Gm−D7 −Gm (a): Va, countersubj: Vi

0+12... Dm/F − Cm/E[−Gm/B[− E∅7− (b), [S6]

1 ⊥ D7 −Gm1+2 Mf Cm−G7 − Cm (a): Bsn+Vc, 3pt Str+WW

1+5... Gm/B[− Fm/A[− E[/G (b), [S6]

1+8 ⊥ G7/F − Cm1+10 Mf Gm/B[−D7 −Gm− (a): Cb+Bsn, 4pt fugue

1+13... Dm/F −B[/D − Cm/E[− F7/C− (b): Seq(4×1m;R−7), [S6]

1+15 ⊥ B[/D −Gm/B[−D7/C−

2 Mt Gm/B[− F]◦7/A− trans, tutti clim,2+1 ⊥ Gm/B[− F/A− E[/G− ~H‖d , [S6]2+2 Mt Cm/E[−B◦/D−

2+3... Cm/E[−B[/D −A[/C− ~H‖d↘, [S6]

2+4... Gm/B[− Fm/A[− E[/G−D∅7/F−

2+6 ⊥ Cm/E[−B[/D − F7/C−

Si alza il sipario (curtain raising)2+7 Mf’ B◦7 − . . .− Vi+HiWW unis2+9 G[9

7 − . . .− HiWW 16ths unis↘3 Gm−G[9

7 − 16th asc run3+4 Mf Cm−G7/F − Cm/E[ (a): HiWW, HiStr: P i

B(↘)

3+7... E[∆7/G− Cm7/E[−D∅7/F −G[9

7 − (b): Seq(4×1m;R−7)3+9 ⊥ Cm/E[−A∅7/C −G[9

7 −4 Mt Cm/E[−B◦7/D− tutti clim, [S6]

4+1 ⊥ Cm/E[−B[/D −A[/C− ~H‖d↘, [S6]4+2 Mt Cm/E[−B◦7/D−

4+3... Cm/E[−B[/D −A[/C−

4+4... Gm/B[− Fm/A[− E[/G− Bsn+Str, ~H‖d↘, [S6]

4+5 ⊥ D∅7/F − Cm/E[−B[/D −A[/C−


14.1. OPERA MADAMA BUTTERFLY

14.1.2 Atto Primo, (#5–7) E soffitto e pareti




14.1.3 Atto Primo, (#8–13) Questa e la cameriera

Vocal parts: Goro, Pinkerton and Suzuki. Form: ABA’. The delicate transition for woodwindsin #8 is followed by a dialogue between Pinkterton & Goro (#8–9, 12–13) and a solo for Suzukiin the middle section (#10–11). The overall structure of this section therefore is ternary.. In #8there is extended use of syncopated 4th notes: first for clarinets and later for middle registerstrings. Fugue subject a-phrase fragments Mf underline the dialogue, often in imitation. Thetransition in #10 is also based on the fugue subject, as is the retransition at the beginning of#12. The background to the Suzuki monologue is with light staccato 8th notes with grace-notes, in #11 briefly interrupted by sustained string chords. See Table 14.2 and 14.3 for theanalysis.

14.1.4 Atto Primo, (#14–20) Qui verran: l’Ufficiale del registro




Table 14.2: Puccini, Madama Butterfly, Act 1 (8–13) Questa e la cameriera

[#]+m M R H Comment

Andante lento A[

34

](]]]]])

8 Mt1 B B −D]m7/C]−B∆7− intro, Fl, Cl sync8+2 ⊥ G]m7 −D]m7 −B∆7−8+4 Mv B − . . .− G: Questa e, Cl sync

Muovere un poco ([[[[[)

8+7... / f A[97 − . . .− E[m7/B[−A[97− Str, syncopes

8+11 ⊥/ f A[97 − . . .− P: I nomi?

1. Tempo (]]]]])9 Mt1 B∆7 −D]m7/C]−B∆7− trans, 2nd stat, Ob9+2 ⊥ G]m7 −B− Fl

Allegro B[

24

](])

10 Mf Em Em− . . .− (a): HiStr, LoStr pizz, P iB(↘)

10+3... C∆7 −B7/A− Em/G− C−

10+5... (G−Am7)/G− (b) Seq(2×1m;R−7), PD(g)

10+7 ⊥ G−G7− (a): WW imit10+11 Mv C C −G/B −Am7 −G7/D− Suz: Sorride, Fl+Str stacc10+13 ⊥ C −G7/D − C −D7A−11 Mf G−B9

7sus4 − . . .− WW imit

11+4 Mv Bd− C]m Suz: Schiude, Cl, Str

11+6... E/G]− F]m7/A− F]m7−

11+9... B7/F]−Bm/F]− Em−Bm/D− Str 8th stacc

11+11... Em C∆7 −Bm7/F]− Em−Bm/D−

11+13 ⊥ C∆7

12 Mf B − Em− C∆7 −B7/A− (a): HiStr, LoStr pizz, P iB(↘)

12+2... Em/G− C−

12+4... (G−Am7)/G− (b) Seq(2×1m;R−7), PD(g)

12+6 ⊥ G−G7−



Table 14.3: Puccini, Madama Butterfly, Act 1 (8–13) Questa e la cameriera (cont’d)

[#]+m M R H Comment

Andante – Allegro moderato A’12+9 5 C −D7/C− Pink & Goro12+10 Mt2 G/B − F/A− E/G]− Fl+Vi, [S6]12+13 Mv Am Dm/F −Am/C− G: Se non

12+14... Bm7 − E7− cad

13 ⊥ Am13+1 Mv <(G9

7 −A]◦7 −B∅7 −Dm)/G−[

68

], P & G, PD(g)

13+8 B∅7 − Em−Dm− C− Str13+ 10 G7 − C −G7−

[24

]trans, Str unis



14.1.5 Atto Primo (#21–26) Dovunque al mondo

Vocal parts: Pinkerton, Sharpless. The structure of this section is that of a song for Pinker-ton with four slightly varied verses (Mp) and a bridge in #24. This ‘cowboy’ song (il Yankeevagabondo) is in praise of the good old imperialist nature. The introduction #21 and the coda#25 are for brass and woodwinds, paraphrasing the U.S.A. national anthem Mu. The mod-ulating bridge with its shifting roots is a dialogue between the two singers. The connectingelement in both verses and bridge is the transitory subject Mt, quoting the rhythm from theanthem. See Table 14.4 for the analysis.

14.1.6 Atto Primo (#27–28) Una ghirlanda di fiori fresci




Table 14.4: Puccini, Madama Butterfly, Act 1 (21–26) Dovunque al mondo

[#]+m M R H Comment

Allegro sostenuto[

34

]([[[[[[)

21 Mu G[ G[−G[∆7/F − E[m7 −B[7− Intro, “USA”, Tpt+Brs

21+2... E[m7 −A[7 −D[−D[m− WW+Brs

21+4 ⊥ G[m7 − C[7 −A[7 −D[7no 3−21+6 Mt G[69 −D[7− Vi21+8 Mp G[−D[7/A[−G[6/B[−D[97/C[− V1, Pink: Dovunque

21+12... E[m7/B[−D[/A[− E[m7 −D[∆7/F−

21+13 ⊥ A[7 −D[−D[7−22 Mp’ G[69 −D[7/A[−G[/B[−D[97/A[− V2, Pink: Affonda

22+4... G[6 −D[7/C[−

22+6... E[

[9/[137 /B[−D[m/A[−

22+8... G[m−D[m/A[− E[[∆7−

22+9 ⊥ A[[5/[97 /E[[no 7− bitonal flavour

23 Mt D[7no 3 −G[69 −D[7/A[− EHn+Va23+3 Mp” G[/B[−D[9/A[−G[6 −D[7/C[− V3, Pink: Affonda

23+7... E[7/B[−A[− C]m− F]m− PL(↗)

23+11 ⊥ Em7 − F]m/A− climax

24 Mt D[7no 3 −G[69 −D[7 −D7no 3− Bridge, Fl+Va, P: La vita24+3 Mt G G9

∆7 − E97/G]−A− E[no 3 P i

B(↗)

24+5 Mt A[ A[69 − E[7/B[− E7no 3− Sharpl: E un facile24+8 Mt A9

∆7 − F]97/A]−Bm7− Pink+Sharpl24+11 Mt D[ A◦7/C −A[97−24+12 ⊥ <(D[9∆7 −A[97)/D[−D[− halfcad, P (d[)

25 Mp G[ G[−D[97/A[−G[6/B[−D[7/C[− V4, Pink: Vinto+WW+Str

25+4... E[m/B[−D[/A[− E[m7/G[− Fm

25+7 ⊥ A[97 −D[− . . .−D[7− halfcad25+12 Mt G[69 −D[7/A[− Str imit25+14 ⊥ G[7/B[− C[−A[97/C− Sharpl: E un facile

26 Mu G[−G[∆7/F − E[m−B[7− Coda “USA”, Tpt+Brs

26+2... E[m−A[7 −D[−D[7/C[− WW+Brs, P+Sh: America

26+4... G[/B[− E[m/B[− F∅7/C[− tutti climax

26+5 ⊥ B[7/F



14.1.7 Atto Primo (#37–41) Ecco. – Ah! Quanto cielo!

Vocal parts: Goro, Butterfly, Sharpless and Friends of Buterfly (Le Amiche). The allegro in #37 hasan Asian flavour, with the vocal melody Mg doubled in staccato bassoon and pizzicato violasand celli. Staccato clarinets and tremolo violins play parallel perfect fifths. The transitionin #38 is a local climax with unisono subject Mt, supported by choral accents (Le Amiche:Ah!), exclaiming their admiration for the sky and sea. The dialogue between Butterfly (firstappearance in this opera) and the female choir in #39 is a long sequence with impressionisticaugmented chords.

The string and woodwind romance) subject Mr (with its characteristic descending step-wise contour 1 −∆7 − 6 = 1) will return at the end of the first act in the love duet betweenButterfly and Pinkerton, based on the love theme Mb=Ml’ first presented here in #40 with twostatements. At the end there is a climax, before the closing pentatonic love theme theme Mlin the transition in #41 for staccato piccolo and flute, harp and glockenspiel over tremolostrings; a vey light texture with a tranquil-sad undertone. This is a remarkable section in aharmonic sense: we see the dominant 9th chords S9

7 in inverted position, both as first andsecond inversion (chordal function 3 or 5 in the bass). See Table 14.5 for the analysis.

14.1.8 Atto Primo (#42–61) Gran ventura




Table 14.5: Puccini, Madama Butterfly, Act 1 (37–41) Ecco. – Ah! Quanto cielo!

[#]+m M R H Comment

Allegro[

24

]([[) Asian

37 Mg B[m B[madd9 − . . .− Goro: Ecco+Ch: Ah!,

37+3... G[∆7 − . . .− Mg: Bsn+Va+Vc pizz,

37+7 ⊥ E[m− E[m6 − F no 3− Vi trem38 E[m7 −B[mno 3 trans, WW+Str, clim38+3 Mt F [9

7 −<(B[m6 −G∅7/D[)− Ch: Ah!, WW+Vi1+Vc38+8 ⊥ G[∆7 − F Ch

Largo[

44

]([[[[) augmented ch

39 Mr A[−A[∆7 − F+− Ch Amiche: Quanto cielo!, Vi39+2 Mr B[−B[∆7 −G+− Seq(5×2m;R7), Fl (\\)39+4 Mr C − C∆7 −A+− Butt+Fl+Vi

39+6... D −D9

∆7/F]−B[57 /F−

39+8 ⊥ E − E∆7 − C+ Butt+Fl+Vi

Sostenendo a tempo[

64

]([[[[[[)

40 Mb/c G[ G[−G[9∆7/B[−D[7/A[−D[97 Butt: d’amor+Str sol,

40+2... /

... G[−A[7/G[− Fm7 −B[m Ch: Gioa a te40+4 ⊥ / ⊥ E[m7 −A[7 −D[9740+6 Mb’/c’ G[−G[∆7/B[−D[7/A[−D[7− PL(↗)

40+8... /

... B[∅7/F[− E[m7 −B[m/D[−

40+9... /

... A[m7/C[− C∅7 −B[m/D[−

40+10... /

... A[97/E[d− G[/B[− Voc+HiStr unis

40+12 ⊥ / ⊥ A[m−D[137 − climax, cad

Largo[

44

]trans (Love theme)

41 Ml (G[6 −A[m7)/G[− Pentat: Fl+Pi+Harp+Glk,

41+2... (G[−D[97

d− E[m)/G[−B[m Butt: Siam giunte, P T (g[)

41+3 ⊥ E[m = G[6 −B[m/D[−G[6 Str trem, cad



14.1.9 Atto Primo (#61–64) Dov’e? Eccolo la!

Vocal parts: Wedding Guests, Ensemble. The festive music Mf (from #11, 59 and 60) is repeatedin #61 in the higher octave (octave imitation between oboe and bassoon) with an intricate di-alogue (call-and-response) between soloists and divided choir. The friends and relatives ofButterfly are admiring Pinkerton. The key has shifted to G major, there is a different harmo-nization with augmented dominant S]5

7 chords, and a tonic-dominant pedal in bass clarinet,harp and timpani. At the last b-phrase there is a tutti crescendo to a climax, with repeated16th note turn motives.

At #62 there is a change of key, returning to B[ major. with ascending and descendingquintuplets (flute, clarinet and harp) over staccato 8th note patterns, and a dominant f trill(flute and oboe). The greedy relatives are looking for booze. The party climax is reachedin#63, continuing the symmetric root characteristic: the keys are R3i : B[ − G − D[. Thechoir of relatives now sings the theme Mf in imitation, over a steadily stepwise ascendingwoodwind scale in quarter notes and the alternating tonic-dominant pedal point pattern.

In #64 normality is returning (’Order in the room, please!’). There is a setting with three-part sectional harmony (a jazz big band type of setting with parallel motion in all voices,stepwise and leaps). The lyrical lead voice has a meandering pattern with embellished as-cending and descending arpeggios. The abbreviated third statement of this theme closes thesection, while calming down. (The rehearsal numbers jump from #64 to #73). See Table 14.6for the analysis.

14.1.10 Atto Primo (#100–110) Cio-cio-san!




Table 14.6: Puccini, Madama Butterfly, Act 1 (61–64) Dov’e? Eccolo la!

[#]+m M R H Comment[24

](]) B &P & Ch (All)

61+3 Mf G G−D+ − Em−D]57 − (a): WW+Va imit, Ch: Dov’e?,

61+5... Em−D7 −G9

7 −D]57 − P (g−d)

61+7... G G−D+ − Em−D]5

7 − (a) (ped)

61+9... Em−D7 −G9

7 −D]57 −

61+11... G9

7 −Gm7 −G97 −D9

7 −G7 −D]57 − (b); WW+Str, Ch: Goro,

61+15... G9

7 −Gm7 −G97− (b’)

61+17... <(G7sus4 −G9

7)−G97− WW+Str, Ch: Ecco

61+21... C9

7/G− . . .− F 97sus4 − . . .− tutti cresc

61+27 ⊥ F7 − . . .− clim, WW+HiStr: 16ths, G: PerLo stesso movimento

[24

](]) B &P & Ch (All)

62 Mv B[ B[69 − . . .− WW+Hns+HiStr, Ch: Vino,62+7 ⊥ Cm−B[69 − F7 −B[69− PD(f)

([[[[[) B & Ch (Relatives63 Mf D[ D[−A[−B[m/D[−A[7− (a) Ch, P (d[−a[)

63+2... D[−A[7 −D[−A[97− WW (4ths↗)+LoStr

63+4... D[ D[−A[−B[m/D[−A[7− (a)

63+6... D[−A[7 −D[−A[97−

63+8... <(D[−A[m) (b) Hns+Ch,

63+12 ⊥ <(D[−A[m) (b’)63+14 Mv D[97 − . . .− F/C− climax, arp↘, G: Per

a tempo ([) P & S & Ch64 Mv F F 6 −Dm7/C− ‘sect harm’, (a) S: O amico

64+2... C −Dm/A−−Gm7 −Dm/A− WW+Str trem

64+4... E∅7/B[−Dm4 − C7

d− Dm (b)

64+6 ⊥ G7 − C97−

64+8 Mv F 6 −Dm7/C− 2nd stat, (a): S: Non piu

64+10... Am7/C −Dm/A−Gm7 −Dm/A− WW+Str trem

64+12... G]∅7/B[−A[9

7 − (b’)64+14 ⊥ D[9

7 −G[97 − F 6/C − C7−

64+16 Mv’ <(F 69 − C7)− F 6 (a’): Vi, B: Mamma, P T (f)



14.1.11 Atto Primo (#111-115) Bimba, bimba, non piangere

Vocal parts: Pinkerton, Butterfly, Suzuki. This section is a transition to the long final duet ofthe first act. After the wedding guests have left, Pinkerton asks Butterfly to stop crying, andre-assuring her of his admiration. Then there is the prayer of Suzuki in #113, just before thefugue theme Mf sets in once more in #114, over the chromatically descending pizzicato bassline. See Table 14.7 for the analysis.

14.1.12 Atto Primo (#116–136) Viene la sera




Table 14.7: Puccini, Madama Butterfly, Act 1 (111–115) Bimba, bimba, non piangere

[#]+m M R H Comment

Andante affetuoso[

44

]P & B, trans

111 Mv E/G]− E7no 3 −Dm7/C− WW+Va, P: Bimba

111+3... G/B − E[5

7 /B[−A7sus4 −A7−

111+5.../a A9

∅7 −G97 −A∅7 − Cm7− Vi,

111+7... Gm/B[−A∅7 − Cm−

111+8... Gm7/B[−A∅7 − Cm−

111+9... Gm7/B[−A∅7 −Gm/B[−D7

d−

111+10 ⊥ E[−B[− Cm−G7−

a tempo ([[[)112 Mv Cm Cm7 − Fm− Cm/E[− Str, B: Non piango

112+1... B[/D −Gm/B[− E[− Cm

112+2... B[6 − Cm−A[∆7/C −B[/D−

112+5... Cm−B[− Cm−B[6−

112+7... A[−G7/B

d−

113 ⊥ <(Am/C −G∆7)− WW+Harp 16th, B: Mi hanUn po’ piu mosso

[24

]113+4 Mv Suz: E Izaghi

Allegro moderato114 Mf Em Em−B7/A− (a): Vi, P i

B(↘)114+3 ⊥ (G−Am7)/G− (b): Cl Seq(2×1m;R−7),114+5 Mf’ G7 − . . .− (a): WW imit, Str sync115+ Mf’/v F]97 − . . .−Bm/E − F]m7/E− (a): WW imit, PB(↘)115+5 E13

7 − E7no 3− Str↘, cad



14.1.13 Atto Secondo, Parte Prima (#12–16) Un bel dı

Vocal parts: Butterfly. In this lyrical solo aria Butterfly is hoping and waiting for the returnof and re-uniting with Pinkerton (in vain, as it turns out). The main melody Mb1 descendsover one octave, opening with a very light woodwind and (tremolo) high muted stringsbackground; the solo violin is doubling the vocal lead. After the first statement A1, there areseveral bridge sections (B and C), with the shape of the melody suggesting sighs of hope;Mb2 and Mb3 both have multiple upward-downward arcing phrases.

The series of woodwind syncopations in #13 underlines the feeling of expectation. as dothe pizzicato afterbeats in the middle strings. This mood is continued in #14 with the syn-copations now in the muted trumpets and monotonously repeating 16th notes in the vocallead. The A2 section in #15 presents the second statement of the main melody, now doubledwith unisono woodwinds and strings (mutes off). The 2-part harmony is subtly movingfrom muted trumpets to oboes and then French horns, all in syncopated accent patterns.With a transitional crescendo and ascending lead there is the final exclamation of Butterfly:I must keep my doubts and anxiety to myself, while the unisono orchestra finishes the maintheme, this time descending from a very high register downwards over two octaves. Thisfinal statement has a tonic pedal and the syncopated harmonies now in three parts movingfrom trombones to horns. See Table 14.8 for the analysis.

14.1.14 Atto Secondo, Parte Prima (#90) Humming Chorus



Table 14.8: Puccini, Madama Butterfly, Act 2, Part 1 (12–16) Un bel dı

[#]+m M R H Comment

Andante molto calmo[

34

]([[[[[[)

12 Mb1 G[ G[−D[/F − E[m−D[− A1, B: Un bel dı, WW+Vi1,

12+4... A[m− F∅7 −B[m7 − E[m7/G[− Vi2 trem

12+6 ⊥ D[7 −G[

Un poco mosso B12+8 Mb2 B[m7 −B[m9

7 −G[−B[m B: Poi la nave+WW+Vc12+12 Mb2 Fm7 − Fm9

7 −D[− Fm− B: romba+WW+Str12+16 ⊥ E[m− C∅7/B[− E[m7/D[

a tempo C1

[24

]13 Mb3 Fm <(Fm/A[−G∅7/D[)−

13+4... <(Fm/A[−G∅7/D[)−

13+7... Fm/C − . . .−G∅7/B[− Fm WW syncopes

13+12... A[/C −D[−A[/C Str

13+15 ⊥ A[− . . .− C−

Sostenendo molto C2

[48

]14 Mb4 Fm Fm− Fm7 B: Chi sara?, Tpt mute sync

Lento14+4 ⊥ <(D[6 − C∅7/B[)−D[∆7−

Andante come prima[

34

]15 Mb1 G[ G[−D[− E[m−D[− A2, B: morire,

15+4... A[m− F∅7 −B[m7 − E[m7/G[− tutti unis climax

15+6 ⊥ D[97 −G[ H: Tpt→Ob→FHn15+8 Mb5 B[m E[m−B[m trans, B: Tutto questo, Str trem15+10 ⊥ <(B[m− E[m)−B[m tutti climax, plagal cad

Largamente closing16 Mb1 G[ (G[6 −D[− E[m−D[97)/G[− A3, B: l’aspetto, P T (g[)

16+4... (A[m− F∅7 −G[∆7 −D[13

7 )/G[− tutti unis climax,16+6 ⊥ D[13

7 −G[ PL(↘), cad



Table 14.9: Puccini, Madama Butterfly, Act 2, Part 2 (5–12) Oh eh! Oh eh!

[#]+m M R H Comment

Un poco meno[

44

](]]]])

4+5 Mm B[97 − . . .−B97 − . . .− trans, Ch: Oh eh!, Cl+Bsn

4=11 ⊥ C97 − . . .− Str, ~H‖e

Meno ancora[

24

]([) trans

5 Mt1 F (C97 − F − C7sus4 − C7

d− Dm7)/C− Ob, Str, PD(c)

5+5 F/A−B[− F/A−Dm7 − C/E−5+7 Mt2 C − F − . . .−A . . .− WW unis

14.1.15 Atto Secondo, Parte Seconda (#5–12) Oh eh! Oh eh!

Vocal parts: Sailors (Marinai) (tenors in two parts). Most of this section is instrumental, de-picting dawn. The sailors sing their cries Mm in imitation over an ascending set of exactparallel dominant chords S9

7 . The second part of the transition is #5, the mooring of the ship.Starting from #6 there is environmental mood music, with birds whistling in the garden

background.2 A number of themes and subjects is presented in juxtaposition and imitationover a set of symmetrically distributed roots. Theme Mh, first presented by muted Frenchhorn, has a quarter note arpeggio and signal character. The sweet Mw theme has a penta-tonic flavour, a reference to Butterfly (waiting for Pinkerton arriving on the ship). It is in thehigh woodwinds and violins, the second statement in parallel perfect 5ths. One could saythe the juxtaposition of Mh and Mw also expresses West-faces-East. Subject Me, first playedin #7 by muted French horn, has an alternating stepwise shape and represents expectationduring sunrise (the same theme has been used in Act 1). The R4i symmetrically distributedroots are: D − F] − B[ and the key keeps alternating between these three during the dawnscene, finally settling on D.

During #9 there is more rhythmic activity (from an 8th note countermelody to 16th and32th note ascending runs) and a gradual crescendo, to explode in the brillantemente section,full of tutti themes, imitation and background arpeggios. In #10 there is the climactic sun-light theme, played by the full orchestra (doubled in hidden form in the descending 16thnote arpeggios in high woodwinds and strings).

After a brief unisono 16th note run transition in #11 the climax returns briefly, now overthe signal theme Mh in imitation. A transitional pentatonic motif Mt3 sets in, with a state-ment starting in high woodwinds and repeated at the lower octaves, while there is a generaldiminuendo as the scene is closing. See Table 14.9 and 14.10 for the analysis.

2Whistling birds: nowadays an easy job with digital sampling. Imagine an 1904 premiere performance withlocal variete artists behind the curtains.



Table 14.10: Puccini, Madama Butterfly, Act 2, Part 2 (5–12) Oh eh! Oh eh! (cont’d)

[#]+m M R H Comment

Allegro moderato[

24

](]]]) Birds whistling

6 Mh D D/A− . . .− FHn (mute), LoStr trem6+5 ⊥ Bm7/F] = D6/F]−6+8 Mw (D −D6 −D)/A− E7/B− WW stacc+Vi pizz7 Me <(D/A−Bm)− FHn, Str pizz+trem7+5 Mh F] F]/C]− F]9/A]− FHn (dawn)7+ 9 ⊥ F]/C]− F]6/A]−7+13 Mw F]6/C] = G[6/D[− E[m−G[/D[− Fl+Harp, Str trem7+15 ⊥ A[/E[− (par perfect 5ths)8 Mt3 G[/D[ = F]/C]−D]m− EHn+Bsn+FHn8+2 ⊥ <(F]/C]−D]m)−8+5 Mh/c B[ B[/F − . . .− ([[) WW, Mc: Bsn+Vc: 8ths9 Mh D D/A− . . .− (]]) Tpt-(FHn+Vc) im, 16ths9+4 Mh’ F]/C]− . . .− Ob+Vi2, 32th runs9+6 Mh’ B[/F − . . .− WW+Vi1, PL(↗), cresc

Brillantemente (sunshine)9+8 Mh’ D6/A− . . .− tutti imit, Harp+Str: arp10 Me’ <(Bm−D/A) LoWW+FHn, WW+Str: arp10+4 Me’ F] <(F]/C]− E/B)− F]/C]−10+8 Me’ <(A[/E[−G[/D[)− tutti cresc10+12 Ms D A/E −D −A/E − F]m LoWW+Brs+LoStr ‘sun’10+14 ⊥ A7/G− F]m−A/E −Bm7/D− unis, tutti cresc10+15 Ms A/E −D −A/E − F]m 2nd stat, tutti climax10+17 ⊥ A7/G− F]m−A/E −Bm7/D−10+18 Ms’ A/E − F]m−Bm7/D− accented notes

10+19... A/E − F]m−

10+20... A7/G− F]m−A/E −Bm7/D−

10+21 ⊥ A/C]− F]∅7/Cno 3 −B7−

11 G]∅7 −A7 − . . .− WW+HiStr: 16th run unis11+5 Mh’ D − . . .− tutti clim, imit, 16th arp11+9 Mt3 <(F]m/A−Bm/D)− F]m/A− Ob, pentatonic, dim11+12 ⊥ D6 −D12 Mt3 <(F]m/A−Bm/D)− F]m/A− Fl+Cl, Str pizz12+3 ⊥ D6 −D12+4 Mt3 <(F]m/A−Bm/D)− F]m/A− Bsn+Va, Vi 16th arp12+9 ⊥ D6

9 − . . .− Vi arp, dim


Chapter 15

Gustav Mahler

Biographical data:

1600 1700 1800 1900 2000

∗ 7-7-1860 in Kalischt† 18-5-1911 in Wien

Detailed score analysis of the Mahler symphony movements was complemented withthe formal analysis presented in [21].

15.1 Lieder eines fahrenden Gesellen (1885)

Source: [31]. Music for solo voice and orchestra. Mahler also wrote the lyrics for this set offour songs. An overview of the formal analysis is shown in Fig. 15.1.

15.1.1 Wenn mein Schatz Hochzeit macht

Form: ternary song form, ABA’. This slow opening song is full of tempo (including manyfermatas), meter and rhythm changes. It has a melancholic mood; the composer writes forthe singer: ‘Leise und traurig bis zum Schluss’ (‘Soft and sad until the end’). The instrumentationis dominated by woodwind, strings, harp and occasional French horns. The strings applytechniques such as muted playing, divisi and some interesting occurrences of violin voicecrossing. See Table 15.1 for the analysis.

15.1.2 Gieng heut’ Morgens uber’s Feld



CHAPTER 15. GUSTAV MAHLER

Table 15.1: Mahler, Lieder eines fahrenden Gesellen, 1. Wenn mein Schatz Hochzeit macht

m M R H Comment

1 M0 Dm Dm− . . .− A[

24

], Cl, P T (d)

5 M1/0 Dm− . . .− Voc: a, P (d−a)

10... / ⊥ (E∅7 −Gm7 − E∅7)/D− (a’), P T (d)

14 ⊥ (Dm− C −B[∆7 −D97 −Gm)/D− [1] (b) P (d−a)

17 M0 Dm− . . .− trans, WW climax22 M2 <(B[∆7 −A[9

7 )/B[−B[−A[137 − Voc, P (b[)

28.../0 B[−A

[9/[137 −B[ WW, (ped)

30... Gm E[∆7/B[−A∅7− [2] Voc, P i

B(↘)

32... D∅7/A[−D[5

7 /A[−G7−34 ⊥ A[∆7/C −Gm/D −D7−38 M0 Gm− . . .− WW+Str clim, P T (g)

44 M3 E[ E[ [3] B[

68

], P (e[−b[)

46... E[−→E[ Voc: a, Str: [S6] , ~H‖d

48... (Fm−B[− E[−B[7 − Fm)/E[ P T (e[)

50... <(E[−B[7)/E[− E[6 −B[− (a’)

54... Gm/B[− Cm−Gm/B[− (b)

56 ⊥ Cm7 −B[∆7−57 M4 F Am/C −Gm/D − C7/E − F− [4] Voc, PD(c)

58... D7/C −Gm−

59 ⊥ <(C7 −Gm7)/C− trans, WW+Str

64 M1 Dm Dm− . . .− [5] A’[

24

], Voc: a, P (d−a)

68... Gm/D − . . .− (a’), (ped)

71... (Dm−B[∆7 −B∅7 −Am−Dm−)/D (b), Σ(cm>), P T (d)

73 ⊥ (C −D[97 −Gm)/D− (ped)

74 M0 Dm− . . .− WW climax (ped)77 M2 (B[∆7 −A[9

7 −B[)/B[− [6] Voc+Str, P (b[)

81... E[∆7/B[−A∅7 −D∅7/A[−D[5

7 /A[− Voc, P iB(↘)

85 ⊥ G7 − Cm−A[/C −Gm/D −D7−89 M0 Gm Gm [7] climax, P T (g) (96 m.)


15.1. LIEDER EINES FAHRENDEN GESELLEN

1. ‘Wenn mein Schatz Hochzeit macht’:

ABA form (Dm,[

24

][68

], 96 m.)

A B A’

2. ‘Gieng heut’ morgens uber’s Feld, In gemachlicher Bewegung:

AABC form (D,[

22

], 127 m.)

A A B C

3. ‘Ich hab’ ein gluhend Messer’, Sturmisch, wild:

ABC form (Dm,[

98

][44

], 81 m.)

A B C

4. ‘Die zwei blauen Augen’, Mit geheimnisvoll schwermuthigem Ausdruck.

Ohne Sentimentalitat: AB form (Em,[

44

], 67 m.)

A B

Figure 15.1: Mahler, Lieder eines fahrenden Gesellen



15.1.3 Ich hab’ ein gluhend Messer

Form: ABC. This stormy, wild (‘sturmisch, wild’) song brings in the full orchestra. The charac-teristic upward arpeggio opening motif (M0) with tonic or dominant pedal returns a coupleof times, as transitions. The lead voice is characterized by the upward diatonic (a-phrase)vs. descending chromatic phrases (b-phrase, frequently as the familiar 1−∆7−m7−6−[6−5sequence). Ostinato 8th note patterns in the backgrounds support tension. This is the per-fect song for the compulsory murderer; only the middle section brings temporary relief. SeeTable 15.2 for the analysis.

15.1.4 Die zwei blauen Augen




Table 15.2: Mahler, Lieder eines fahrenden Gesellen, 3. Ich hab’ ein gluhend Messer

m M R H Comment

1 M0 Dm <(Dm− C]◦7)/D− [19][

98

], arp↗ ff , P T (d)

5 M1 Dm− E∅7/G−Dm/A−Dm−B[− A Voc: a (ped)9 ⊥ E[5

7 /G]−A[97 −Dm/F −A−A7− (b)

12 M1’ Dm− . . .−Dm+7−16 ⊥ D[9

7 /F]−Gm−Dm/A− E7/A−A7−18 M2 Dm− E∆7/B[− E[∆7 − . . .− [20] Voc: aa, P T (d)

22... <(Dm+7 −D7 −G− E∅7 −Dm)/D− (b), chr↘ (ped)

26... Gm−Gm+7 −Gm7 − E∅7/G− [21] chr↘

28 ⊥ <(A[97 /C]−Gm/D)

30 E∅7 −A[5/[97 −Gm chr↘

33 M0 <(Gm− F]◦7)/G− climax, P T (g)

35... (Gm− E◦7 −G[9

7 − E[∆7 − Cm7)/G38 ⊥ F]◦7/G− . . .−

41 C G− . . .− [22] B, trem, PD(g)46 M2 G− C − . . .−G∅7− Voc: a, (ped)50 ⊥ (Gm+7 −G7 − C −A∅7 −Gm)/G (b), chr↘53 M2 C/G− . . .−G[9

7sus4 −Dm97− [23] (a) PD(g)

57... G

9/+57 −Dm9

7 −G97 −Dm9

7− (b)

59... E − Em− . . .− C]∅7 tutti climax, chr↗

62... C]

[5/[97 − F]∅7 −D]7 − E −G]m7− [24] C (b)

[44

]64 ⊥/M0 C][13

7 −B[−<(B7 −B[)

67 D[97 trans

68 M3 E[m E[m/B[−A[m7 − . . .−B[∅7 −A[m7− [25] Voc: ↘72 ⊥ A[[97 −A[7 − F [5

7 −75 M0 <(E[m−D◦)/B[78 B[7 − E[m arp↘ (81 m.)



15.1.5 Key relationship diagram

The key relationship diagram is shown in Fig. 15.2. Note how all four movements end ina different key from the starting point. The first song loops through a set of keys in thesubdominant area, including the Neapolitan (lowered supertonic major key) E[ (2) for the Bsection. The others seem to be spiraling outwards to more remote keys. Note how the lasttwo songs end on the lowered supertonic minor key [IIm.

1. ‘Wenn mein Schatz Hochzeit macht’

E[ B[ F

Cm Gm∗ Dm�1,3��2 6

2. ‘Gieng heut’ morgens uber’s Feld’

D A

Bm F]m

B F]∗-

3. ‘Ich hab’ ein gluhend Messer’

A[m E[m∗

A[ E[

Fm Cm

F C

Dm Am@@R

4. ‘Die zwei blauen Augen’

Fm∗ Cm Gm

F C G

Dm Am Em��

��+�

?

Figure 15.2: Mahler, Lieder eines fahrenden Gesellen, key relationship diagram.

15.2 Symphony No. 3 in D Minor (1896)

Source: [30]. An overview of the formal analysis of this very long symphony in six move-ments is shown in Fig. 15.3. Note the disproportionate length of the opening movement; thesonata form is preceded by a very long introduction section. The development section hasroughly three times the length of the exposition. Mahler grouped the movements into twoparts, where the opening movement is Part I (1. Abtheilung), and the other movements arebundled into Part II (2. Abtheilung). The analysis here covers only the second part.

The movements have subtitles in German, not written in the score. The instrumenta-tion requires a huge symphony orchestra with quadruple or more winds (4 flutes, 4 oboes, 5clarinets, 4 bassoons), brass (8 horns, 4 trumpets, 4 trombones, contrabass tuba), a large per-cussion section, a very large complement of strings (written in the score), alto solo, women’schoir and boys’ choir. Yet the orchestration is subtle, with limited tutti phrases for a con-scious acoustic effect. There is a lot of mixed instrumentation, and splitting up longermelodies into shorter, hoquetus style fragments for solo instruments or sections. Mahlerwants some instruments to sound in the distance (in der Ferne aufgestellt) and from a high


15.2. SYMPHONY NO. 3 IN D MINOR

Mvt. 1 Kraftig. Entschieden: sonata form (Dm,[

44

], 875 m.)

Introduction

Intro (272 m.) Exposition (96 m.) Development

Development (274 m.) Recap


Mvt. 2 Tempo di Menuetto. Grazioso: ABABA Coda, menuet and trio form

(A− F]m,[

34

][38

][24

][98

], 279 m.)

A (49 m.) B (41 m.) A’ (53 m.)

B’ (73 m.) A” (43 m.) C (20)

Mvt. 3 Comodo. Scherzando. Ohne Hast: ABABCDEBC Coda form (Cm,[

24

], 590 m.)

A (68 m.) B (52 m.) A’ (90 m.)

B (45 m.) C (91 m.) D (27 m.) E (58 m.)

B’ (53 m.) C’ (72 m.) Coda (34 m.)

Mvt. 4 “O Mensch! Gib Acht!”: ABAB form (Dm,[

22

], 147 m.)

A B A’ B’

Mvt. 5 Lustig im Tempo und keck im Ausdruck: ABA Coda form (F ,[

44

], 120 m.)

A B A’ Cda

Mvt. 6 Langsam. Ruhevoll. Empfunden. Part 1–4 form (D,[

44

], 328 m.)

Part 1 (91 m.) Part 2 (106 m.)

Part 3 (54 m.) Part 4 (48 m.) Cd (27 m)

Figure 15.3: Mahler, Symphony No. 3 in D Minor



gallery (in der Hohe postiert).1

15.2.1 Mvt. 2 Tempo di Menuetto. Grazioso


1Nowadays this may imply positioning the soloist somewhere in the concert hall corridor, watching theconductor on a video monitor for coordination. Then off to the bar in the lobby to wait for the finale and the callto take a bow.



15.2.2 Mvt. 3 Comodo. Scherzando. Ohne Hast

Form: rondo, A1B1A2B2C1DEB3C2 Coda. The subtitle of this fairly long movement is: “Wasmir die Thiere im Walde erzahlen”.2 It is based on the Wunderhorn poem Ablosung. As thisrondo progresses, sections with a different character start to become the returning element:three Scherzando A sections are combined with three (unequal) Pastorale B sections, to giveway to two Posthornepisode C sections. The D and E section have some similarity with the Asection. See Table 15.3 to 15.9 for the analysis.

This movement has a number of returning elements, first put forward individually in theseparate rondo sections, later used in variation, juxtaposition, or combination:

• Birdcall. There are three short motifs with a similar total duration (two quarter notes)and pitch pattern (upward leap – downward leap): B1 with upward fifth – downwardfourth leap in 1

8 + 116 + 1

16 + 14 rhythm, B2 with upward fourth – downward third leap

in 18 t + 1

8 t + 18 t + 1

4 triplet rhythm, and B3 with upward – downward octave leap in4 × 1

16 + 14 rhythm. The first statement is for either regular B[-clarinet (B1 and B3) or

the higher E[-clarinet. Later these birdcall appear in other instrumentats.

• Galloping brass, in polka style. Frequently three (muted) trumpets play a set of triadsin the form of a stepwise moving theme Mg in gallop style (steady 8th notes with after-beat accents). In the later sections, starting in m. 148 ff., this rhythm is used as a gallopvariation ML

g in lower brass and string parts, or in modified form for woodwinds.

• A deliberate indetermination between major and minor. Mahler does this by eitherusing incomplete chords with the third missing (S(m)no 3; there are many open 1–5fifths), or by manipulating the 9th extension of the dominant seventh chord. Whenthis is V 9

7 this suggests the major key (e.g., G97 has the addition of the a = 9, the sixth

degree of the C major scale). On the other hand V [97 suggests a minor key (G[9

7 containsthe a[, the lowered sixth degree of the C minor scale). Interestingly, there is occasionalapplication of a crossover, i.e., using the V [9

7 in a major key context, and the reverse.

• Brass signals. These occur as either short arpeggio signals Ms in solo or section brassinstruments, or as the long solo for the flugelhorn Mf in the Posthornepisoden. Near theend, these signals take over the character of birdcalls.

• A wide range of moods: see the performance indications Scherzando. Ohne Hast, Sehrgemachlich, Mit geheimnisvoller Hast!, Lustig, Grob!, Sehr drangend, etc.

The A1 section opens with the birdcall motif B1 against a pizzicato string background.The piccolo set in with a light, bouncy melody M1, interrupted by more birdsong (B2 andB3). In m. 20 the next returning idea sets in: the polka gallop theme Mg for three trumpets.In [1] there is the U-texture, the combination (unification) of the legato 16th patterns fromthe M1 melody (with descending lead voice) and the 8th note pounding pizzicato rhythmfrom the gallop. The second gallop phrase in m. 30 ff. shows another recurring element:diatonic parallel triads, either in root position ( ~H‖d ) or as a series of 1st inversion chords([S6] ). During the second U-texture (m. 61 ff.) we hear the first brass signal Ms for horn in F.

Both the M1 theme and the Mg lead part are characterized by embellished descendingstepwise motion: in M1 we find the basic melody structure g − f − e[ − d − c (from 5th

2This German subtitle inevitably reminds us of another musical hit song: “Talk to the animals”.



degree to root in minor), in Mg there is d− (e[− d)− c− b[− a (1st statement in m. 20) andg − f − e[− d− c− b[− a[− g (2nd statement in m. 30). Even the second subject M2 [2] hasthis melodic shape: (g − c− e[)− g − f − e− d− c− (g), now in major and starting with anupward arpeggio. This makes M1, Mg and M2 related themes. Within that framework, theentire A1 section may be considered as the first verse of the birdsong, with the subdvision(4) + 19 + 10 + 19 + 8 + (7) = 67 m.

The first Pastorale B1 section brings the theme Mp, which is four measures long in its basicform. It is presented as a counterpoint (5-part imitation) setting for strings and woodwinds.As it reaches a climax (m. 84 ff.) there are the arpeggio signals in staccato 8th notes for hornsand trumpets, over an extended dominant pedal point.

Returning to the lighter mood of the A2 section [6], the main theme M1 for flutes inparallel thirds is accompanied by a pianissimo countersubject in first violins. The wood-winds take over the gallop idea in [7]; because of the instrumentation it also has some of thecharacter of M2. In m. 140 the clarinets play M3, a four-measure melody, with the openingdotted 8th – 16th rhythm as a new feature (the rest is a variation of M1). Once again we findthe underlying descending stepwise motion in M3: (g − a[) − g − f − e[ − d. The sectionends with a climax and a hilarious chromatically descending 16th note staccato pattern inunisono brass, bassoons and low strings. In [9], like in [2], there is the subsection in theparallel major key, with melody fragments reminding of both M2 and birdcall in clarinetand oboe. E.g., there is stepwise descending motion in m. 177, 181, 186 and 190, and thesestatements open or close with birdcall, see m. 179, 183–184, 185 and 189. The brief cellofragment in m. 195 contains the M1-stepwise structure, but now there is chromatic descent(c− d− e− f − g)− a− g]− g − f]− f − (d), copied in the horn background.

The B2 section is an abbreviated variation on the first Pastorale. The meter remains[24

], woodwinds and horns are playing 8th note triplets over an extended timpani tonic-

dominant P (c−g) pedal point. The transition [12–13] sums up the previous A section melodicmaterial, while calming down and preparing for the first C1 section. The flutes in [12] playdescending steps in parallel third, a variation on M1. The C1 Posthornepisode has an extendedsolo for flugelhorn Mf over a sustained high strings harmonic background. There are twointeruptions by flutes and strings, playing a lead melody in parallel thirds, M1’ in F major[15] and M4 in the parallel minor key Fm [16], respectively. M4 with its ascending step-wise motion may als be considered the melodic inversion of M1 in disguise. The secondand third flugelhorn melody statements get support from a horn countermelody in parallelconsonants (3rds and 6ths).

Section D [17] has the descending steps in paralel thirds played by tremolo violins overa dominant pedal point, with the solo flute answering on the afterbeat. In [19], the E section,the combination of the ‘bass-gallop’ ML

g and the cheerful woodwind melody M3 returns,first heard in m. 140 and 148 in the A2 section. The section closes with the build-up to aclimax in [22], first heard in m. 158 ff.

Section B3 kicks off with a brief gallop and signal statement [23], but then continueswith the second counterpoint imitative setting of the Pastorale theme Mp [24], copying theapproach used in m. 72 ff. After the climax in [25] there is a transition (m. 466 ff.) withtrumpet signals, woodwind birdcall over a violin divisi tremolo background, leading intothe second Posthornepisode. This C2 section [27] is shorter than the first. The parallel thirdphrases are now provided by violins [28] and, once again, horns [29]. In [30] fast 16ths stringpatterns and woodwind birdcall imitations prepare for the final transition. In [31] there is



Table 15.3: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast

m M R H Comment

Comodo. Scherzando. Ohne Hast[

24

]([[[) A1

1 Cm Cm− . . .− Str pizz3 B1 Cm− . . .− Cl Birdcall5 M11 <(Cm−G7no 3)− Cm Fl9 ⊥ Gm/B[−B[−A[6−

12 B2 <(Gm− E[+) E[-Cl Birdcall14 M1’ A[− Fm−Gno 3 − Cmno 3 Fl16 ⊥ C −D[− Cm−Gno 3− Cl, Bsn bg18 B3 <(A[− E[) Cl20 Mg Gm− E[+ −Gm−A[− Tpt Gallop22 ⊥ Gm−Dmno 3 −G(m)no 3−24 V D −G[5

7 no 3 − Cm− [1] WW PL(↘), Str pizz

26 ⊥ D − Cm/G−G[97 no 3

d−

28 B3 <(A[− Cm/E[) Cl Birdcall, Bsn bg30 Mg B[−A[−Gm− Fm− Tpt ~H‖d32 ⊥ E[−D◦ −Gno 3

34 U C (C −G− F − C −Dm7 −G− C)/C [2] (\\\) Str+Hrp, [S6] , P T (c)

38.../M2 C −G− F − C −Dm7 −G− C)/C Ob, [S6] (ped)

42 ⊥/⊥ <(Am7 − C)/C Cl46 B2′ (Em7 −B[+ − C − F]+)/G− Fl+Ob, PD(g)48 M′1/B3 (Am7 −A7 −Am4 −D7)/G− (Fl+Ob)/Vi1 (ped)50 (G−Am7 −A]◦7 −G7)/G− C cad53 M′2 Cm (Cm+7 −Gm− F+ −A[+)/C− [3] Ob, Vi+Hrp bg, P T (c)55 ⊥ (Am7 −D7 −G7)/C− (ped)57 B3 <(Cm− C) tr, Vi1 Birdcall, min-maj (ped)59 (D∅7 − F7 −B◦ − Cno 3)/C cad61 U/Ms (D[5

7 −G7 − Cm−D[− Cm)/G− WWPL(↘), Ms: FHn, PD(g)

64 B3 G[97 no 3 − . . .− Cno 3 WW, Str triplets, cad

L’istesso tempo B1

[68

], Pastorale

69 Mp C G− C − F − C/G−G7/B − C [4] P1: LoStr+Bsn

73... G/B − F]◦/A−G−Am−D7− P2: Vi2+Va, ctp imit

75... G−G7 − C

77... G7 − C − F − C− P3: Ob+Cl

80... <(G7 − F]∅7 −G7 − C)− PD(g)

84... G− C − F − C− P4: Ob+Cl, Hns Mc, climax

87 ⊥ G7 − C −Am−D97/F] P5: LoStr+Bsn



Table 15.4: Mahler, Symphony No. 3, Mvt. 3 Comodo. Scherzando. Ohne Hast (cont’d)

m M R H Comment

89 Ms (C −A[∆7 − Em−D[− F]◦7)/G− Ms: Hns-Tpts clim, PD(g)93 (C −A[∆7 −A7 −D[−G[−B[m)/G (ped)95 Mp’ (C −A[∆7 −A7 −Gm− C −D[)/G− Mp: Str PL(↗)(ped)98 ⊥ (Fm−G− F − F]◦7)/G− (ped)

101 Ms (G− C −G97 − C −D7 −G7 − C)/G− Ms: Tpt (ped)

106 Mp’ <(Dm7 −G97 − C)/G− Mp: Vi-(Ob+Cl) cad (ped)

111 ⊥ C69 − . . .− tr, Fl, Str imit 1–5, P T (c)

Gut hervortretend A2

[24

]([[[)

121 M1/c Cm (Cm−G∅7)/G−<(Cm−Gm)/G− [6] M1: Fl, Mc: Vi1, PD(g)124 ⊥/⊥ Fm/C − Cm−Gm−B[−A[6−128 B2 <(Gm− E[+)− Cl+Ob Birdcall

130 Gm−A[− F ]57 −B[7

d− Vi, Str+Fl bg

132 M′1 Cm−Gm− Fm− Cm/E[− Vc, Str bg134 ⊥ <(D∅7 − Cm)136 M′g Gm− E[+ −Gm−B◦7− [7] WW Gallop

138 ⊥ C7no 3 −A[−B∅7 −B[[97d− Bsn P i

m(↘)140 M3 Cm− E[7/D[− C− Cl142 ⊥ A[−D[−G[/D[ Str Σ(cm<)144 M′g B[−A[−G−D7/F]− WW ~H‖d146 ⊥ Gm−D[5

7 /A[− F7/A−B[7− Hn: P im(↘), P i

B(↗)148 M3/L

g E[ E[6 − E◦ − E[− C[− M3: Cl, MLg : Tbn

150 ⊥/⊥ B/D]−G7 −−B/D]− C152 Em Em1−∆7−7−!6− Hns, climax, Tpt P i

m(↘)154 C − E/B − C − E[− E[m− E[− (clim)158 M′g/3 E[ (F◦ −B[7 − E[−B[[97 − E[(+))/B[− Mg: Hns, M3: Vi, PD(b[)

162 ⊥/⊥ Cm G[97 − Cm Tpt+WW

164 U’ <(D[57 −G7 − Cm− F]◦7)/G− WW+Str, PD(g)

168... D7/A−G7/F −D7/A−G[5

7 /D[− trans, WW+Str170 ⊥ D7/A−G7/F −D7/A−G7− climax172 G[9

7 no 3 − . . .− (WW+Str)/Brs unis i↘176 M2’/B C (C −G− F − C −Dm7 −G− C)/C [9] (\\\) Cl, Str ~H‖d , P T (c)

180... (C −G− F − Em)/C− (ped)

182... (Dm7 −G7 − C)/C (ped)

184... (Am− C −A[− C)/C Pi (ped)




m M R H Comment

188... A (A− E+ −D − C]m)/A− Ob, Tpt+Va [S6] , P T (a)

190 ⊥ (B7 − E7)/A− (ped)192 (A−B[∆7 −B[13

7 − C6)/A− Cl+Vi P iL(↘), Tpt P i

m(↗)(ped)194 A+ −B[∆7−195 (M1’) B −Gm/B[− F+/A−A[+− Vc, Hns P i

m(↘)

197 B1′ C (Am7 −D7 −Dm7 −G7)/C− Tpt Birdcall, cad, P T (c)199 B3 <(Cm− C∆7) trans, Cl, min-maj (ped)203 U Cm (D[5

7 −G7 − Cm−D[− Cm7)/G [11] WW PL(↘), clim, PD(g)

206 B3 <(G[97 no 3 − Cm) WW

B2, Pastorale var

211 Ms’ C]◦7/D[ = E[[97 /D[− WW+Hns tripl, Timp P (c−g)

213... <(D[/A[−B◦7/F )− Str+WW (ped)

215... B[◦7/D[ = A[9

7 /C]− WW+Hns (ped)

217... Fm/A[−B◦7/F− WW+Str Σ(cm<)(ped)

219... Cno 3 −A[∆7 −D[∆7 −G Brs+WW tripl, climax (ped)

221 ⊥ Cno 3 −D[∆7 −G− Cno 3

225 Ms” C[97 no 3,no 7 − . . .− Tpt P T (c)

Ein wenig, . . . , langsamer ([[[[)229 M1’/c Fm (Fm− C∅7 −<(Fm− C7))/C− [12] tr, M1’: Fl par 3rd, Mc: SVi,

232... /

... (D[∆7 −B[m7 − Cm7)/C− PD(c)

234... /

... (E[6 −D[∆7)/C− (ped)236 ⊥/⊥ <(Cm−D[/A[)238 (Cm− Fm− Cm7no 3 −B◦7)/C− Vi, PD(c)240 M1’/c Fm− Cm7 −B[m/D[− Fm7/C Ob/Vc/Vi1242 ⊥/⊥ B[m7−244 M′g/c Cm−A[+ − Cm−D[∆7− [13] Fl/Cl246 ⊥/⊥ Cm−G7no 3 − Cm

248 Ms /1’ A[− Cm7 −D[−Gm9/117 /B[− Tpt/WW

252 B1′ Fm/C − F]◦ −Gm7 −G]◦− Cl-Fl, Vi P iL(↗)




m M R H Comment

Sehr gemachlich C1

[68

]([) Posthornepisode

256 Mf F (G]◦7 − F − . . .−)/C [14] Flg solo, Vi bg, PD(c)

263... (F]◦ − C7no 3)/C− (ped)

267... (F −Gm7 −G]◦ − F )/C−

269... (B[− F − . . .−)/C − C7no 3/G− (end ped)

272... Am− C7no 3/G− F −Dm7/F−

274... C7no 3/G− F −Am− C7no 3/G− climax

277 ⊥ F − . . .− C7/G− . . .− F − . . .−285 M1” <(F − C7no 3 − F − C)/C− [15] Fl par 3rds, PD(c)

289... F − C7no 3 − F−

291 ⊥ Fm (Fm− C[97 no 3 − Fm− F]◦)/C− maj-min, PD(c)

293 Mf F (C7no 3 − F no 1 − F − C7)/C− Flg (ped)

297.../Mc (C − F − C7 − F )/C− Flg/Hns par 3rds

301.../

... (C7sus4 − F −B[− F no 1 −B◦7)/C−304 ⊥/⊥ C7 . . .− F − . . .− cad (end ped)

a tempo[

24

]310 M4 Fm Fm− C7

d− [16] Fl+Vi par 3rds, PD(c)

314... (Dm7 −D]◦7 − C − C+)/C− (ped)

316 ⊥ F (F − C7)/F − C7/E− min-maj318 M4’ F −G[−A[− E◦7− Vi, Str, PD(c)

310 ⊥ Fm−G[− F◦7 − F ]57 ) (ped)

Wieder Zeit lassen[

68

]322 Mf B[− F − C7no 3 − F−

326... C7no 3 − F−

328.../Mc F − C7 − F − C7− Mc: Hns par 3rds

332... /

... Am/C −B[− F no 1/C −B◦7−335 ⊥/⊥ C7 − F7sus4 − C7 − F − . . .−344 Ms F no 3 − . . .− Tpt




m M R H Comment

Mit geheimnisvoller Hast! D[

24

]([[[[)

347 (M1) Fm (Fm− . . .−B[∆7)/C− [17] Vi trem par 3rds, PD(c)

351... Cm−B[+ − E[/B[−D[/A[− P i

L(↘)

355... <(Cm−D[m+7)/C− min-maj

357 ⊥ Cm− Fm7 −G[+ −G[57

358 M1’/B Fm−G−G[− F− Vc, Pi+Vi P iL(↘)

362 Mg/c Cm−A[+ − Cm−D[∆7 [18] Hns/Ob364 ⊥/⊥ Cm−G7no 3 − Cm366 (M1)/c A[/C − Cm7/B[−D[∆7 −B[m7− Cl/SVi369 ⊥ / ⊥ Cmno 3

370 Mg/c E[−D[/F − Cm−B[m− Hns/Vc372 ⊥ / ⊥ A[−G◦ − Cmno 3

Lustig E ([)

374 M3/Lg F F/C −G[/D[− F/C − E◦7 − C[9

7 − [19] WW/(Tpt+Bsn)378 ⊥ / ⊥ F/C −G[/D[− F/C − E◦7 − C[9

7 − (Fl+Cl)/Tbn382 M3/B3 <(A[9

7 −Dm) [20] Vi/Cl, Str bg386 ML

g (B[− C◦ −B[7)/F− WW-imit, Str 16th tppedf

388 ⊥ (F −G[∆7 − F7

d−)/F− (ped)

390 (M3) (E[− F −Gm7 − Cm)/F− Hns392 (B[− Cm−Gm7 − F7)/F−394 ML

g B[/F −G[◦7 − Fm− C[∆7− LoStr, Vi P im(↘)

396 ⊥ B[/F −Am−A[−B[+−398 M3/L

g B − C◦ −B −G− Cl/Tbn400 ⊥ / ⊥ G/B −D]7 −G/B −G+−402 M3/L

g A[ A[− E[7− [21] ([[[[) Vi/FHn, P (a[−e[)406 ⊥ / ⊥ A[−B[m7 − E[[97 − Fl+Vi P i

L(↘)(ped)410 A[1−∆7−7−6

412 G[7 −G∅7 −B[137 /A[−B[

[5/[97 /F[−

414 M3/Lg E[ (B[∆7 −B[

[5/[97 no 3 − E[−B[)/B[− [22] Vi/Hns, PD(b[)

416 ⊥ / ⊥ B[[97 − E[/B[− E[+

418 Cm G[97 − Cm ([[[) WW

420 U’ <(Dminfive−G7 − Cm− F]◦7)/G tutti climax, PD(g)

424 ⊥ D7/F]−G[57 /D[−D[5

7 /F]−G[97 /B trans

429 G[97 no 3 − . . .− (WW+Str)/Brs unis i↘



a tutti climax, with horns and trombones playing an augmented version of the B3 birdcall,dying away into a horns only signal in the high register.

The Coda [32] opens with an 8th note (triplet) tonic-dominant pedal point (first timpani,then low strings and woodwind) and brass signals. The C major key seems clear now, untilthe major-minor ambiguity returns for the last time in [33]; this issue is never resolved as thefinal chord consists of root and fifth only, no third. Mahlers idea of a cliffhanger, undoubt-edly!

The strings use a wide range of techniques in this movement: pizzicato vs. arco, bowingwith the wood col legno (batuto) (see m. 24, 247, 418), combination of muted and unmutedstring (see violins in m. 34, 122), off-the-string bowing spring. Bogen (m. 95), multiple divi-sions getheilt (in particular the violins, which go up to divisi a 4, fierfach getheilt, see m. 248,466, 541), playing on specific strings (e.g., G-Saite, sul G in m. 69), multiple stops Doppel-griff (m. 111), on the fingerboard Griffbrett, sul tasto (m. 121) or near the bridge am Steg, sulponticello (m. 347), solo playing (solo violin m. 229), tremolo (see m. 466, 541).

15.2.3 Mvt. 4 “O Mensch! Gib Acht!”





m M R H Comment

Grob! B3 (\\\)432 Mg′/s C C − F/A− C/G− C− [23] Hns/Tpts, LoStr 16th436 / ⊥ F∆7/A−G7/B − Em7/G− C/G−438 Mp D7/F]−G−Am7/E −D7/A−G− P1: WW ctp

441... C/E − F/C −G7 − C [24] P2: Hns imit

447... Dm7/F −G7 − C

449... G7 − C −Am7 − F −G7sus4 − C P3: Tpt

452... G− C − F∆7/A−D7/F]− P4: LoStr+Bsn

454 ⊥ (C −A[∆7 − E −D[)/G− [25] Brs, tutti clim, PD(g)456 (F]◦7 − F −D − C]◦7 −G[− E[)/G timp P (c−g)460 B7/A−G[/D[−D[7/C[−A[+/E− buildup Seq(3×1m;R7)462 E[]57 /D[−B◦7− cresc464 B◦7 − . . .− [26] tutti climax466 Ms D◦7 −G]◦7−→C]◦7− trans, Tpt, Vi trem ~H‖e470

... B◦7/C − C7/B[−→− Vi1 trem ~H‖e474

... /B1 F7/E[− . . .− Tpt/Cl Birdcall478 ⊥/⊥ (G∅7 − Fm−B[−G[5

7 )/C− Ob-Cl, PD(c)

Wieder sehr gemachlich C2

[68

]([) Posthornepisode

485 Mf F (F − C7no 3 − F − C7)/C− [27] Flg solo, Vi bg, PD(c)

489... (F − C7 − F )/C (ped)

494 ⊥ B[/F − F498 M5 (C7 − F − C7sus4 − C7 −G]◦7 − F )/C [28] Vi par 3rds, Str, PD(c)

504 ⊥ (C[97 − F − Fm)/C −G[9

7 − . . .−) maj-min510 Mf/c <(F − C7)/C− [29] Flg/Hns par 3rd, PD(c)

514... /

... (F − C7 − F −G]◦ − C7 − . . .)/C− (ped)521 ⊥/⊥ F − . . .−

Wieder lebhaft, und schneller . . .[

24

]529 B3′ Fm F (m)no 3 − . . .− [30] Fl, Str 16ths533 ⊥ F (m)no 3 − . . .− WW imit, cresc541 E[m− . . .− [31] tutti climax, Str trem545 B3′ E[m− . . .− Hns+Tbn augm Birdcall535 ⊥ D[no 3 − . . .−




m M R H Comment

Sofort wieder Tempo I. Coda (\)557 Ms’ C Cno 3 − . . .− [32] Hns+Tbn, Timp P (c−g)

562... <(Cno 3 −Dm7 − C)/C Tpts (ped)

568 ⊥ G97sus4 − . . .− Brs+WW, cresc

575 (Ms/1) (C −A[− C − Cm−A[+)/C− [33] WW+Brs imit, clim (ped)579 ⊥ <(Cm− C)− min-maj (clim, ped)583 C(m)no 3 (590 m.)



15.2.4 Mvt. 5 Lustig im Tempo und keck im Ausdruck

Form: ternary song form, ABA1 Coda. This cheerful and lively movement has the subtitle:“Was mir die Engel erzahlen”. The lyrics (21 lines) are from the song cycle Des Knaben Wunder-horn, subdivided into three stanzas (verse 1 to 3). See Table 15.10 to 15.12 for the analysis.

Like the previous movement, here we see the combination of a number of elements:

• The bells motif MB .3 This effect is played by real bells and the boys’ choir (BCh)singing: “Bimm bamm”, and near the end also by the women’s choir (WCh).

• The main theme, a lively descending scale pattern M0 in staccato dotted 8th noterhythm. This returns in the vocal solo melody ML1−21

v as the a-phrase, and in melodicinversion in the instrumental backgrounds. The opening line in the verses has Mv(aa’b)(2 + 2 + 2 m.) sentence structure.

• The chorale phrases MC for women’s choir, full of contrary motion.

• In the contrasting middle section there are the staccato 8th note chords in the horns,combined with the legato ascending 16th note runs MR in (triple) clarinets, later flutes.A transitory theme Mt in the celli leads into this setting.

• The B section also has a new vocal melody for alto-solo (lines 10, 12, 13 and 14). Thesecond half of this section leads to an extended tutti climax with chromatically de-scending middle voices, playing an exact parallel set of triads (F −E −E[)− (F]m−Fm)− E (m. 70–72).

The harmony consists of mainly triads, with an occasional 7th chord. In the orchestrationthere are no timpani, nor violins.

15.2.5 Mvt. 6 Langsam. Ruhevoll. Empfunden


3Watch hilarious Peter Sellers in the Pink Panther Strikes Again movie, impersonating hunchback Quasimodoand shouting “The bells, the bells!” on the Paris appartment balcony.



Table 15.10: Mahler, Symphony No. 3, Mvt. 5 Lustig im Tempo und keck im Ausdruck

m M R H Comment

1 MB F F 6 − . . . A1, BCh+Bells4 M0/MB F −Dm− WW

5... /

... Gm/B[−Gm− C/E− Σ(cm<)

6 ⊥ /... F − C7− cad

7 ML1v /

... F − F/A−Gm− F [1] Verse 1, a): WCh+WW

9... L2/⊥ F − F/A− C − F a’)

11 ⊥L3 F − C −B[/F − F b)13 ML4

C D −A−D − C/E −G− WCh15 ⊥/M0,B C − F/C − C −Am− C7− WCh, WW+BCh, PD(c)

17 ML5v /

... F − C −B[/D−19 ML5

C /⊥ C/E − F− WCh

20 ⊥ / M0 C7

d− Dm− C/E −B[/D− WCh/WW

22 ML6v F −Am7− [2] Verse 2, a’) WCh, Σ(cm>)

23... B[/D − F − C7no 3−

24...L7/I(M0) F −Am/C− a’): WCh/M0: WW, Σ(cm<)

25 ⊥ / ⊥ B[∆7/A− E◦/G− F26 ML8

C D −A−D − C/E −G− WCh

28... / M0,B C − F −Am−Dm− WCh+WW/BCh

30...L9 B[−A−D − C/E −G−

32... / M0,B Dm7/C − F/A−Gm/B[− WCh/BCh+LoWW

34 ⊥ / ⊥ C − Cm/B[

35 Mt / M0 Dm A[97 −Dm/F− [3] B, Str+Hrp

36... /

... Am−Gm/B[−B[∆7/A−

37... /

... E∅7/G− C]◦7/E − F−38 ⊥/⊥ E◦ −A[9

7 −39 ML10

v /MR Dm6 −Dm+7− Alt-Solo/Cl, Hns stac

40... /MB,R Em7 Alt-Solo/WCh+Cl

41 ⊥ / ⊥ E[∆7 − E[7 − E[m7− Cl-Ob43 ML11

v /MB <(Dmadd4/9 −D)− WCh/BCh

45 ML12C Dm− C −B[− Alt+Str+Harp ~H‖d , S(3p)

46 ⊥ Am−Gm−Am−



Table 15.11: Mahler, Symphony No. 3, Mvt. 5 Lustig im Tempo und keck im Ausdruck(cont’d)

m M R H Comment

47 MB/M0 <(Dm−B[)− (WCh+BCh)/LoWW, P T (d)

49 ⊥ /... Dm−B[−Gm−B[/D− (WCh+BCh)/LoStr

51 ⊥ F/A− Cm7−52 ML13

v /MR Dm−D7− [5] Alt/Fl

53... /MB,R E[∆7 − E[7− Alt-Solo/WCh+Fl

55 ⊥ /... A4

∅7−56 ML11

v /MB <(E[madd9 −B[)− Alt/BCh

58 ML14C B[∆7 − C −B[/D− Alt+Str+Harp ~H‖d , Σ(cm)

59... Am/E −Gm/D −Am/C −B[−

61... L12 Dm− C −B[−

62... Am−Gm−Am−

63 ⊥/M0,B <(Dm−B[)− Alt/BCh+LoWW, P T (d)65 MB/M0 <(Dm−B[) [6] (WCh+BCh)/LoWW (ped)

67... /

... <(Dm−B[)− tutti, cresc, build, P T (()d)

69... /

... Dm1−]7−7−[6 −B[[5/[97 no 3− tutti climax, Hns ~H‖e↘ (ped)

71... /

... E[∆7/D − Cm7 − F]m (climax, ped)

72... /

... D∅7 −B[[5/[97 no 3− P i

m(↘), (ped)

73... /

... E[∆7/D −B[∅7 −Dm−B[]57 − (P im(↘), ped)

75... /

... G7/D − Em7/D − E[m7/B[− (P im(↘), ped)

76 ⊥/⊥ <(E7/D − C9 − E[7/C])−78 M0 Dm−B[−Gm− Cm7/E[− [7] trans, Hn+Vcl, Str81 ⊥/⊥ Cm7 −Am/C − E[∆7 − F7− cad

82 ML15v /MB B[ B[+ − E[∆7/B[−B[◦7 −B[− A2, Verse 3, WCh/BCh, P T (b[)

84 ⊥L16 B[+ −Gm/B[− E[/B[−B[ (ped)86 ML18

C D D −A− C −G−D− [8] WCh imit88 ⊥ A− E −A−Am BCh



Table 15.12: Mahler, Symphony No. 3, Mvt. 5 Lustig im Tempo und keck im Ausdruck(cont’d)

m M R H Comment

90 ML18v /M0 F F − F/A− C/E −B[/D− WCh/WW, Σ(cm>)

92... L19/

... C/E −Dm/F − C/G− BCh

93... /

... B[∆7/A− C/G−B[/F−

94... L19/

... F −Gm7/D −Am/C − C7/B[− WCh/LoStr

95... / ⊥ DmA− E◦/G− F− Σ(cm<)

96.../ML20

C D −A−D − C/E −G− [9] WCh98 ⊥/M0 C −G7sus4/C −G7/B − C −Am−

100 ML200 /ML21

C F −Am−B[/D − F −Gm/B[− BCh/WCh Σ(cm>)102 M0/⊥ F/C − C7 − F/A− F− LoStr+LoWW, Tbn104 ML21

C Dm− C/E − E∅7− WCh+BCh

105... F − E◦/G− F/A−

106 ⊥ Gm7/B[− C− cad

107 M0 F −Dm7− [10] Coda WW+Hns

108... B[−A−Dm−Gm/B[−

109 ⊥ F 9/C − C7− cad110 MB/M0 <(F −Dm/F )− (WCh+BCh)/Hns, P T (f)

114... /

... <(F −Gm7/F )− (WCh+BCh)/HiWW (ped)118 ⊥/⊥ F (WCh+BCh)/Cl (120 m.)



15.3 Symphony No. 4 in G Major (1900)


Mvt. 3 Poco adagio, Ruhevoll: ABABA Coda form (G,[

44

][22

][34

][38

][24

], 353 m.)

A (61 m.) B (45 m.) A1 (72 m.) B1 (43 m.)

A2 (93 m.) Coda (38 m.)

Mvt. 4 Sehr behaglich: song form (G,[

44

], 184 m.)

Int V1 I1 V2 I2 V3 I3 V4 Co

Figure 15.4: Mahler, Symphony No. 4 in G Major

15.3.1 Mvt. 3 Poco adagio Ruhevoll

Form: ternary song form, ABA1B1A2 Coda. This slow movement has a large scale approach.The first A section, for strings only, introduces and repeats the first subject M1, but eachtime the lead voice changes parts, while a new countermelody is added and shorter notevalues are used (8ths). Throughout the movement the lower strings change from pizzicatoto arco and back, providing a stable groove in 4th notes. The woodwinds start playing inthe transition to the B section; the oboe takes over the lead part (M4), answered by a mostlyrical violin melody, full of portamento and a perfect melodic curve (M5). The section A1

and B1 develop the earlier subjects, while introducing new countermelodies in polyphonicsettings (either contrasting instrumentation or ranges). A peculiarity of this movement is,that it contains a theme and variations form (in the A2 section) within a higher level ternarystructure. Returning elements are the chromatically descending theme (Ms, blasted out bytrumpet and oboes during the first climax), and the bell chord effect in lower strings andharp in the transitions. See Table 15.13 to 15.15 for the analysis.

15.3.2 Mvt. 4 Sehr behaglich



15.3. SYMPHONY NO. 4 IN G MAJOR

Table 15.13: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll

m M R H Comment

1 M1 G G−D7 −G6 −Bm− A.a1,[

44

]Vc, PD(d)

6... D7 −G−D/F]−G

11... A]◦7 −Bm−A7− DB pizz

14... D −D7/C−

15 ⊥ G/B −Am7/C −D− cad17 M2/1 G−D7 −G6− A.a2, Vi1 (M2=Mc)/Vc,

21... Bm−G/D −D7− Vc+DB pizz

23 ⊥ G/B −Am7/C −D7−

25 M2’/1 G−D7

d− Em7/D −G/B− [1] A.a3, Ob/Vi

29... C/E − E7 −Am7 −A7 −D

d− Bsn+Hns bg

33... Em7 −A7 −D−

35... E7 −Am7 −D7−

37... <(G−D)− A.b, Str, PD(d)

43... Em−Am/C −G6

4 −D −G Va+Bsn47 ⊥ C −Am/C −G6

4 −D7− cad51 M3 G6 − . . .−D7sus4 −G−B− trans, Hrp+LoStr: bell motif

62 M4 Em Em−Am/E − Em−Am7/E− [2] B.a1, Ob, WW+Hns

66 M5 D[97 −G−D7

d− Vi1: aab

68... Em7 −D]◦7 − C/E −G/D− PB(↘)

70... A7/C]− F][57 /C − Em6

4 −B7− Ob-Vi1

72... Em−A/E −Am+7/E− P T (e), chr↘

74 ⊥ Em− F]7 − F]m− Em76 M4’ (Em−Am7)/E− B.a2, Ob, P i

m(↗), (ped)78 ⊥ (F]m7 − Em7)/E79 M5’ C/E −Am/E − E7− Fl-Cl

81 M5” Am7 − E◦7 − C[57 /G[

d− [3] Hn, Mc: Vi1

83 ⊥ B[/F −G∅7/F−84 M5’ Fm (C7 − Fm− C7 −Dm7 − C7)/C− Vi1

87... D[7 − F/C −B◦7 −B[7−

89 ⊥/Ms Dm Dm7 Gm/D− tutti clim, chr↘motif93 Dm B.b98 Mc D7 −<(Am− E7)− . . .− Fl-Vi1: clos th, FHn: chr↘

103 ⊥ Dm− . . .−B[7



Table 15.14: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (cont’d)

m M R H Comment

107 M6/7 G G−D7 −G/D −D7 − C/G−D [4] A1

[22

], Cl, PD(d)

115... D −G−B/F]− F]−Bm

119 ⊥ A7 −D7

d− Em−Am−D−

123 M1’ G−D7 −G−G/D −D7− Vc, development131 M1’/c G−D7 −G− C − E7 −Am− Bsn+Str, countermel137 M1’ (G−D −G−D7 −G−D7)/D− [5] Cl+Bsn: ~H‖d , PD(d)

143 M1’/c G−D7 −G−D7/A−G−D7

d− Vi1/Vi2 countermelody

149... Em7 −G/D −D7−

151 ⊥ G−B7/D]−153 M1” Em/G− C/G−D7− WW+Fhn+Str, ctp dev

155... G−D7 −B[−B∅7 −Bm−

159... Am/C − F]◦7/C −G/D −D7−

163 ⊥ G−D −G−D[97 − . . .−

171 − . . .−Gm−B[7sus4− trans, FHn+Ob

179 M4’/M5’ E[ E[− Cm/E[−Gm/D− [6] B1.a1[

44

]Dev, WW+

183 ⊥ Gm D[97 − . . .−D −G−Gm FHn: chr↘

188 M5’ B]57 − E]◦7 −B7 −A/C]− Vc-Vi2

192 ⊥ C]m C]m/G]− F]− F]7 −B7

d− [7] B1.a2 Vi, climax

195 M4’/Mc C]m− F]m/C]− C]m (Cl+LoStr)/Ob

197... F]m/C]−A7/C]−

199 ⊥ E[7/D[− E7/D − F7/E[−202 M4”/Mc A/E − E7/B − E∅7/B[− Tpt/Vi1204 ⊥ D/A−Dm/A−205 M5’ E7 −Am/E − E7 − F]m7 − E7− [8] Vi, Str bg

207... B[5

7 /F −B[97 /D]−

210 ⊥ F]m F]m7− tuitti clim, chr↘motif212 F]m− . . .− F]− B1.b trans, Vi+Va, P T (f])217 D/F]− F]− . . .−D−

222 M1’ G G−D7 −G− [9] A2

[34

], Vc, PD(d)

227... D7/A−Bm−D7/A−G−D/F]− Theme+variations,

230... B∅7/F − E7 − E∅7/B[−A− Str bg, DB: pizz

234... Cm/E[−A[5

7 /E[−D−236 ⊥ Am/C −Am−D/F]


15.3. SYMPHONY NO. 4 IN G MAJOR

Table 15.15: Mahler, Symphony No. 4, Mvt. 3 Poco adagio Ruhevoll (cont’d)

m M R H Comment

238 M1’ G G−D7 −G[

38

], Var 1, Vi1, PD(d),

243... D7 −G/B −D7 −G−Am/C Str bg, Vc: pizz

245... Am/C −Am− E[9

7 −

249... F]7 −Bm−

251 ⊥ A7 −D −Am/C −D7/A−D7−255 M1’ G−D7− Var 2, Vi2, PD(d),

258... G−D7 −G/D − C]◦7−

260 ⊥ D7 −D]◦7− Vc+DB: pizz263 M1’ E E/B −B7 − . . .− E/B− [10]

[24

], Var 3, Ob, PD(b),

267... B/F]− C]/E]−A]◦7/E− Fl, Vi1: ctp

269... B/D]−Dm−A/C]− E+/B]−

270 ⊥ A]◦7 −B− tutti climax271 M5” D7 − C]7 − F]7− Vi1, diminution275 ⊥ C7−B −B[7 − F/A−A[7− P i

B(↘)278 M1’ G G/D −Am−D7 −G/D− Var 4, WW+Str, PD(d)

282 M5” C/E − E7 −A7

[34

]Brs: augm, clim

283... G/D − C]◦7 −D− [11] PD(d)

285 ⊥ C/E −A]◦7 −Bm/D −Dm7−287 E7 − Cm−D7−

[44

]288 Mc G− . . .−D7/A−G−D7/F]

d− trans, Va (m. 37+m. 131)

294... Em−Am7 −D7−

296 ⊥ (G−Am−Dm)/G−299 M1” C − . . .−G− FHn+Va, motif m. 45303 ⊥ F − C −Dm7 − C307 M3 G−D7sus4 −G6 Vc+D: bell motif, PD(d)

315 E E [12] Coda, tutti clim, Str: arp318 M3/S1 E6 DB bell, Brs signal, P (e−b)320 M3/S2 E6 − . . .− E −B7sus4− bell+signal motif326 M5’ <(E6 − F]m7)/E− [13] Vi1

332... C − . . .−G . . .− F/C

338 ⊥ G D −G344 M5’ G/D − Em−G/D − Em−D DB+Hrp353 (353 m.)


15.4. SYMPHONY NO. 5 IN C] MINOR - D MAJOR


The key relationship diagram is shown in Fig. 15.5. In Mvt. 3, Poco adagio, all A sections starton the tonic major key G (1,3,5). The contrasting B sections start excursions into remote keys:the dominant minor key Dm (2) and through the lowered submediant major key E[ = [VItowards the furthest point F]m (4). The Variations sections start the alterations with thesubmediant major key E (6).

Mvt. 3 Poco adagio

A[ E[ B[

Fm Cm Gm

F C G

Dm Am Em

D A E

Bm F]m C]m

1,3,5

6

2

��*

�4

6Mvt. 4 Sehr behaglich

Cm Gm Dm

C G D

Am Em Bm

A E∗ B

F]m C]m G]m

HHHY

1

��*�

��

2,4,7�-

3,5 HHHj 6

?

HHHY

��*��

8

Figure 15.5: Mahler, Symphony No. 4, key relationship diagram

In the song, Mvt. 4 Sehr behaglich, the verses start on the tonic major key G, the submedi-ant minor Em (3) and major key E (7–8), respectively. All interludes start from the mediantminor key Bm (2,4,7). The third verse contains the most key changes (4–7). The movementcloses in the major key E, alternating with its mediant minor key G]m (8). The overall com-pass of this closing movement is limited.

15.4 Symphony No. 5 in C] Minor - D Major (1904)


Mvt. 3 Adagietto, Sehr langsam: ABA form (F ,[

44

], 103 m.)

A1 B A2

Figure 15.6: Mahler, Symphony No. 5 in C] Minor - D Major

15.4.1 Mvt. 4 Adagietto Sehr Langsam

Form: ternary song form, A1BA2. This most beautiful slow movement, Adagietto, is alsoknown for two other reasons: as the gloomy main title music in the Visconti movie Death inVenice4 and in conductor contests for the longest performance duration (look on the internet

4Remember Dirk Bogarde as ageing composer Gustav von Aschenbach, with died black hair washing out inthe rain, while stalking young Tadzio through the narrow streets of cholera-stricken Venice? That’s the one.



for who’s leading the competion currently). The orchestration is for strings and harp only.Note how the lead melody is moving through the string parts, with carefully planned octavedoubling in the high range. And there is ample use of appoggiaturas. See Table 15.16 for theanalysis.




15.4. SYMPHONY NO. 5 IN C] MINOR - D MAJOR

Table 15.16: Mahler, Symphony No. 5, Mvt. 4 Adagietto Sehr Langsam

m M R H Comment

1 F Am A1 Hrp+Str bell ch ([)3 M1 F −Dm/C −Gm7/B[− F/A−D[7/A[− Vi1: a, Str

6... G7 −D[9

7 − (b)8 ⊥ Gm− E◦7 − F − F/A− C4 − C6−

12 M1’ F − F/C − E[97 − Vc: a’

14... Am E7

d− F −B[/D− Vc: b’, N6

16 ⊥ Am/E −D]◦7 − E7− Vi2: c19 (M1) Am− F/A−Am− . . .− [1] trans23 M2 F Am− C7/G− F − F∆7/A−Gm7/B[− Vi1: a

27 ⊥ D[97 /F]− E∅7/G− E[9

7 /G]d− F/A− (b) PB(↗)

29 G∅7/B[− F 64 − C[9

7 − climax 1, cad, PD(c)33 (M2) F −Gm7/F − F −Gm/B[− C − F Vi2: c, cad

39 M3 Cm Dm/F −B◦7 − Cm− . . .− [2] B, Vi1

44... Cm/E[− C◦ −A∅7/C − F7− Va-Vi1, P i

m(↗)

47... G[ G[− . . .−A[[97 − ([[[[[[) Vi2+Va

50... D[97 − E[m7/D[− Vi1

52... D[− E[m−A[−

54... E[m7/B[−A[7/C Vi1+Vi2: 8va par

56... B[m−B[7 − E[m−A[7 −D[7 − C[9

7 − climax 2 (↗), PB(↘)

60... E E/B −B7 − E

[5/[97 − (]]]]), P i

B(↘)

63... D B7/A−Bm7/A− F]∅7/A−A7

d− Bm7/A− (]]), Vi1, PD(a)

66... A7 −D+ − E − E7/D− Vi+Vi2

68 ⊥ (A7 −G][97 )/A− C]7/G]− C][57 /G− PB(↘)

72 F F/C −Am7/G− [3] A2 ([) trans74 M1 F − . . .−Dm11

7 /C −Gm7/B[− Vi2: 1

78... F/A−D∅7/A[−G7 −G∅7− P i

B(↘)

80 ⊥ D[97 /F]−Gm− E◦7 − F − F/A− (b)

82 (M3) C4 −G7 − C Vc, PD(c)85 M2 C − . . .− C7/G− F − F/A−Gm7/B[− [4] Vi1 (c-ped), cresc

91... D[9

7 /F]− E∅7/G− E[97 /G]− F/A− P i

m(↗), PB(↗)93 ⊥ F/A−G∅7/B[−B∅7− P i

B(↗)95 F 6/C − . . .− F/A− C7/G− climax 3, PD(c)99 F (103 m.)


15.5. SYMPHONY NO. 6 IN A MINOR TRAGIC

15.5 Symphony No. 6 in A Minor Tragic (1906)


Mvt. 3 Andante moderato: ABABA Coda form (E[,[

44

], 201 m.)

A B A1 B1 A2 Coda

Figure 15.7: Mahler, Symphony No. 6 in A Minor Tragic

15.5.1 Mvt. 3 Andante moderato

Form: ABA1B1A2 Coda. This moderate tempo movement may have been a textbook exam-ple for Hollywood composers and orchestrators; there are sweeping melodies (wide leaps,chromatic steps), polyphonic settings combining main themes with countersubjects (with aLeitmotiv flavour), melodic sequences, contrasting orchestral densities (tutti vs. thinned outsections, such as those labeled ‘Elegy’ and ‘Pastorale’), stepwise moving middle voices (hornsand lower brass, for example) and huge dynamic climaxes. Melodic phrases from mainthemes are distributed over several parts within a section, most of the time with doublingbetween woodwinds and strings. Tonal centres move frequently, although note the largerstructure zones in either major or minor keys. See Table 15.17 to 15.19 for the analysis.


The key relationship diagram is shown in Fig. 15.8. In Mvt. 3, Andante moderato, all three Asections are predominantly in the tonic major key E[. The first alternates with the mediantminor key Gm (1), the closing section moves from the lowered submediant major towardsthe tonic (B = C[ = [VI) − E[ (7). The contrasting B sections contain more key changesand widen the key compass: the first opens in Em (2) and ends on the lowered supertonicmajor (Neapolitan) key E = [II (3–4), the last B section opens in the submediant major keyC (5) and ends with Bm−B (6–7), the latter being the intermediate Neapolitan chord key ofthe dominant B = [II/V . Note the use of the vertical minor third (3i) symmetrical root axisE[− C −A and the perfect fifth (7i) horizontal axis Am− Em−Bm.



Table 15.17: Mahler, Symphony No. 6, Mvt. 3 Andante moderato

m M R H Comment

1 M1 E[ E[−B[[57 − E[−B[[137 − E[/B[ A.a, Main theme: Vi 1

5... F∅7 − Fm− E[−B[[97 − E[/B[−

7... B[

[5/[97

d− C∅7/B[− C

[5/[97 /E− Ob: 3rds

9 ⊥ −A[m−B[[97 −10 M1’ E[− E[[97 − F∅7/C[−B[7− [87] Vi1+2: ctp, P T (e[)

12... (E[− E[[97 − Fm7 − F∅7)/E[−

14... E[− . . .−B[+ − E[− F◦/A[−

17 ⊥/0 Fm/A[− F[5/[97 /E[− . . .−A◦7 − E[ Ob: 3rd/6th-motif

21 M2/0 Gm Gm− . . .−Dm7− [88] A.b, EHn,WW

24... Gm7 −A∅7/G−B[∆7− WW: Seq+ctp (imit)

26 ⊥ Gm−A∅7 − E[/G−A[7−28 M1 E[ E[−B[[57 − E[−B[]11

7 − E[/B[− [89] A.a1, FHn

32... (F∅7 − F )/B[− E[−B[

[5/[97 − E[ Vi1+WW: ctp

34... B[[97 /A[− E[/B[−B[7− WW+LoStr: ctp

36... E[− E[[97 − Fm7/A[− F∅7 − F [5

7 − [90] Vi2, Fl: chr↗

38... E[−A∅7 − Cm7/B[− Eb/G−

40 ⊥/M0 Cm−G− . . .−B[7− Ob

42 Mt1 E[− . . .−B[7sus4 − E[− Cm/E[− [91] tr, EHn+Vc: leaps45 Mt2 F∅7 − Fm7 − C[7/E[− E[[97 − Cl+Vc: 8th note↘47 Mt1+2 A[/E[−D◦7 − . . .− E[m− WW+Str49 Mt1 C[7/E[− . . .− E[ closing phrase

56 Mt1 Em Em− . . .−Am7 − Em− [92] B.1,Dev 1, Ob59 Mt2 Dm− F/C− Cl60 M2 Am Am− . . .− Em7 −Am−Dm/A−Am ‘Elegy’, FHn63 ⊥ B∅7 − C∆7 −Am7 −B∅7 −Am WW: Seq+ctp (imit)65 M3/t2 Em Em− F]∅7/A− Em−B[13

7 /D]− Fl+Vi1, WW+LoStr

68... A/C]− F]∅7/C − E/B − F][57 /A]− climax, P i

B(↘)

70... /t2 B

[5/[97 /A− E/G]− Em/G−

72... Bm Bm− . . .−B[/D− [93] tutti climax

75... Gm+7 − C∆7 − F]∅7 −Bm7 − Em7− tutti: ctp+Seq (imit)

78 ⊥ /0 <(Am7 − F][57 )/C − Em/B −B∅7− Vi1-Fl-Ob, closing phrase81 B7 − . . .− F][97sus4/B−


15.5. SYMPHONY NO. 6 IN A MINOR TRAGIC

Table 15.18: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)

m M R H Comment

84 M4 E E − . . .− [94] B.2, ‘Pastorale’, FHns

86... / t1 E − E6

9− Tpt, P (e−b)

88... /

... <(B7sus4 − E) FHns/WW93 ⊥/ ⊥ B −7sus4 −E [95] Vi1, Str bg95 Mt1’ B7− . . .−G][97 − F [5

7 − closing phrase

100 M1/Mc E[ E[/G−B[[57 − E[ [96] A1, th+ctp,103 ⊥ E[− Fm7/E[−B[7− WW+Str105 M1/Mc E[−B[[57 − E[− E[7− WW+Str, P T (e[)

107... E[64 −B[7 − E[− E[[97 −

109... Fm7/E[−A[m− E[

111... F∅7 − Fm−A∅7 −B[7−

113 ⊥ F[5/[97 −B[7 −A∅7 −G

[5/[137 /D[−

115 M5/Mt C (C −Dm7 − C)/C− [97] B1.1, Dev ‘Misterioso’

117... (Dm7 − C)/C − C∆7/B− Str+WW: ctp

119... F/A−G/B − C

121 ⊥ Dm7/F − (C −Dm7 − C)/C−124 Mt1+2 A A− F]m7 −Bm7/A− E7 −A [98] B1.2, ‘Pastorale’,127 ⊥ Bm7 −B∅7− FHn-(CBsn+LoStr)128 Mt1 (A− F]m7 −G][97 )/A− P T (a)

130... (B

[5/[97 − E7)/A− (ped)

132... <(A−Bm7)/A−A− F]m7/A−

135 ⊥ Bm7/D − E[97 /D −A−Dm−

137 M2 Am A− . . .−Am− . . .− Em7/G− [99] B1.3, ‘Elegy’, Ob

141... F −Dm−Am7 −Dm7 −B∅7− WW: Seq+ctp (imit)

143... Am−B[9

7 −Am− F]∅7/A−145 ⊥ D7/A− F]∅7/A−146 M2 C]m C]m− . . .−G]9∅7− [100] B1.4, ‘Elegy’

149... G]∅7 − (F]m− C]∅7)/C]−

151... (F]

9/[137 − F][97 −Bm7)/F]− tutti: Seq+ctp (imit)

153... Bm Bm7 −<(C]7 − F])/C]− tutti climax

156... C][97 − F]−Bm−

158 ⊥ F]7 −B − F][57 /A]−



Table 15.19: Mahler, Symphony No. 6, Mvt. 3 Andante moderato (cont’d)

m M R H Comment

160 M1’/c B B − F]m−B − F]7− [101] A2. Main th+ctp,

163... B − C]m7/B −B − C/E− WW+Str

165... B/F]− F]7sus4 −B/F]− Em

167... B/D]−G7/D − C]m− PB(↘)

168... / t1 F][97 − E]◦7− Ob+FHns

169... /

... F]7 − E]◦7 − F]7 −B[57 −

171 ⊥ / ⊥ G]57 − C − F

[5/[97 /C[−

173 Mc/3’ E[ E[/G− Fm− E[6 − Cm7 −Gm− [102] WW+Str

177... A[−B[7/D −Gm− Cm7 − F7− Seq+ctp, FHn: chr↗

179... B[7 − . . .−

181 ⊥ Fm−B[[97 −182 Mt2/1 A∅7 −B[7 − F

[5/[97 −B[7 −B[[97 − Str, closing phrase

185 (M1’) (A[− E◦7 − F7 − F∅7 − E[)/E[− F 97 /A− [103] Coda, P T (e[),

188 (M3’) E[/B[−G7/B − Cm−G7

d− WW+Str: ctp

190 ⊥ (A[m− Fm7)/A[− . . .−194 (M3) E[ Cl, Str ctp201 (201 m.)

Mvt. 3 Andante moderato

E B F] C] G]

C]m A[m E[m B[m Fm

D[ A[ E[ B[ F

B[m Fm Cm Gm Dm

B[ F C G D

Gm Dm Am Em Bm

G D A E B

Em Bm F]m C]m G]m

��*��

1

-�

2-HHHY3

t

t4

5

? ��

6AAAAU 6

t

t��

7

Figure 15.8: Mahler, Symphony No. 6, key relationship diagram


Chapter 16

Claude Debussy

Biographical data:

1600 1700 1800 1900 2000

∗ 22-8-1862 in St.-Germain-en-Laye† 25-3-1918 in Paris

16.1 Deux Arabesques (1888)


I Andantino con moto: ABA form (E,[

44

], 107 m.)

A1 B A2

II Allegretto scherzando: ABAB form (G,[

44

], 111 m.)

A1 B1 A2 B2 Cd

Figure 16.1: Debussy, Deux Arabesques

16.1.1 I Andantino con moto

Form: ABA, ternary. See Table 16.1 and 16.2 for the analysis. The form is regular withthree equally long sections. Characteristic for this arabesque are the pentatonic embellisheddescending arpeggios in the main theme M1a-phrase, and the triplet vs. 8th notes cross-rhythms between both hands. Melody M1 has an asymmetric binary structure (ab: 4 + 9 m.).Melody M2 consists of three phrases (abc: 4 + 3 + 9 m.).

16.1.2 II Allegretto scherzando



CHAPTER 16. CLAUDE DEBUSSY

Table 16.1: Debussy, Deux Arabesques, I Andantino con moto

m M R H Comment

1 E A6/C]−G]m/B − F]m/A− E/G]− A1

[44

](]]]]) Intro, [S6] arp

3 F]m− F]m7/E −D]∅7 − F]m7/C]−B97− PB(↘)

6 M1a <(E69 −A6)− pentatonic desc, LH arp

10 M1b F]m7 − C]m7/G]− F]m7/A− F]97− PL(↗)

15... F]97 − . . .− cresc to clim

17 ⊥ A6/C]−G]m/B − F]m7/A− E/G]− ~H‖d , [S6]↘19 M2a D]7/F×−C]m7/G]−D]7/F×−A∆7/E− second theme

21... B7/D]− F]m7/C]−G]7/B]− F]m7/C]− bass chr, lead desc

23 M2b G]7/B]−Bm7 − E7/B −B[97 −

25... E9

7/B − E97−

26 M2c A7 −D −B97 − E∆7/G]− trans

31... F]m7 − . . .− LH arp

34 ⊥ F]m7/C]−B7 − E RH [S43 ] , arp, clim cad

39 M3a A Bm7 − E7

d− F]m− E7− B (]]]) contrast, slower

41 M3b E − 7−A9∆7−

43 M3a Bm7 −G]◦7 − F]m7 −B7−45 M3b E/G]− F]m−B9

7sus4 − E−47 D∆7/F]− E7 −A9

∆7 −D9∆7 trans, RH arp

49 Bm7 − E7 −A cad51 D∆7/F]− E7 −A9

∆7 −D9∆7 repeat

53 Bm7 −Bm7/D−55 M3a E7 −Bm/F]− E[9

7 /G]−A− F]mA −B7− 2nd stat57 M3b E9

7 −A9∆7−

59 M3a Bm7 − E[97 − F]m7 −B7−

61 M3b E/G]− F]m7 −B97sus4 − E−

63 (M3) C C/E − F∆7 −G7

d− Am−G7/B −Am retrans, PB(↗)diat

65 G7

d− F − C/E −Dm7 −G7 PB(↘), root [V I|E

67 (M3) F C/E −Dm7/F − C7/G− F root [II|E69 C/E − C+(= E+)− C]m/E−


16.1. DEUX ARABESQUES (1888)

Table 16.2: Debussy, Deux Arabesques, I Andantino con moto (cont’d)

m M R H Comment

71 E A6/C]−G]m/B − F]m/A− E/G]− A2 (]]]]) diat [S6] arp73 F]m− F]m7/E −D]∅7 − F]m7/C]−B9

7− PB(↘)76 M1a <(E6

9 − E6) pent desc, LH arp80 M1b F]m7 − C]m7/G]− F]m7/A− F]97− PL(↗)

85... F]97 − . . .− cresc to clim

87 ⊥ A6/C]−G]m/B − F]m7/A− E/G]− ~H‖d , [S6]↘89 M4a A/C]−G]m/B − F]m/A− E/G]− second theme, [S6]↘

91... D/F]− C]m/E −Bm/D −A/C]− PB(↘)

93 ⊥ E]◦7/B − F]m/A− E −G]−95 F]m7 −G]m/B −B7− LH+RH arp, cad99 M1’ <(E − E6)− E6

9 (107 m.)


16.1. DEUX ARABESQUES (1888)




16.2. STRING QUARTET OP. 10

16.2 String Quartet Op. 10 (1893)


Mvt. 2 Assez vif et bien rytme: ABCAD Coda form (D,[

68

][158

], 177 m.)

A1 B C A2 D Cd

Figure 16.2: Debussy, String Quartet Op. 10

16.2.1 Mvt. 2 Assez vif et bien rytme

The form of this movement is rather unique, although it might be characterised as ABCADCoda form. An opening riff motif is used in many disguises in this piece: as an isolatedtheme, as background, as theme in augmentatIon and varied. Other themes are based on aframework using chord root, major seventh and minor seventh (yielding embellished chro-matic descending themes). See Table 16.3 and 16.4 for the analysis.


The key relationship diagram is shown in Fig. 16.3. Much of this movement (the B and Csection) involves keys on the subdominant axis C − E[(m) − F]m. The opening A sectionis on the tonic major key G, the second A section starts on the lowered supertonic major(Neapolitan) A[ (2), quickly returning to the subdominant axis.

Mvt. 2 Assez vif et bien rytme

Bm F]m C]m

B F] C]

A[m E[m B[m

A[ E[ B[

Fm Cm Gm

F C G

Dm Am Em

D A E

Bm F]m C]m

��

1

��

2HHHj

t

t3 BBBBBBN

Figure 16.3: Debussy, String Quartet Op. 10, key relationship diagram



Table 16.3: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytme

m M R H Comment

1 G G A1

[68

](]) pizz

3 M0 G7 − (B[]57 −B[7)/D Va: riff motif solo5 M0 G−B[7/D repeat9 M1.a <(G−D∅7 = B[97/D) V1 (Va: riff )

13 M1.a’ <(G−D∅7) repeat19 M1.b <(C −D∅7/F )23 F]∅7 − F∅7 −B[+ −B[m7− trans25 D9

7/C −D[97/C[−G4−27 M1.b <(C −D∅7/F ) repeat33 E7/B climax, trans37 M1.a <(G−D∅7) 2nd stat: V2, V1: riff41 M1.a <(G−D∅7) repeat47 M0 <(G−D∅7)−G−D[/F− Vc: riff solo50 ⊥ <(G−B[7)−G7 trans

54 E[ E[ B ([[[), bell ch, 16th trem56 M0’ E[− E[◦7 − . . .−B[[97 V1: riff motif augm60 M0’ E[− E[◦7 − . . .−B[[97 repeat64 <(E[− Fm)− E[−D[− trans68 C C bell ch, 16th trem70 M0’ C −A[7/C −D7 −B[97 2nd stat, ~R2i

74 M0’ C −A[7/C −D7 −B[97 repeat78 <(E − F )− E −D −D[ climax, ~H‖i

86 M2 A[ <(A[/C −B −A[/C −B[7) C, Vc: contr th90 ⊥ E[6/B[94 M2 <(A[−A[◦7 −A[−B[7)− 2nd st: V1+Va, V2: riff98 ⊥ G−D∅7/G− Cm−D − Fm6−

100 M0 <(Cm−D −B[) riff with ~H‖d103 ⊥ B[7 trans108 E[m E[m −G[ bell ch, 16 th trem112 M0” G[∆7 −G[7 V1: riff -like motif116 B[m −D[ bell ch, 16 th trem120 M0” D[∆7 −D[7 2nd stat


16.2. STRING QUARTET OP. 10

Table 16.4: Debussy, String Quartet Op. 10, Mvt. 2 Assez vif et bien rytme (cont’d)

m M R H Comment

124 M0’ F]m <(F]m−B7)− A2, V1: riff motif aug128 ⊥ C]m7/E132 M0’ <(F]m−B7)− 2nd stat136 ⊥ C][97 to climax140 (d− g])-tritone unisono clim145 (d− g])-tritone (cont’d) dim, trans

148 (M0’) G <(G−B −D −D[− Fm) D[

158

](]) pizz

150 <(G−Dm7 − Em− F∆7 − Em) irregular meter:152 <(G9

7 −G7 −G137 −G7 −Dm/G) 9+6 8th notes

154 <(A7 − Em7 −A7/E −G∆7−−A7/G− Em7)

156 M3 A7/G− arco, climax

157... F+ −B+/D]− C+/B − C]]57

~H‖i158 ⊥ C]]57 −A]5

7 − F]]57~R3/4i

160 (M0’) <(C]∆7 − C]7)/E] V2+Va162 (M0’) <(D∆7/F]−D7/A) V2+Vc164 <(G−Bm

9/117 −D∅7 −B[97) dim, trans

168 B[97 Coda[

68

], 16th trem

170 (d− e[)-tremolo173 G cl cad pizz (177 m.)



16.3 Prelude a l’apres-midi d’un faune (1895)



16.3. PRELUDE A L’APRES-MIDI D’UN FAUNE




Key relationship overview



16.3. PRELUDE A L’APRES-MIDI D’UN FAUNE




16.4 Trois nocturnes (1899)


No. 1 Nuages, Modere: AAABA Coda form (Bm,[

64

], 102 m.)

A1 A2 A3 B A4 C

No. 2 Fetes, Anime et tres rythme: ABA Coda form (A,[

68

][158

][24

][98

][34

], 279 m.)

A1 B A2 Coda

No. 3 Sirenes, Moderement anime: ABC form (B,[

128

], 146 m.)

I A B C

Figure 16.4: Debussy, Trois nocturnes

16.4.1 No. 1 Nuages



16.4. TROIS NOCTURNES




16.4.2 No. 2 Fetes

Form: ternary song form, A1BA2 Coda. Characteristic for this piece is on the one hand thecontrast between diatonic, modal scales (Ionian, Dorian, Mixolydian modes) and chromaticphrases, and on the other hand the use of cross-rhythms. There are frequent meter changesand the mixing of straight and triplet 8th notes (the combination of parallel meters

[34

]and[

98

]). The middle section B is known for its continuous use of pedal (a[ = g]), modal theme

introduced by muted trumpets (playing parallel triads, with a bitonal flavour), and gradualbuildup to a tutti climax. Subtle references to the middle section are made in the Coda. SeeTable 16.5 to 16.7 for the analysis.

16.4.3 No. 3 Sirenes




Table 16.5: Debussy, Trois nocturnes, No. 2 Fetes

m M R H Comment

1 Fm Fm/Cno 3 − . . .− A1,[

44

]Vi: triplets

3 M1 Fm/C − . . .−<(Dm7 −D[137 ) EHn+Cl: f -Dor sc, tripl

9 D[97 − E[97 −D[97 −A97 −B[97− Str div: exact par tripl

11 M1’ D[97 − E[97 −D[97 −B[97− Fl+Ob: g-Alt-sc13 ⊥ D[97 −G[97 −D[97 − E[9715 M1’ D D

9/]117 − . . .− E[

9/]117 − . . .− [1] Bsn+Vc: d-Wh.t.-sc

23 <(E[7 −D[)/D[ Brass accts climax27 A <(A− E −Gm− Fm) [2]

[158

]WW: ex par

29 M1’ <(A−G− Em)[

98

]Fl+Ob: a-Mixolyd, Str: ex par

33 <(A− E −Gm− Fm)[

158

]2nd stat, WW: ex par

35 M1’ <(A−G− Em)[

98

]Fl+Ob: a-Mixolyd, Str: ex par

39 D[ A[7sus4 − E7− [3]41 D[−A[97sus4 EHn+Cl: d[-Ion sc44 <(A[97/D −A[97/E[)− WW: c-Wh.t.-sc+d[-Ion sc48 D[ Fl: d[-Ion diat par50 <(C7sus4 −A[7)−53 M2 F <(F −A/C]−D− [4] Ob, Str: chrom

−E[7/B[−D97/A− C9

7 )58 ⊥ F −A/C]−D −A− F −D9

7 − F7

62 M2 A <(A/E − F+ − F]m− Fl+Ob−D]7/A]− E7/B − E7)−

66... A/E − F+ − F]m−

67... D]7 − C]m/G]−A−

68... A]◦7 − Em/B − C−

69 ⊥ A]◦7 −G]◦ − E7/G]−70 M3 B <(F]m−B9

7 −G][57 /D)− [5] WW: f]-Dor-sc78 ⊥ <(A]∅7/E −D][97 − tutti climax, Σ(cm<)

−F]m7/C]−D97/C)−B9

7 2m repeat, acceleration82 M4 E E − . . .− [6] WW+Hns, dim86 M3’ E+/B − C]m7/B− On+EHn: e-Ion-sc90 M4 D D − . . .− [7] WW+Hns94 M3’ D − F]m7/C]−D]◦7/C −B9

7− WW: b-Ion-sc, P (a)98 M4 E <(E6 − E7 − E∆7)− [8] WW, cross-rhythms

102 M3 C]97 −B[57 /D]− Str, build to climax,

104 ⊥ C] C][57 /E]−B9/]117 /D]− diatonic+chrom



Table 16.6: Debussy, Trois nocturnes, No. 2 Fetes (cont’d)

m M R H Comment

106 M3 C]97 −B[57 /D]− [9] tutti climax

108 ⊥ C][57 /E]−B9/]117 /D]−A]m/E]−

110 <(E]∅7 −A]m/E]−G]m7−−C]7/B −G]97/B]−B

9/]117 /D])− WW+Str: chrom, par

114 <(G]97/B]−B9/]117 /D]) cad

116 A[m A[m6 − . . .− [10] B[

24

], Hrp, P (a[−e[)

124 M5 A[m6 − . . .− Tpt (mute): a[-Dor-sc

128... B[7/A[ b[-Mixolyd-sc, P (a[)

132 ⊥ <(G]∅7 − E7/G])− E[97 /G]− b-Dor-sc (ped)

140 M5 (G]∅7 − E97 −G]∅7)/G]− [11] WW: b-Dor-sc, P (g])

144 ⊥ D[/A[ d[-Mixolyd-sc (ped)148 (M5) <(D∅7 −B[7)/A[−B◦7/A[− [12] WW+Hns: f -Dor-sc156 M5 A[m6 − . . .− [13] Brs: a[-Dor, tutti clim

160... B[7/A[− b[-Mixolyd, P (a[)

164 ⊥ <(E97 −G]∅7)/G]− b-Dor-sc

170 <(D[97/F − E∅7 −D]∅7 −D[57 )− tutti climax, retrans

174 M1’ D[ D[97 − E[97 −G[97 − E[97− [14] A2

[68

]Fl: mixed modi,

178 ⊥ <(D[97 − E[97 −G[97 −A[97)− g-Alt, e[-Mixolyd, c-Alt182 M1’ D D9

7 − E97 −G9

7 − E97 Fl: g]-Alt, e-Mixolyd, c]-Alt

186 ⊥ <(D97 − E9

7 −G97 −A9

7)190 M6 E[ <(E[97 −G[97− [15] Vi, exact par

−E[97 −G[97 −A[97 −G[97)−198 ⊥ <(E[97 −G[97 −A[97 −G[97)− clim, 2m rep, acc202 E[97 − . . .− [16] Tpt accts b[-Aeol, P (e[)

208 <(A− C]m7 − E∅7 −D −B[97)[

158

], trans, P (e)

210 M1 A <(A−G− Em) [17][

98

]Fl+Ob: a-Mixol, diat

214 <(A− C]m7 − E∅7 −D −B[97)[

158

], repeat, P (e)

216 M1 <(A−G− Em)[

98

]Fl+Ob: a-Mixol, diat

220 G]7sus4 − . . .− [18] P (g])

224 M2 C] C][97 − . . .− WW, tutti climax229 ⊥ <(C]7 −D∅7 − C]7/E])−232 C](7) − . . .− [19] LoStr, dim, P i

B(↘)

236 (M5) B[97 − . . .− Hns-WW: f -Aeol240 C](7) − . . .− LoStr, dim, P i

B(↘)

236 (M5) D[97 − . . .− [20] Tpt-WW: a[-Aeol248 C](7) − . . .− LoStr, dim trans, P i

B(↘)



Table 16.7: Debussy, Trois nocturnes, No. 2 Fetes (cont’d)

m M R H Comment

252 (M4) A <(A− E −Gm−D −B[97)/A[

34

]+[

24

]Coda, WW

256... <(A− E −Gm) diat par

260 (M5) A− E −Gm−B[+ − E∅7/B[ [21] Hns+WW264 ⊥ <(A− E −Gm)−266 A(7) − . . .− LoTStr triplets, P i

B(↘)

269 <(F+ −A/E −D]◦7)274 A− . . .− P T (a) (279 m.)


Chapter 17

Richard Strauss

Biographical data:

1600 1700 1800 1900 2000

∗ 11-6-1864 in Munchen† 8-9-1949 in Garmisch-Partenkirchen

17.1 Symphonic poem Don Juan, Op. 20 (1888)

Source: [66]. Form: symphonic poem. Music for orchestra. This symphonic poem has theGerman title: ‘Tondichtung (nach Nicolaus Lenau) fur großes Orchester’ and is dedicated byStrauss to ‘Meinem lieben Freunde Ludwig Thuille’.

An overview of the formal analysis is shown in Fig. 17.1.

Symphonic poem (E − Em,[

22

], 606 m.)

Intro+DJ 1 E R 1 G] Countess B R 2 C]m DJ 2 C −A− E[

m 1 m 50 m 71 m 123 m 169

Anna Gm−G R 3 DJ 3 C Carnival D −G−A−Dm

m 197 m 268 m 313 m 352

M Em DJ 4 E DJ 5 E − C − F − E Death Em

m 434 m 457 m 510 m 586

Figure 17.1: Strauss, Symphonic poem Don Juan, Op. 20

The thematic material can be classified, based on the main characters in the story orsentiments (labeled with subscripts):

Don Juan: The introduction starts with the vigorous unisono theme in arpeggio ascending16ths and dotted-8th–16th MV

DJ . This is followed in the Don Juan 1 section by the first


CHAPTER 17. RICHARD STRAUSS

heroic theme MH1DJ , stated by the strings. Later in the piece, in the Don Juan 3 section,

there is the second heroic theme MH2DJ for unisono French horns.1 Motifs from both

heroic themes will return throughout the piece as transitions or in imitative settings.The vigorous 16ths will also frequently return at the start of a new episode.

Zerlinchen: In some descriptions of the piece there is mention of three romantic conquests,the first being the peasant girl named Zerlinchen. However, this name is puzzling. Ap-parently Strauss himself did not give a clue, nor did he use the name. I could notidentify a separate female love conquest theme, unless it is the dotted 8th-16th tran-sitory motif just before the entrance of the Countess. I will use the label MZ for thismotif.2

Countess: The elegant theme with its characteristic descending 4th note triplets for highstrings and woodwinds is labeled MC . Also this theme is used in shorter fragments,e.g., for solo violin.

Rejection: This is no real theme but a sentiment, expressed in descending chromatic leadvoices. This can be in standalone mode: MR, but also in the middle or at the end ofthe other themes. It represents the rejection by the ladies, both the Countess Elviraand Anna. The opposite feeling, aspiration of the next amorous conquest is expressedby ascending chromatism, Mi

R (inverted rejection), and is usually hidden in movingmiddle voices, but occasionally also expressed in melodic solo fragments. The chro-matic lines also occur in diminution Md

R (shorter note values) and augmentation MaR;

this may also hold for the inverted, ascending chromatic lines. Maybe it is coinciden-tal, but also the basic 8th note (triplet) riff in the Carnival episode has a descendingchromatic lead voice, similar to the rejection motif in diminution; therefore it will belabeled as M c

R.

Anna: This potential lover is supported by two themes. The first is in minor Gm, withascending arpeggios and descending chromatism (get the idea? See the above) andplayed by lower strings: M1

A. The opening motif from this theme returns in diminutionas repeating instrumental figure below the second theme, which is a gentle theme in Gmajor: M2

A, played by the solo oboe.

Note that all these melodies are through-composed themes; there is no regular sentenceor period phrasing, although short motifs may be identified. Such motifs will appear fre-quently as separate fragments in transitions and imitative developmental sections., usingmixed instrumentation.

The detailed harmonic and melodic analysis is shown in Table 17.1 to 17.4.

17.1.1 Episode: Introduction and Don Juan 1 (m. 1–49, 49 m.)

This symphonic poem opens with the vigorous Don Juan theme MVDJ , that will return many

times in the piece. The vigour theme consists of four motifs: a) unisono string upward1This famous second heroic Don Juan theme, with its well-known unisono horn section instrumentation has

become an alltime Hollywood film composer trick in, well, these heroic moments that require an amplificationthrough music. Just in case the movie theater audience may have forgotten who will win in the end and whichleading actor was first on the payroll.

2The possible existence of this separate motif for Zerlinchen (a Bavarian musical avatar?) is of minor impor-tance. It is not an essential fact in the musical analysis of the Don Juan symphonic poem.


17.1. SYMPHONIC POEM DON JUAN, OP. 20

arpeggio in 16ths (labeled MdVDJ ), b) tutti signal scalar motif in 8th note triplets and openingcontrary motion, c) signal motif as triad with upbeat dotted 8th-16th note leading to thehighest pitch (MV s

DJ , d) closing motif with cadential feeling.The a-motif will be used many times in transitions, often in imitative setting. The triad

signal c-motif with its fanfare-like quality will reappear in many sections, in combinationwith other motifs. The falling triplet theme with appoggiaturas in winds and imitated bythe strings closes the introduction.3

It is followed in m. 8 by the first Don Juan 1 section, with two statements of the first heroictheme MH1

DJ in the violins. The eight-measure theme can be subdivided into: a) ascendingarpeggio motif (4 m.), b) highest point motif with long appoggiaturas, descending (2 m.), b’)varied motif (2 m.). Characteristic here are the repeated 8th-note triplets in the woodwindbackground.4

The second statement of this heroic theme a-motif in m. 17 combines it with the triplettheme Mt from the introduction. This idea is continued in the [A] section, a tutti climax withthemes in combination and imitation. The vigorous theme returns in m. 31. The sectionconcludes with a transition [B] with both the transitory very brief Zerlinchen motif and thefirst announcement of the Countess theme.

17.1.2 Episode: Rejection 1 (m. 50–70, 21 m.)

In [C] our hero starts his first amorous adventure with the abbreviated vigorous themeand receives the first rejection, expressed by the chromatically descending lead voice in thewoodwinds. Note the harp quoting the a-motif from the first heroic theme. Then there is jux-taposition of the vigour and variations of the rejection theme. In m. 67 this can be observedas an extended chromatic descent in augmentation in woodwinds and tremolo strings.

17.1.3 Episode: Countess (m. 71–122, 52 m.) and Rejection 2 (m. 123–168, 46 m.)


3Appoggiaturas play a major role in the melodic material of Don Juan and its development. In the score thereare a multitude of these, also in simultaneous combinations; it goes beyond the scope of this book, but I did astatistical analysis of the appoggiaturas in the piece. I created lists showing the type of appoggiatura (upward-downward, chromatic-diatonic), the chordal function they were applied to (root, third, fifth, etc), and whichcombinations were used (direction parallel or contrary). My goal was to compare the practical use by Strausswith the ‘rules’ from the theory of harmony books. An interesting exercise that was!

4These woodwind triplets require triple-tonguing (t-k-t, or t-t-k) and good rhythmic coordination in the sec-tion. The rhythm always reminds me of the opening movement of the Mendelssohn Symphony No. 4 Italian.The triplets in the Strauss Don Juan yield a

[128

]flavour (the real meter is

[22

]) and a slight tarantella dance-like

quality, that will return in the Carnival section.



Table 17.1: Strauss, Don Juan, Op. 20

m M R H Comment

Introduction – Allegro molto Don Juan Vigour theme1 MV

DJ E C −D−→B − Em/G−B/F]− a): Str unis, b:) tutti, Σ(cm<)3 ⊥ E − E/G]− E6

4 −B7 − E c+d): cresc5 Mt E − . . .− WW-Str: unis tripl↘7 E − E∆7/D]− C]m− F][57 /C− tutti clim, P i

B(↘)

Don Juan 1 Don Juan 1st Heroic theme9 MH1

DJ (E −A]◦7 − E)/B− a): Vi, WW: triplets

11... A∆7 − E/G]−

13... G7 − E[9

7 /G]− E7/B− b)15 ⊥ G]∅7 − C][97 − F]m− b’)

17 MH1DJ/Mt B −B7/A−B[9

7

d− a): Brs/WW, Str triplets

21 MH1′DJ /Mt (C −D]◦7 − C − F][57 )/C− a): Vi+Va

23 MH1DJ/Mt E6/B −B7 − E6 − E7− [A] tutti climax, triplets

27 MH1DJ A− C]m7/G]− E[9

7 /B −D/A− a): (WW+Str)/Tpt imit

29... D7/A[

d− Cm/G− Σ(cm<), P i

L(↗), P iB(↘)

30 ⊥ D[97 /F]− F7 −A[9

7 /E−31 MV

DJ G G/D −D7 −G c) Brs+HiStr33 ⊥ G6 −G6/B− WW+Brs, HiStr unis tripl37 MV

DJ B[ a): Str unis38 ⊥ B[/D − E[7/D[−→F]7 −B7− b): tutti Σ(cm<), P i

B(↘)40 E E −A/C]− [B] trans, accts imit42 E − C ′]∅7 − Em7/D − C−44 MZ (D]◦7 − C − F − C)/C Zerlinchen: Vi-Ob

46 (MC) E64 −B7

d− Countess: WW+Str

48 MZ C]m− F]m/C]− C]m− Str49 ⊥ F]∅7/A−G][97 /A− WW

Rejection 1 – molto vivo [C]50 MV ′

DJ C]m/G]−G]/B]− a): HiStr unis

51... G] A]∅7−→C]∅7/G−D]7− bc): Str+WWΣ(cm<), P i

B(↘)52 ⊥ G]−B]m7− d): HiStr triplets, WW stac53 MR/MH1

DJ D]◦7/B]− E]m−G]m7/F]− WW /Harp Seq(2×2m;R−i)55 MR/MH1

DJ D◦7/B − Em−Gm7/F− WW/(Harp-Tpt)

57... /

... Gm7/F − C7/E − F7/E[− (LoWW+LoStr)/Brs, P iB(↘)

59 ⊥/⊥ B[/D − E◦7/C]− . . .−



Table 17.2: Strauss, Don Juan, Op. 20 (cont’d)

m M R H Comment

62 MV ′DJ F7/C − C]∅7 − F]7− ab): LoStr unis

64 ⊥ cd): Str unis, P iL(↗)

66 M′R (F7)− C]∅7 − . . .− Rejection var, Str trem, P (e)

Countess – tranquillo71 B F]97 − . . .− [D] Str trem+WW, PD(f])73 M′C F]97 − . . .− F]7− a): Solo Vi, LoStr: P i

m(↗)79 (F]7 −G∆7 − F]7 −G]m7)/F]− Str (PD(f]))81 M′C F]7 − . . . a): Solo Vi, WW: P i

m(↗)83 <(F]7 −G∆7 − F]7 −G]m7)/F] Str85 (F]∅7 −D]7 − E]◦7 −B]◦7)/F]− P i

L(↗), ~H‖i89 F]7 − F]+−90 MC (B6 − F]7)/B− a): Cl+FHn, WW: 4th tripl

92... B6 − F]7/E− a): Vi imit

94... (B −B+ −G]m7)/D]− F]7/E− ab’) / b): (Cl+FHn+SVi)

96... (B −B+ −G]m)/D]−

98 ⊥ G]m7 − C]97 − F]7−101 MC (B6 − F]7)/B− [E] a): Cl+FHn+SVi+Vc

103... B6 − F]7/E− a): Vi imit

105... (B −B+ −G]m7)/D]− F]7/E− Vi/(Cl+FHn+SVi+Vc),

107... (B −B+)/D]−A]◦7/C]−B7− b) / b’)

109 ⊥ (E −D]◦7 −A)/E−111 MC A A6 − C][97 − dev, a:) SVi+Va+Ob

113... F]m− C][97

d− D/F]

115... (D −B∅7)/D− a): Cl+FHn imit

117... E7/B − E7/D − F][97 /A]− b): Str chr+appogg,↗

Rejection 2 – piu vivente123 ⊥/Mi

R A7 − . . .−B[97 /D]−D]◦7/B]− inv, tutti imit

127 MdC/Ma,iR G]7 − . . .− a): Cl+Va+Vc

129... /

... C]m C]m− . . .− C]m/E − C]m/G]− [F] (dev) cresc

133... /

... C]∅7 − F][97 − F]97− Tpt, tutti imit

137... /

... <(B7/F]−B7)−B7/A−

141... /

... C]7/G]− C]7/B− (stringendo)145 ⊥/⊥ C]7 − . . .− C]7/E]−



17.1.4 Episode: Don Juan 2 (m. 169–196, 28 m.)

The first heroic Don Juan theme MH1DJ is back in [H] (m. 169), as a full abb’-statement against

the familiar woodwind and horns 8th note triplet background we already saw in m. 9 ff. Eachstatement is commented by a solo trumpet, playing an ascending chromatic 8th note tripletscale (new aspirations?). In m. 181 these triplets are picked up in imitation by woodwindand horns, and there is simultaneous ascending and descending scalar fragments, combinedinto closing contrary motion. In [I] the a-phrase from the first heroic theme (trumpets) isjuxtaposed with the aspiration triplets (oboe, violins and celli), leading into a tutti imitation(m. 189 ff.) and climax (m. 193–196).

17.1.5 Episode: Anna (m. 197–267, 71 m.) and Rejection 3 (m. 268–312, 45 m.)

In [K] there is the first Anna theme in Gm; its four-measure a-phrase is an arpeggiated up-ward octave leap (viola and cello), followed by a gradual chromatic descent (preplannedrejection?). The b-phrase is also four measures long, and is backed up by a series of ap-poggiaturas in solo flute (upward-downward, hope-rejection pairs). The second, slightlyvaried statement (m. 208 ff.) already has the b-phrase as an explicit rejection. The appog-giatura flute is now answering snippets (c- and d-phrase) from the opening vigorous themein brass imitation (m. 215–232). Note the subtlety in the 4th note syncopated violin top voicein the background: twice a chromatic ascent, then twice a descent (once again: aspiration-disappointment pairs).

In [L] the key changes to G major and the background is set by a combination of thefirst Anna theme a-phrase (imitation in cello and viola) and the rejection chromatically de-scending steps in horns. The solo oboe play the lyrical, gentle second Anna theme with abb’cphrasing (4 + 2 + 2 + 5 m.). The second statement in [M] is slightly varied.

Rejection 3 starts in m. 268 with two motifs combined: a varied a-motif from the secondAnna theme (clarinet) and augmented rejection chromatic descent in flute, bassoon and harp.These are developed in imitation, while the a-phrase from the first Anna theme returns in thecello background riff (m. 274).

Section [N] is a transition molto tranquillo, with flute and first violins quoting the Anna2 a-phrase, which keeps ascending. A string section upward arpeggio imitation, using theAnna 1 a-phrase closes this amorous disillusion.

17.1.6 Episode: Don Juan 3 (m. 313–351, 39 m.)





m M R H Comment

Anna 1st theme197 M1

A Gm Gm− . . .− C]◦7/G− [K] a): Va+Vc, Str sync

201... Fm− C]◦7 −D − C]◦7− b): Va

203 ⊥ (D −D7 −G− C]◦7)/D− Fl app, Str+Hns, PD(d)

205 (D −D[97 −Gm− C]−D[9

7 )/D−208 M1

A (Gm− . . .− C]◦7 − E◦7)/G− a): Va+Vc, Str sync213 M

′R (D[−B[7 −A[7)/A[− Vi, Cl+Hns

215 MVDJ F/A− E◦7/B[− F/A− cd): Tpt, Fl app

217 ⊥ E◦7/G− F/C− FHn221 MV

DJ A◦7 −B[m− c’): Hns, Str tripl↗224 MV

DJ G]◦7 −Bm/F]− F7 −Am/E− c’): Tpt, Fl app, P iB(↘) ,

226 ⊥ F7/C − F [97 − . . .− imit

232 (M1AR)/MR G G− . . .− [L] a): Vc/FHn, P (g − d)

236... /M2

A G− . . .−D7/G− . . .d− abb’): Ob: 2nd Anna theme

244 ⊥/⊥ C/E − . . .− E7− c)248 (M2′

A) Am− . . .−D7− a’) FHn augm

252 M2A/(M1

A) G− . . .−D7 − . . .d− [M] ab): Ob /Vc, P (g − d)

258... /

... (Em− F][97 )/E− ca’): Ob, PB(↘)

263... /

... (Bm− E7)/D− c’): Ob266 ⊥/⊥ C]◦7 − F]7/C]− a’): Ob+Fl

Rejection 3 themes combined268 M2′

A/MR B − . . .−B[97 − E[9

7 − a’): WW+Harp272 ⊥/⊥ B[9

7 − F]7/C]− E7/G]−

274 M12′A /MR E[7/G− E[−A[−D7

d− th mix, imit, N

278... /

... Em−Am7/C −D7−

282... /

... G− E7 −A−D7

d−

286 ⊥/⊥ E[−A[/C− N6

288 M2′A/MR (G− . . .− Em7)/D− a’): Ob/WW, Va PD(d)

292 ⊥/⊥ (D7 −Am7 −D7)/D−

296 (M2A)/M1

A G− . . .−D7 − . . .d− [N] trans, a’): Str+Fl PL(↗)

302 ⊥/⊥ (A[∆7 −A∅7 −Am97)/G−D7− WW, P T (g)

306 (M1A) G a): Str imit, arp↗



17.1.7 Episode: Carnival (m. 352–433, 82 m.)




17.1.8 Episode: Memories (m. 434–456, 23 m.)

Other friends return in the reminiscences starting in m. 434. The Countess appears twice: firstin English horn and bassoon (a-phrase, m. 437), later in [V] in woodwind imitation (m. 447–455). The second Anna theme is played by solo violin (m. 443–447), in abb’-phrasing, with theb’-phrase becoming the rejection motif MR). The [V] section has sustained tremolo stringsthroughout.

17.1.9 Episode: Don Juan 4 (m. 457–509, 53 m.) and Don Juan 5 (m. 510–585, 76 m.)





m M R H Comment

556 F F − . . .− [Bb] tutti clim, N/E, P (f)558 MV

DJ F − . . .− c’): WW+Brs (see m. 30 ff.)561 ⊥ Dm7/F − . . .− F/A− WW+Hns, HiStr unis564 MV

DJ B[− a): Str unis (see m. 37 ff.)

565... B[/D − E[7/D[−→C]m/G]− b): tutti Σ(cm<), P i

B(↘)566 ⊥ E A7/G− F]7 −B7 − E (c) cad569 (Mt) (E − E[9

7 )/B− [Cc] trans, PD(b)

571... (B7 − F][97 )/B− Str-WW tripl↗ imit,

572 ⊥ (E6 − C7)/B− stringendo573 (MR) (A7 −G]◦7 −G7 − F]7)/B− tutti Σ(cm<), P i

L(↗)P im(↘)

577 ⊥ B7 − . . .− tutti climax

581 B7 − . . .d− WW+Brs 4th triplets

Death – tempo primo - poco a poco piu lento (Coda)586 Am− . . .− Vi trem↘595 F]∅7/A− plagal cad596 (Ma

R) Em (Em−G]◦7)/E− [Dd] WW+Brs600 Em− . . .− Bsn arp↘603 Em Str trem+pizz (606 m.)

17.1.10 Episode: Death (m. 586–606, 21 m.)

The symphonic poem closes with a plagal cadence in the tonic minor key Em. Sustainedchords support descending string tremoli. In [Dd] there’s a final descendng chromatic stepin augmentation (a sigh of rejection or relief?), followed by the downward bassoon arpeggio(the inversion of the opening phrase from the first heroic Don Juan theme?) and three short(pizzicato) tonic chords.





17.2 Symphonic poem Tod und Verklarung, Op. 24 (1889)

Source: [66]. Music for orchestra.The English title is Death and Transfiguration, the full German title is Tod und Verklarung,

Tondichtung fur grosses Orchester, meinem lieben Freunde Friedrich Rosch zugeeignet. The poemby Alexander Ritter was later added as a kind of program note; its five sections are a guide-line for the formal interpretation of this composition. Form: symphonic poem. This piecemay also be interpreted as a sonata form.

An overview of the formal analysis is shown in Fig. 17.2. The symphonic poem can besubdivided into four parts, with a very long third section (Part 3: Feverish delirium of life past,development) that covers sections three and four from the original poem. The themes willbe described in the subsequent sections.

Symphonic poem (Cm−G− C,[

44

], 501 m.)

Part 1 Cm Part 2

m 1 m 67

Part 3 G (modulation - development)

m 187 3A 3B 3C 3D 3E 3F

Part 4: C

m 397

Figure 17.2: Strauss, Symphonic poem Tod und Verklarung, Op. 24

17.2.1 Part 1: Sick man lying on his cot (m. 1–66)

See Table 17.5 for the analysis. The piece opens with the ‘Death Rhythm’ (Todesmotiv) Rd, a setof afterbeat 8th notes and triplets, played by middle register strings and timpani. The tripletrhythms will return in the battle with death themes.

In [A] (m. 16) we hear the first theme a short lyrical motif Ml in woodwinds (first flute,then clarinet) with descending 8th note characteristics (stepwise motion with occasionalleaps). Note the ascending chromatic stepwise motion in the oboe middle voice; this isanother feature of this symphonic poem and it will be used extensively. Section [B] (m. 29)brings the cantabile main theme Mc for oboe and later first violins, answered by Ml in flute.The theme Mc is characterized by an unpward octave leap, followed by quarter note down-ward steps. Sections [C] and [D] are juxtapositions of the death rhythm Rd (the last time inthe French horns) and woodwind imitative statements of Ml. In [D] the ascending middlevoices are in parallel thirds for violins and clarinets, over tremolo low strings.

17.2.2 Part 2: The battle between life and death (m. 67–186)



17.2. SYMPHONIC POEM TOD UND VERKLARUNG, OP. 24

Table 17.5: Strauss, Symphonic poem Tod und Verklarung, Op. 24

m M R H Comment

Part 1 – Largo[

44

]([[[) Sick man lying in bed

1 Rd Cm E[− Cm/E[− Cm Rd: Vi2+Va, P T (c)

6... <(Cm−D∅7/A[)− Rd: timp, Str Σ(cm), (ped)

10... Cm−A[/C − Fm7− Rd: Vi2+Va, (ped)

14 ⊥ <(Fm7 −B◦7/A[)− Fm/A[− Rd: timp, Str Σ(cm), (ped)16 D[7/C[ [A] harp 16th triplets arp17 Ml D[7/C[− . . .− Ml: Fl-Cl, Ob P i

m(↗)21 Rd Re(D[7/C[− C7/E)− C]◦7/D− Rd: timp, Str Σ(cm), P T (c)

23 ⊥ E7 −D −D[57 − E[/G− E[− Rd: Cl+Vi2+Va

29 Mc A[m A[m− . . .−B[∅7/A[− E[[97 − [B] Ml: Ob, harp↗↘, SD35 Ml A[− . . .− Fm Ml: Fl, Hns37 Mc C (C − . . .−Dm7 −B◦7)/C− Mc: Vi, Hns Pm(↗), P T (c)42 Ml C7 − . . .− [C] Ml: Fl-Cl, Ob P i

m(↗)

46... <(C −B7/F])−Gm7 Ml: Bsn, Str Σ(cm)

48 ⊥ A[137 −D[9

7 − Ml: Cl, Str P iL(↘)

49 Rd G[9/[137 − . . .− Md: timp, PD(g)

52 Ml (G7 − . . .− C − C[97 )/G− [D] Ml: EHn-Ob, Str trem+P i

m(↗)

58 ⊥ (F − Cm−D7 −G[57sus4)/G− Vi+Cl P i

m(↗)(ped)62 Md G[5

7 − . . .− Rd: Hns (ped)



17.2.3 Part 3: Feverish delirium of life past (m. 187–396)

See Table 17.6 to 17.8 for the analysis. In a feverish delirium the man sees his life passing by;in Part 3A the cantabile melody Mc reappears in augmentation (half-note rhythm). In brieftransitional phrases (m. 207–212) and [N] (m. 227–235) the lyrical opening motif Ml (abbre-viated version in quarter note triplet imitation) and the battle theme Mb (stretto imitation)return, respectively. Part 3B (etwas breiter) develops this 8th note triplet theme Ml, juxtaposedwith the theme Mc, in lighter, somewhat playful mood and as a moment of relaxation.

An 8th note triplet descending figure in the violins (m. 254) announces another waveof fever in Part 3C: in the appassionata section the fever theme Mf (chromatically ascend-ing triplets, referring to the death rhythm) is combined with an augmented version of thecantabile (youth) theme. This is continued [P] with Mc now in the original quarter noterhythm. The death rhythm sounds clearly in trombones and timpani in m. 271. The contin-uation has development character, with combinations of the feverish theme Mf’ (in variedform with ascending 8th notes), the battle motif Mb (in unisono trombones) and the deathrhythm (in 2-part settings in either woodwinds of high strings). There is counterpoint andthere rapid changes of instrumentation as the themes are passed on to different orchestralsections.

Letter [S] is an extended tutti climax, with themes combined, counterpoint setting and(stretto) imitation. The unisono ascending triplets in low woodwinds and low strings over asustained dominant pedal in [T] lead into the first complete appearance of the ‘Transfigura-tion’ theme Mt (the a-phrase, m. 321)) in Part 3D.5 Note the bell chord setting of the theme inbrass and woodwinds. The a tempo, ma un poco agitato in [U] is accompanied by the offbeat16th-note patterns in the violins that were heard first in Part 2 [H] (m. 125 ff.), while com-bining the cantabile theme Mc (but now chromatically descending in quarter notes) with theother chromatically descending theme Md (8th note rhythm). In [V] the development comesto a close with another statement of Mt in a tutti climax in m. 356, with both an a- and ab-phrase, that acts as a retransition.

In a sonata form interpretation [W] may be seen as the recapitulation; the original tempoand ‘Death Rhythm’ (timpani) from the introduction return, as do the chromatically descend-ing lead note patterns in juxtaposed woodwinds and strings (in the introduction these werediatonic and chromatic steps in contrary motion strings). The extended pedal on a turnsout to be a tonic pedal, that kicks-off a set of bell chords when for the last time the Allegro,molto agitato mood returns as does the battle theme Mf in m. 381. This part concludes with acombination of the chromatically descending theme Md and the ascending scalar theme Ms.

17.2.4 Part 4: Transfiguration (m. 397–501)


5The Richard Strauss ‘Transfiguration’ theme was kindly ‘borrowed’ my mr. John Williams, Hollywood resi-dent, as the love theme for the movie Superman.



Table 17.6: Strauss, Tod und Verklarung, Op. 24 (cont’d)

m M R H Comment

Part 3A – meno mosso (]) Feverish delirium of life past187 Mc G (G6 − . . .−Am7 − . . .−)/G− Mc: Fl augm, Vi2 tripl, P T (g)

193... (G]◦7 −A7)/G− P i

m(↗)

195... A[9

7 /G−G/D − F]∅7/E − F]∅7− Pm(↗)

197... G/∆7/F]−G7/F− P i

B(↘)199 ⊥ Em7 − F]∅7/E−201 Mc’ Em B[9

7 /D]− Em6 −A7− Mc’: Vi1-Vc imit205 ⊥ Em6 −A7− Va-Vi1 imit207 Ml D D − . . .− trans, Ml: Va-Vi1 imit tripl213 ⊥ Am−D7 −D]5

7 − Fl-Cl imit par 3rds215 Mc G (G− . . .−D7)/G− [M] Mc: Vi2-Vi1 imit, PD(g)

219... G− . . .−G[9

7 − (ped)223 ⊥ A−D[9

7 −227 Mc’ G− . . .− [N] Mc’: Bsn-Vi2 mit231 Mb’ G[9

7 −D◦7/F −B[7− Mb’: WW+Str stretto, Σ(cm<)

Part 3B – Etwas breiter ([[[)236 Ml’ E[ E[−B[7/A[− E[/G−D −Gm Ml: WW+Hns triplets238 Mc Gm−D −Gm− C7− Mc: Vi240 Ml’ Fm− Cm7/B[− Fm/A[− Ml: WW+Hns triplets241 ⊥ E[−A[242 Mc Fm− E[/B[−B[7/A[− Mc: Vi244 Ml’ E[/G−B[7/A[− E[/G−B[ Ml: Vi246 ⊥ E[−D[−G[−D[7/C[−247 Ml’ G[ G[/B[−D[7/C[−G[/B[−D[− [O] Ml: Vi249 ⊥ G[− F −B[m

250 Ml’/c’ D∅7/C − F [97 /A− Ml: Vi, Mc: Ob+Va+Vc

252 ⊥ E[m/B[− E[[97 −254 Ml” G7/F − . . .− Ml: Vi 8th tripl↘

Part 3C – Appassionato (\\\)257 Mc/f’ B B6/F]− F]7− Mc: Ob+Hn+Vc, Mf: Fl+Vi

259... /

... B6/F]− F]7/C]261 ⊥/⊥ B −B∆7/A]−G]m7 −G]7−263 Mc/f’ E C]m− F]7− [P] Mc: FHn+Vi, Mf: WW

267... /⊥ B7 − E−

271 ⊥/Rd C]∅7/E− Rd: Tbns+Timp, climax




m M R H Comment

273 Mf C7 − F − C/E− Mf: Vi+Va276 ⊥ Dm7 −D[9

7 −

277 Mf’ Gm Gm−D −Gm−G7

d− [Q] Hns+Vc 8th↗, ctp

279 Rd A[∆7 −A[7 Rd: Tbns281 Mf’ C]m−G]m7 − C]m− Mf: Str, ctp283 Rd F][97 −A[9

7 /G− Rd: Tbns, tutti climax285 Mf D6/F]−DmA− Mf: LoWW+Hns+Str imit

287... D/F]−B[∆7/D −B[7−

289... B7−

290... E <(E6 −B7/F]−B7)− [R] Mf: Cl+Str, imit

294... E − E∆7/D]− P i

B(↘)295 ⊥ E7/D − F]7sus4/C]−296 Mb’ B[7/F− Mb: Tbns297 Rd D◦7/F −B[[97 /F− Rd: WW, Str trem, clim300 Mf’ E − E∆7/D]− P i

B(↘)301 ⊥ E7/D − F]7sus4/C]−302 Mb’/Rd D◦7/F− [S] Mb: Tbns, Rd: WW, Str trem

304 Mbc’/... D◦7/F− Mc’: WW, Rd: HiStr, clim

306 ⊥ / ⊥ B[∅7/F[− . . .− tutti climax310 Mcf’/Rd E[7 − . . .− climax cont’d, PD(e[)

313... E[7 − . . .− stretto imit (ped)

317 Mf” E[7− [T] Mf’: LoWW+Str unis↗ (ped)

Part 3D – Tempo I. sehr breit321 Mt A[ <(A[−B[7)/A[−A[− Mt.a: Tpt+Hrp+HiStr, bell ch,

325... B[7/A[−Gm−D[7/F− climax

326 ⊥ C/E−327 <(D∅7/F − C7/G)− Fm/A[− HiStr sync330 Ml’ D[/F −D◦7/F − E[9

7 − Ml: Fl+Vi1 augm335 Mt A−A∆7/G]−B7/A−A/E− Mt.a: Brs+Va+Vc, clim, PB(↘)

337... B7/A−A∆7 − /G]−

338 ⊥ B7/F]− C]7/E]−339 <(D]∅7/F]− C]7/G])− [U] Vi 16ths, P i

m(↗)




m M R H Comment

342 Mc/d F]m7/A− Mc: WW+Vi P iL(↘),

343... /

... B7/A−B∅7/A− C]− E[97 /G] Md: Bsn+Tu+LoStr

344... /

... F/C −Am/C−

345... /

... D7/C −D∅7/C − E7−

346... /

... A]◦7/E − Em− C]∅7/B− [V] tutti imit

348... /

... C]7 −A7/G−A7sus4/G− F]7−

350... /

... C][97 /E]−

352... /

... E]∅7 − E −G]7/D]−353 ⊥/⊥ D7 − . . .−356 Mt D[ D[− Mt.a: Ob+Brs+Vi, tutti clim,

357... /Ms E[7/D[−D[− Ms: Hns, P T (d[)

358... /⊥ E[7/D[− (ped)

359 ⊥ (D[[97 −G[− E[[5/[97 )/D[− b

360 (B[7 −A[7 −G[−B[∅7)/D[− retrans, Str 16th trem362 F/A− . . .− P (a)

Part 3E – Tempo der Einleitung Largo365 Am7− [W] Hns (ped)366 Rd <(Am7 −D]◦7)/A−B[∆7/A− Rd: timp, Str, Cb trem

370... (A[9

7 −Gm−A[97 − Fm)/A− EHn+Cl, (ped)

374 ⊥ (B∅7 − . . .−A[97 )/A−Am7− P T (a)

Part 3F – Allegro, molto agitato379 (Am−B[m− Fm−Am− Em)/A− bell chords (ped)381 Mb Cm (Cm−A[∆7 −G)/A− Mb: WW+Tpt+Str382 ⊥ (Cm−A∅7 −D[9

7 )/A−383 Md (Cm−A∅7 −Gm−G[9

7 )/G− Md: WW+Vi, P im(↗), PD(g)

385... (F]◦7 −G[9

7 − Cm)/G− (ped)

387... (C[9

7 − F −D∅7)/G− (ped)389 ⊥ (B[∅7 − E◦7 −G7 −Gm7)/G− (ped)391 Md/s F]◦7/G− . . . [X] Md: WW+Vi, PD(g),393 ⊥/⊥ F]◦7/G− . . .− Ms: Hns+Vc, P i

L(↗)(ped)




The key relationship diagram of the symphonic poem Tod und Verklarung, Op. 24 is shownin Fig. 17.3.

E B G[ D[ A[

D[m A[m E[m B[m Fm

D[ A[ E[ B[ F

B[m Fm Cm Gm Dm

B[ F C∗ G D

Gm Dm Am Em Bm

G D A E B

��1

?2-

3 ��

4AAAAAU�

5��*

66HHHj

�

7

� 8t

t� 9

10

t

t ��

�11��

��

��1612

Figure 17.3: Strauss, Tod und Verklarung, Op. 24, key relationship diagram

The key changes throughout this piece show a simple-complex-simple pattern :

• Part1: The piece starts in the tonic minor Cm and follows a clockwise loop through thefairly remote lowered submediant minor A[m (1) and the parallel major C (2).

• Part 2: This section involves a somewhat more remote excursion into the subdominantdomain, starting with the subtonic minor B[m (3) and then creating a loop Fm−Am−Gm− Cm (4) of minor keys only.

• Part 3: The development character of this sectionis also clear from the modulation path.Starting in G (5) there first is a clockwise loop with limited envelope G−Em−D−G (6).But then follow some more distant modulations: we see major third related keys (4i),see G−E[ (7) and E−A[ (11), intermediate dominant keys, see (G[ = F])−B−E (8–9)and A[−D[ (11), the latter being the Neapolitan (lowered supertonic major) key of theminor tonic Cm. We need the double occurrence property twice for the interpretation.And finally, there is the interesting sidestep E −Gm− E (10). The development takesus to the corners of this key relationship diagram.

• Part 4: The closing part is static in the parallel major key C. This yields a large scalekey pattern Cm−G− C for this symphonic poem.

17.3 Symphonic poem Till Eulenspiegel, Op. 28 (1894-95)

Source: [67]. Music for orchestra. Form: symphonic poem.The composer labeled Till Eulenspiegels lustige Streiche (the full title, Till Eulenspiegel’s

merry pranks) with the subtitle Nach alter Schelmenweise - in Rondeauform. Well, however hardyou search, it’s impossible to discover rondo form elements in this piece that has more thestructure of the sonata form. Somewhat artificial though, it is possible to find opening theme


17.3. SYMPHONIC POEM TILL EULENSPIEGEL, OP. 28

statements with an exposition character, development sections (plural), a recapitulation anda coda (indicated in the analysis). However, it makes more sense to indicate the story-tellingepisodes, the Streiche, although Strauss himself refused to give detailed indications about thedepicting of these pranks.

There are two central elements in this piece. Harmonically, there is the juxtaposition(and sometimes the combination) of diatonic and chromatic settings. But more important,there is the intricate use of only five themes that support the story-telling. Two of these arereturning frequently in many disguises and are characterized as Till - The Adventurer MA,and Till - The Mocker MM . The adventurer theme is the infamous French horn theme MA:c↗ f − g − [g]]− a (3×)− b[− [b]− d↘ c− a− f − c− a− f − c− f (rising to the top noted and then descending on a series of harmonic overtones). The mockery theme for clarinetMM : a ↘ f − [b] ↗ c − [c]] − f ↘ [g]] ↗ a has the reverse shape: descending arpeggio,followed by ascending (chromatic) leading tones. Note that the mockery theme also containsa hint towards the Death sentence motif (large downward leap f −g]), that appears at the endof the symphonic poem.

Variants of these themes will be labeled with a superscript, e.g. ‘hurried variant’ of theadventurer theme Mh

A. Both Till themes contain non-diatonic tones (shown above in squarebrackets). The other three melodies are the Sermon theme MS (later used by the judges incourt), the Theology Professors theme MP , and the Happy Streetsong MH , both used to help thestory along.

An overview of the formal analysis is shown in Fig. 17.4.

Symphonic poem (F ,[

48

][68

][24

], 657 m.)

Introduction[

68

]F Market Scene F −Dm Sermon

[24

]B[

m 1 m 51 m 179

Love Scene[

68

]A[−Gm−G Theology Professors Am Streetsong

[24

][68

]A[

m 208 m 293 m 375

Recapitulation[

68

]F Grandness Dance F Court Scene Fm Epilog F

m 429 m 485 m 577 m 632

Figure 17.4: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28

17.3.1 Introduction and exposition (m. 1–50, 50 m.)

The Introduction starts with the Once upon a time variant MoM , the regular 8th note augmen-

tation of the mocking theme, set for the strings (from here on, Till Eulenspiegel is abbreviatedas TE). Then, as a sort of exposition we here four statements of the adventurer theme MA andthen ‘hurried‘ (ascending chromatic 8th note rhythm) variant in #2, ascending to a climax,before the solo clarinet in D plays the mockery theme MM .

See Table 17.9 for the analysis.



Table 17.9: Strauss, Symphonic poem Till Eulenspiegels lustige Streiche, Op. 28

m M R H Comment

Gemachlich[

48

]([) Introduction

1 MoM F F − F ]5

7 −B[− F 64 − C7− Vi1, Str, cad

4 ⊥ F − . . .− Cl[68

]Exp

6 MA F/C − . . .− TE-Adventurer: FHn, Vi trem12 C − F full cad, WW+Hns+Str pizz14 MA F/C − . . .− 2nd stat, FHn, Vi trem20 Dm WW+Hns+Str pizz21 M′A Dm/F − . . .− F7− [1] 3rd stat, Ob, Vi trem26 M′A Am/C − . . .− C7− 4th stat, Cl, Vi, WW cad31 Mh

A C7 − . . .−Gm7/C− [2] Bsn+LoStr, 8ths chr↗, PD(c)

35... C7 − . . .− Fm− F]◦− WW+Hns+Str, cresc

39 ⊥ C7 − . . .− C− climax on dominant (ped)Immer sehr lebhaft

46 MM B[∅7(= C]5/[97 no 1)− F/A− F TE-Mocker, Cl, WW, tutti

tempo Epis: Market Scene51 A E7 − . . .− E

]5/[97 −A [3] Str+WW, P i

m(↘)

55 M′M C] E7 − . . .−G][5/[97 − C] Hns, Str+WW, P i

m(↘)

59 M′M F]m−B∅7 −G][97 − C] WW imit, Str P iL(↗)

61 ⊥ A−Dm−D][57 −G]7−63 MM/Ms

M F (F − E7 − F − F]◦7 −Dm7)/C [4] FHn+Vc, WW imit, PD(c)

66... /

... (B7 − C97 −B7/C−

68 ⊥/⊥ C97 −B7/A−A[7 − C7− cresc, PL(↗)

71 MhM [5] climax, WW+Str unis

73... F −Gm7 − C7− WW+Str+Hns imit

75 ⊥ F Str unis dim, tutti clim77 Mh

A F − C+ − F −Gm7 −G]◦− 8ths chr↗79 ⊥/Mh

M F Vi-LoStr81 Mt

M F/C − C7 − F − F7− [6] trans, WW imit, str

85... /Ms

M B[−Dm7/A− WW imit, PB(↘)87 ⊥/⊥ C]◦7/G−Dm/F−89 Ms

M E∅7 −B[/D− WW imit, Σ(cm<)90 ⊥ G∅7/D[− C7 − C7/B[−91 M′M F/A− C7 − F − C7 − F − C7− WW+Str imit



The closing cadence before #3 demonstrates how the intermediate harmonies are deter-mined by the (chromatic) voice leading. Let’s consider the woodwind and string sectionvoicing in m. 47-51 in more detail:

m. 47 − m. 49g] ↗ a

e = f[ ↗ fd[ ↘ cb[ ↘ a

B[∅7 − F/A

g] ↗ ae = f[ ↗ fd[ ↘ cb[ ↘ ag[ ↘ fG[97 − F

m. 49 m. 50 m. 51c ↘ ba ↘ g]f ↘ d

d] ↗ e

B[5/[97 /D]no 1 − E7

The two upper voices in the left diagram are chromatically ascending, the two lower

are descending; this yields the intermediate leading tone chord B[∅7 that is equivalent tothe dominant 7th chord C

]5/[97 no 1 (root missing). The target chord is the tonic chord in first

inversion S6 = F/A. The diagram in the centre shows the same procedure for approachingthe tonic chord in root position; now the cadence yields G[97(= C

[5/[9/[137 no 1) − F . Finally,

on the right we see the combined reading of m. 49-51 (although the actual string sectionsetting of the target chord is different); here the combination of m. 49 and 50 yields the chordB

[5/[97 /D]no 1 = F/D], i.e., the inverted German augmented 6th chord in the new key of A

major. Similar intermediate chords will occur many times in the harmonic analysis of thissymphonic poem, and are part of the chromatic setting.

17.3.2 Episode: Market Scene (m. 51–178, 128 m.)




17.3.3 Episode: Love Scene (m. 208–292, 85 m.)

The Love Scene episode main theme in #15–17 is another variation on the adventurer themeMl

A, with a sentence structure MlA(aa’b). The 2nd statement, in #17, starts in G major, is

combined with the romantic version of the mockery theme MrM , and at the end returns to G

minor. In #18 his efforts turn out unsuccessful and TE gets upset. He gets into a rage and thelow voices play the angry variant of the mockery theme Ma

M . This mood of anger reaches aclimax in #19, with four statements of Ma

M , with alternating directions of the bass part. SeeTable 17.10 for the analysis.

17.3.4 Episode: Theology Professors Scene (m. 293–374, 82 m.)




Table 17.10: Strauss, Till Eulenspiegels lustige Streiche, Op. 28 (cont’d)

m M R H Comment

191 MsM E[− C7/E

d− Cl, Str

192 M′M B[/F − E[− C]◦7 −Dm− Bsn193 ⊥ Gm7 − F7− cad194 Ms′

M B[−B[64 − F7− trans, Vi1, cad196 <(B[−Gm/B[)−D/F] [14] Hns+Tpt+Vi1 (mute)199 D/F]− Str trem203 Ms′

M B[64 − F7 −B[−Gm/B[ Vi1

205... B[−B[7/D − C]∅7−

207 ⊥ A[ A[64 Vi1 gliss↘

208 Erstes Zeitmass[

68

]Epis: Love Scene

209 MrM G−Am7/G−G Cl, WW, Romance

211 MrM A[−B[m7/A[−A[6 − E◦7− Ob, WW

213 MrM D[/F −B[m7/F −A[− E◦7−

215 MsM D[ D[/F − (G[6 −D[∆7 − E[m7)/D[− Fl, WW+Str ~H‖d

217 ⊥ D[6 −A[7d−

218 MrM A[ B[m−A[6−

219 MrM D[/F −B[m7/F −A[6 − E◦7 [15] Ob

221 D[/F −Dm7 −B7− mod222 (Ml

A) B7− Vcl+Hns,223 ⊥/Ms

M B97 − . . .− WW+Vi imit

225 MrM/Ms

M E E −B6 −D][97 − C+ −D7− [16] WW+Str imit229 Ml

A Gm Gm−D7 − E∅7 −D7− (a): Fl+Vi1, Love affair

232... Gm−D7− (a’)

236... Gm− Cm− (b)

241... (D7 −Gm−Am−B[)/D− ~H‖d , PL(↗), PD(d)

243 ⊥ (C −D[97 )/D− climax

245 MlA G G− Em−G/D −D7/A−D7− [17] 2nd st, (a): EHn+Via

249... /Mr

M G−D7/A−G64 −D− (a’), MM : Fl+Cl imit

253... G/B −Gm− maj-min, climax, Σ(cm<)

255 ⊥/MhA Gm Cm MA: BCl+Bsn+LoStr

257 Mh′A Gm/D −D[9

7 − [18] Hns-WW, Σ(cm<)261 ⊥ G[9

7 /B− TE is rejected263 Ma

M/MhA Dm C]◦ −Dm− E/B− MM : Bsn+Brs+LoStr,

265 ⊥ / ⊥ Cm− F]/C]− F+ − E97/G]− MA: WW+HoStr



17.3.5 Episode: Happy Streetsong (m. 375–428, 54 m.)

However, TE is not in the mood for long arguments and escapes in a lighthearted, happyand cheerful streetsong in #26. The new theme is MH , with a sentence structure MH (aa’b),and played by violins and clarinets. The second statement ends early with a foreboding ofthe death sentence motif (downward leap) in the clarinets. Then, an augmented version ofthe mockery theme leads into the retransition of #27–28, with cadences on the dominant keyC major.

17.3.6 Recapitulation (m. 429–484, 56 m.)

The original material returns in the recapitulation, with the horn adventurer theme MA overtremolo high strings. After three statements in F −D − B[ there is the romantic version ofthe mockery theme Mr

M for the clarinets. The transition in #29 repeats the horn theme over aslowly chromatically descending bass, and with a crescendo. In #30 there is the exact repeatof segments from the exposition, including the unisono climax in m. 475 ff., preparing foranother prank.

17.3.7 Episode: Grandness (m. 485–576, 92 m.)




17.3.8 Episode: The Court Scene (m. 577–631, 55 m.)

The atmosphere turns sour in #38, the key changes to F minor. The judges, trombones,horns and string in the lower register with hammering offbeat accents, do the interrogation,and TE answers (mockery theme in clarinet and woodwinds, but becoming more timid bythe third question). In #39 the threatening mood from #14 returns, and then there is thedeath sentence, depicted by the unisono major 7th leap downward in bassoons, horns andtrombones. The hanging from the gallows happens in #40; note the downward woodwindarpeggios, but then, subtly, there is the reappearance of the major key in the pizzicato stringsand muted horns. See Table 17.11 for the analysis.

17.3.9 Epilog (m. 632–657, 25 m.)




Table 17.11: Strauss, Till Eulenspiegels lustige Streiche, Op. 28 (cont’d)

m M R H Comment

Epis: Court Scene577 Fm Fm− . . .− [38] LoWW+Brs+Str accts582 MM F −B[∅7 − F/A Cl, WW TE answers585 Fm− . . .−D[ 2nd question, accts590 MM F −B[∅7 −A Cl, WW594 Fm− . . .− 3rd question597 M′M F Cl (short answer)598 Fm− . . .−B◦7/F−602 Fm−A[/C − Fm/A[ [39]

etwas breiter - klaglich[

24

]‘threat’

605 <(Fm−A[97)Fm (Hns+Tpt+Vi) mute (#14)608 C[/E[− C7/G− Fm/C − . . .− Str trem613 unisono leap: f ↘ g[ [40] Bsn+LoBrs, Death sentence615 M′M F/G[− . . .− Cl, Tbns618 G[97 − . . .− Cl+WW, Hanging624 F − . . .− min-maj, Str pizz

Epilog. Doppelt so langsam Coda[

48

]632 Mo

M F F − F ]57 −B[− F 6

4 − C7 − F (a) Str

637... F − . . .− C − . . .−B∅7/D− (bb’) Σ(cm<)

641... A[/C− (c) Str+WW, [S6]

642... F]◦7/A−Gm/B[−G]◦7/B−

643 ⊥ F 64 − C7−

644 M′′a F − . . .− Cl+Hns647 (Ms

M ) F − . . .− BClSehr lebhaft

[68

]650 C7 − . . .− tutti cresc652 MM F −B[∅7 − F WW unis, TE lives555 F −B[97 − F −D[7 − F tutti climax (657 m.)


17.4. EINE ALPENSINFONIE, OP. 64

17.4 Eine Alpensinfonie, Op. 64 (1911-15)

Source: [68]. Form: symphonic poem. Music for orchestra. See Table 17.12 to 17.13 for theanalysis. Currently the analysis covers only the beginning of the symphony and includesthe sections: Nacht, Sonnenaufgang and Der Anstieg.



Table 17.12: Strauss, Eine Alpensinfonie, Op. 64

[#]+m M R H Comment

Nacht - Lento[

44

]- ([[[[[)

0 B[m B[-Aeol desc scale1 M1 B[m− E[m− Fm/A[− E[m7− Brass, asc signal1+4 Dm−Gm− F7 −B[m2 <(B[m11

7 −G[∆7 −B[m117 ) low arp, P T (b[)

3 <(B[m117 −B[m) triplet arpeggios

4 M1 B[m117 G[69 asc signal, dim imit

5... G[69 16th nt arp, G[-Ion sc

6 ⊥ D[97 −B[/F arp+asc sc runs

Sonnenaufgang - Festes Zeitmaß, maßig langsam[

44

]- (\\\\\)

7 M2.1 A A/E − E7 −A− Desc sc theme7+4 ⊥ D/A− E7 −Bm7 − E7−8 M2.2 (A−G]◦7 −A6 −G]∅7 − E7 −A− P T (a)8+4 M2.2/2.1 D/A− E7 −A)/A (ped)9 M2.2/2.1 D[ D[−A[7 −D[−B[m/D[−A◦7− ([[[)10 M1/2.2 B[m/D[−B[−<(G[−G[◦7)11 E◦7 −B[7/F − F]m−G◦7 − E−11+2 M1 B[ E[/B[−B[4 −B[ signal dim, climax

Der Anstieg - Sehr lebhaft und energisch[

44

]- ([[[)

11+5 M3.1 E[ E[ B[−B[7/A[− E[/G−A[12 B[− E◦7 − Fm− Em/G−12+2 D[/A[− Cm−B[−13 M3.1 B[− E◦7 −B[7 E[[57 −B[714 M3.2 G[− Fm/A[− Cm− E[/G−D[− imit14+3 ⊥ Fm−A[− Em− F]mB[714+5 M3.1/3.2 E[/G−B[7−

15... E[/G− E◦7 − Fm−B[7 − E[−

15+2 ⊥ E[/B[−B[7 − E[/B[ B[− E◦7−16 Fm−A[[97 −D[−B◦7 − Cm− E◦7 trans16+2 D[/A[− F]m−<(F]◦7/G−Gm) climax17 M3.1 Gm− F]◦7 − E[/G− E◦7 −B[[57 imit

17+3... E[7/G−A[/C −B◦7−

17+4... Cm/E[−D[−A◦7/C−

17+5 ⊥ E[/B[ −B[7− PD(b)


17.4. EINE ALPENSINFONIE, OP. 64

Table 17.13: Strauss, Eine Alpensinfonie, Op. 64 (cont’d)

[#]+m M R H Comment

18 M3.3 E[ E[ B[− E[ Distant horns19 M3.3/3.4 E[ triplets and arp20 ⊥ E[ <(B[7 − E[)

Eintritt in den Wald[

44

]- ([[[)

21 M4 Cm Cm arpeggios, Hns21+9 ⊥ Am− Fm (arp)22 M3.1/4 Fm (arp)22+7 ⊥ Em− Fm−D[ (arp)23 M4 B◦7/F (arp)24 M3.1/4 Cm (arp)25 M4 A[m− E◦7 − E −B/F]− F]7−25+5 ⊥ B[/F −A◦7 −B[− E[−D[− E[7−26 A[−A[/C−

[32

]trans

26+3 Fm−D[− CmA[− E[7 − F]◦7

27 M4 A C[

22

]28 E[− Fm−A[m− F]◦7 − E[− C[ trans28+3 C[− F[− F −B7 − Em− Em7/D − C◦7−29 M4 E[ P (e[)30 M4 E[ − F7/E[− E[ (ped)30+8 ⊥ <(A/C]− E[)−G7

31 M3.1 A[ A[− E[7/B[−A[/C −B◦7− ([[[[)

31+2... A[/C − F[/A[− E[7 −A[− E[7/B[−

31+5... A[/C − F[/A[− E[7/G−A[−D−

32... Gm <(F]◦7 −Gm)−A7/E[ ctp dev

32+4... D −A∅7/C −D − F]◦7 −Gm−

32+6... E[/G− C[9

7 /G− Fm7/A[−33 ⊥ G7/B A[/C −B[7/D − E◦7 − E[7/G34 M3.1 A[− E[7/B[−A[/C −A[7/G[−

34+2... E[ B[/F−

35... B[7 − E[ ctp dev

(To be continued)


Chapter 18

Jean Sibelius

1600 1700 1800 1900 2000

∗ 8-12-1865 in Hameenlinna† 20-9-1957 in Jarvenpaa

18.1 En Saga, Op. 9 (1892, rev. 1901)



CHAPTER 18. JEAN SIBELIUS



18.2. THE SWAN OF TUONELA, OP. 22

18.2 The Swan of Tuonela, Op. 22 (1893, rev. 1900)


Andante molto sostenuto: rondo form (Am,[

94

], 102 m.)

S1 S2 Sf S3 S′f S4

Figure 18.1: Sibelius, The Swan of Tuonela, from the Lemminkainen Suite, Op. 22

This piece, a tone poem, with rondo form characteristics, is part of the LemminkainenSuite, Op. 22. The characteristic feature is the solo English horn against various string sectiontextures (muted, tremolo, col legno). The English horn plays a returning main theme (M1)and a quasi improvised free melody (Mf). The strings answer with contrasting themes (M2,M3, and M4). See Table 18.1 for the analysis.





Table 18.1: Sibelius, The Swan of Tuonela, from the Lemminkainen Suite, Op. 22

m M R H Comment

1 Am Am Intro,[

94

], str sordegno

5 M1 B[m Gm−B[m/F −G[− E[m7/D[ 1st solo stat, Seq(2×7m;R7)7 M2 B[m+7/F Low str, arp motif9 M3 Em F]m7 − Em/G−B/F]− Em7 [1]

11 M2 Bm+7

12 M1 Am Am− Cm/G−A∅7/G−A[− Fm7 2nd solo stat14 M2 Cm+7/G16 M3 C] G]m7 − F]m− C]/G]−A+ − C+ [2] climax18 Mf C F]∅7/E − C Bm−Am/C Free solo mel, quasi improv

23... <(Dm7 −G7)−D[7 −G[∆7− [3]

27... G[ C∅7 − E[m7/B[−A[7−

29 ⊥ E[m/G[− C[∆7 −G[/D[31 F∅7 str tremolo

36 M1 Am <(F]∅7 − Em)− F]7 −Bm F]m [4] 3rd solo stat44 M1 B∅7/D −Am/E −D∅7/F Seq(3×3m;R−3)

47... D∅7/F Cm/G− F∅7/A[ (str tremolo)

49 ⊥ E[m F∅7/A[ [5] (str tremolo)54 G]m F]m− C]m−D]− Em−G]m−58 Mf G]m = A[m− F∅7 Gm7 Free solo melody, str pizz

61... F∅7 −G]m7 F]m7 −A

65 ⊥ A A− C F]7 [6] climax

70 M2 Am Am+7 imit73 ⊥ Am [7] a-ped75 M4 (F]∅7 Am− E7 −Am)/A Str unis, (a-ped)82 M4 Am Solo lead84 ⊥ F]∅7 [8] col legno+trem, (a-ped)

93 Am [9] Coda97 M3 Em7 −Dm−A/E − E[13

7 −Am/E str lead, climax98 M2 Am+7

101 ⊥ Am (102 m.)


18.2. THE SWAN OF TUONELA, OP. 22




18.3 Finlandia, Op. 26 (1899, rev. 1900)



18.3. FINLANDIA, OP. 26





The key relationship diagram is shown in Fig. 18.2. The piece does not open in the main key,which is Fm. The closing key is the relative major A[. The opening section moves througha set of symmetrically related minor keys F]m − Am − Cm along the vertical (minor third,3i) axis.

A[•

Fm

F

Dm

D

Bm

E[

Cm

C

Am

A

F]m

1

�2-�

��3

Figure 18.2: Sibelius, Finlandia, Op. 26, key relationship diagram

18.4 Valse Triste, Op. 44 (1903, rev. 1904)



18.4. VALSE TRISTE, OP. 44



Chapter 19

Maurice Ravel

Biographical data:

1600 1700 1800 1900 2000

∗ 7-3-1875 in Ciboure (St.-Jean-de-Luz)† 28-12-1937 in Paris

Compositions by Ravel still can be approached with a classical music harmonic analysisapproach. Chord structures are based on the interval of the third and root progressions canbe identified in terms of positive and negative cycles. However, labeling the diatonic modesof the lead voices often is a better tool to classify the structure of his compositions. Extendedchords and diatonic parallel chord movement are then derived from these modes. Sincethere is frequent use of extended pedal point, indicating this pitch makes more sense thanlabeling the root of the current key. We also regularly see the use of bitonal chord structures.

19.1 Pavane pour une infante defunte (1899)

Source: [46, 48]. This piece exists in two versions: for solo piano and for orchestra. Anoverview of the formal analysis is shown in Fig. 19.1.

Pavane pur une infante defunte, Lent: rondo ABACA form (G,[

44

], 72 m.)

A B A’ C A”

Figure 19.1: Ravel, Pavane pour une infante defunte

Form: rondo form, ABACA. The main theme consists of an a-phrase, that is answered bya similar b-phrase with a melodic sequence (stepwise downward). The woodwind presentM3 with oboe and bassoon as outer voices in contrary motion; this effect is repeated bythe strings. The melodic material is in Ionian (major) and Aeolian (minor) mode. Closingcadences at the end of phrases use diatonic and exact parallel. See Table 19.1 for the analysis.


CHAPTER 19. MAURICE RAVEL

Table 19.1: Ravel, Pavane pour une infante defunte

m M R H Comment

1 M1 G G− C∆7 −Bm/D − Em− C∆7 −Am− A (]), (a): Hns, G-Ion

4... D7 −G∆7 − C∆7 − F]∅7 (b): Seq(3×1m;R−7)

6 ⊥ Bm− F]∅7 −Bm

8 M2 Am97 −D13

7

d− Em−D7− [A] Hns+Vi1

11 ⊥ Em− E97 −D9

7 −Bm

13 M3 (G∆7 − C]∅7 − Em7 −Am9)/B −Bm9− B, WW, D-Ion, P (b)17 ⊥ Bm7/A−<(Em9

7 −A97no 3 −D) diat par, halfcad

20 M3’ B∆7 − C∅7/E − Em7/A− [B] Str

23... A9

7 −D∆7 −G∆7 −Bm7

25 ⊥ <(Em97 −A9

7 −D)− E97 −D9

7−27 C9

7 −D97 − E9

7 −G7 −D7− [C] exact par, cadence

28 M1 G G− C∆7 −Bm/D − Em− C∆7 −Am− A’, (a): Fl+Cl, G-Ion

31... Bm−G∆7 −Am9

7 − F]∅7 (b): Seq(3×1m;R−7)33 ⊥ Bm− F]∅7 −Bm

35 M2 Am97 −D13

7

d− Em−D7− [D] Fl+Ob

38 ⊥ Em− E97 −D9

7 −G∆7

40 M4 Gm Gm7 −<(Dm7 −G137 )/G− C/E C ([[), WW-Str, G-Aeol

44 M4’ Cm7 −<(Gm7 − C137 )− F −G

[9/[137 − cresc to climax

48 ⊥ C −D[9/[137 −D9

7sus4 −D7 −Gm [E] chr middle voice50 M4 Gm7 −<(Dm7 −G13

7 )/G− C 2nd stat: WW-Str54 M4’ Cm7 −<(Gm7 − C13

7 )− F −G[9/[137 −

58 ⊥ C −D[9/[137 −D9

7sus4 −D7 −Gm climax, chr mid voice

60 M1 G G− C∆7 −Bm/D − Em− C∆7 −Am− [F] A” (]), (a): Fl+Vi, G-Ion

63... Bm−G∆7 −Am9

7 − F]∅7 (b): Seq(3×1m;R−7)65 ⊥ Bm− F]∅7 −Bm

67 M2 Am97 −D13

7

d− Em−D7− Hns+Vi1

70 ⊥ Em− E97 −D9

7 −G∆7 closing cad (72 m.)


19.1. PAVANE POUR UNE INFANTE DEFUNTE




19.2. STRING QUARTET IN F MAJOR

19.2 String Quartet in F Major (1903)


Mvt. 2 Assez vif - tres rythme: ABA’ form (A,[

68

][34

], 198 m.)

A B A’

Figure 19.2: Ravel, String Quartet in F Major

19.2.1 Mvt. 2 Assez vif - tres rythme



19.3. MIROIRS


The key relationship diagram is shown in Fig. 19.3. The second movement opening A sectionstarts with the ladder-like pattern Am−C]m−A−C] (1–2). Then there is the move towardsthe relative major key C, before returning through the lowered supertonic degree major(Neapolitan) key B[ (3) and the dominant key E (4).

Mvt. 2 Assez vif - tres rythme

D[m A[m E[m B[m

D[ A[ E[ B[

B[m Fm Cm Gm

B[ F ∗ C G

Gm Dm Am Em

G D A E

Em Bm F]m C]m

E B F] C]

��

1�

��

2

?

3

4 tt

��

��

5,8

6 t

t

� 7��*

Figure 19.3: Ravel, String Quartet, key relationship diagram

The B section opens in the lowered submediant major key F = [VI . From there it modu-lates to the remote key D[m = C]m (6), and returns to the tonic along the path C − F −Am(7–8). The A’ section repeats the ladder pattern of keys.

19.3 Miroirs (1905)

Source: [46]. Music for piano, music for orchestra. An overview of the formal analysis isshown in Fig. 19.4. Note the length of the contrasting middle section, relative to the outer Asections.

Mvt. 4 Alborado del Gracioso, Assez vif: ABA’ form (D-modal,[

68

][98

][34

], 229 m.)

A B A’

Figure 19.4: Ravel, Miroirs

19.3.1 Mvt. 4, Alborada del Gracioso, Assez vif

Form: ternary song form, ABA’. In the outer sections this piece in Iberian mood is full oftwo-measure harmonic riffs and rhythmical accents in the introduction and transitions. Themiddle section B uses longer note values (typically quarter and 8th notes) and a lyrical,



quasi-improvising solo melody at a slower tempo in order to create contrast. The typicalSpanish flavour is supported by the minor modes, such as the Phrygian mode. This piecealso exists in an orchestral version. See Table 19.2 and 19.3 for the analysis.




19.3. MIROIRS

Table 19.2: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif

m M Scale/Mode H Comment

1 d-Phryg <(Dalt7 − . . .−A]9 − E]9)− A (a)

[68

]([) intro

5 <(Dalt7 − . . .−Aalt

7 −Dalt7 )−

9 Dno 3 − . . .12 M1 b[-Ion/g-Aeol Cm9

7 −Gm97 − Cm9

7− (b)16 M1 Cm9

7 −<(B[∆7 − E[∆7/B[)− 2nd stat 8ba22 b[-Phryg <(B[alt

7 − . . .− F alt7 )− (a) trans riff, P T (b[)

26 B[− . . .−31 M1’ d[-Ion/b[-Aeol <(B[∆7 − F

[9/137 − F 9

7 )− [b’][

98

]climax

35 ⊥ B[−B[∆7/A− F alt7 −

37 M1’ <(D[∆7 −D/D[− E[m7/D[)− climax

39... <(D[−A[7 −D[97 −A[13

7 )

41 ⊥ D[− E7−[

68

]43 (M2) g]-Phryg <(G]− C]m9

7− (c) (]]]]), P T (g]):47 G]− . . .− 16th triplets52 M2 <(C]7 − F]m

9/117 −G]7− (]])

... C]7 − F]m)−56 ⊥ G∆7 − Em9

7 − E7 −G∆7 − C]7−58 M1 b-Aeol/d-Ion Em9

7 − . . .−A7 − . . .− (b)62 d-Mixolyd <(Dalt

7 − . . .−Aalt7 − Ealt

7 )− (a) trans riff66 D − . . .−

71 M3 b-Aeol (Bm7) B (a)[

34

](]]) solo

75 Bm97 − . . .− block chords

79 M3 (G]◦) solo82 Am7 − . . .− block chords85 M3 (Em) solo89 G6

9 − . . .− block chords91 M3 (Em7 − C]∅7)−97 F]alt

7 − . . .−105 M4 C][57 − . . .− (b) LH111 P (b−f])115 M4 C]alt

7 − . . .− F]9− LH120 P (b−f])126 M5 A7sus4 −A9

7 −A7− (c) climax, PD(f])

127... E7sus4 − E

[5/137 − E7− (ped)

128... A7 − F]97 −B7/F]− (ped)

129 ⊥ F]7sus4 − F]97 − . . .− (ped)



Table 19.3: Ravel, Miroirs, Mvt. 4 Alborada del Gracioso, Assez vif (cont’d)


131[

68

](ped)

137 M4 C][57 − . . .− (b) LH141 P (b−f])145 M4 C]alt

7 − . . .− LH151 d-Ion D6 − . . .− P (d−a)[

98

]PD(a)

157 M5 <(Bm7 −A[97sus4 −A7)− (c) climax

162 D/A−A7 −D/A− retrans, PD(a)

166 <(E[− F [57 − E[alt

7 )− A’ (a’) (\\)168 E[− . . .−170 <(F]−G]alt

7 )−[

68

]172 F]7 − . . .−174 (M2) c]-Phryg C]− C]alt

7 − C]−Am− (c) P T (c]): 16th triplets

178... C]−G9

7 − . . .− climax, glissando181 ⊥ C]− . . .− (]]]]) P T (c])185 M2 <(C]7 − F]madd9)− (]])189 ⊥ <(G∆7 − Em9

7)−191 M1 b-Aeol Em9

7 − . . .− (b’) cresc to climax196 d-Mixolyd <(Dalt

7 −Aalt7 )− (a) trans riff

200 M1’ Am7 − . . .−202 (M4’) E[[57 /A− . . .− LH206 B7/A− . . .−209 M1’ G]97no 3 − F]

[9/137 −

211 ⊥ E137 −D

[9/137 − climax

213 G[9/[137 /C − . . .−G

[5/[97 −

[98

]riff

219 d-Mixolyd <(D −Aalt7 )−D (a)

[68

]climax

222 <(D −A7)−D

225 A[9/137 − . . .−D (229 m.)


19.3. MIROIRS




19.4 Rapsodie Espagnole (1907)

Source: [48]. This music for orchestra, a collection of three Spanish dances and a prelude,is an orchestration masterpiece; it contains so many delicate effects and should be studymaterial for every orchestrator. An overview of the formal analysis is shown in Fig. 19.5.

Mvt. 1 Prelude a la nuit, tres modere: ABA’ form (D-modal,[

34

], 63 m.)

A B A’

Mvt. 2 Malaguena, Assez vif: ABB’A’ form (A−D-modal,[

34

], 94 m.)

A B B’ A’

Mvt. 3 Habanera, Assez lent et d’un rythme las: ABAC form (F]-modal,[

24

], 61 m.)

A B A’ C

Mvt. 4 Feria, Assez anime: ABA’ form (C − F]-modal,[

68

] [34

], 190 m.)

A B A’

Figure 19.5: Ravel, Rapsodie Espagnole

The outer sections are in ternary form; the fourth movement is the longest. Note therelative length of the middle section in the closing movement. The second movement has avaried ternary structure,

19.4.1 Mvt. 1 Prelude a la nuit

Form: ternary song form, ABA’. Characteristic for this movement is the four-note ostinatoriff (M0: f−e−d−c], downward scalar steps in the octatonic scale), sounding in the stringsand occasionally doubled in other instruments. This motif returns in the later movements ofthis Rapsodie Espagnole. The scales and harmonies are specified in Table 19.4. See Table 19.5for the analysis.

19.4.2 Mvt. 2 Malaguena



19.4. RAPSODIE ESPAGNOLE

Table 19.4: Ravel, Rapsodie Espagnole, scales and modes

Scale/Mode Pitch content Harmonic structures Used in [#]

Mvt. 1d-Gypsy d e f g] a b c] B∅7 C]m7 C]7 0, 1, 2, 7, 9d-Octatonic d e f g g] b[ b c] [T]: B[7 E7 C][10

7 , 0, 1, 3, 5, 6, 8, 9[SD]: E[[97 C[9

7

d-Aeolian d e f g a b[ c Gm7 C7 F 6 4Mvt. 2a-Aeolian a b c d e f g 0, 6d-Gypsy See above 2, 13d-Octatonic See above 2, 13d]-Phrygian d] e f] g] a] b c] 10c]-Octatonic c] d] e f] g a b[ c 11Mvt. 3f]-Aeolian f] g] a b c] d e E7 C]7 1, 5f]-Phrygian f] g a b c] d e] G7 2, 6f]-Ionian f] g] a] b c] d] e] 3a-Aeolian See above 7, 9f -Aeolian f g a[ b[ c d[ e[ 8, 10Mvt. 4c-Mixolydian c d e f g a b[ 0, 3, 4, 5, 10, 11, 19, 20, 25c-Ionian See above 6, 21, 31f]-Phrygian See above 12, 13, 15, 30f]-Gypsy See above 12



Table 19.5: Ravel, Rapsodie Espagnole, Mvt. 1 Prelude a la nuit, tres modere


1 M0 d-Gypsy-Oct Intro, M0: Str↘ scalar riff

4... B[7 −B∅7 Str+Ob

8... B[7 −B∅7 [1] Str+EHn

14.../M1 d-Gypsy [2] A, D, M0: Vc+EHn, M1: Cl

16.../⊥ C]m

18... d-Oct A]7 − E7 −B[7 HiStr trem

22... A]7 − E7 −B[7 [3] Vi+Cl, LoStr trem

28.../M2 d-Aeol Gm9

7 −A[107 −D7 [4] B, M2: Str, M0: WW, climax

32 ⊥/M2 Gm97 −Aalt

7 −D7 2nd stat37 (M0) d-Oct C[9

7 [5] Vi+Fl41 ⊥ F 6 Va44 g-Oct E[alt

7 [6] SD, Clarinet cadenza

46 M0/M1 d-Gypsy C]alt7 − . . .− [7] A’, M0: Cel, M1: Vi+Va

54 d-Oct B[alt7 [8] T, Bassoon cadenza

56 M0 d-Oct-Gypsy B[7 −B∅7 [9] VI+Va61 ⊥ A (63 m.)



Table 19.6: Ravel, Rapsodie Espagnole, Mvt. 3 Habanera, Assez lent et d’un rythme las


1 <(D7 −G7/C]) A, Str, Cl: PD(c])7 C] [1] Hns+Tpt: PD(c])9 M1 f]-Aeol C]7 −D7 − E7 −D7 − E7 − F]− WW, Fl+Str: PD(c])

12... f]-Phryg G7

14... F]−G7 − . . .− F]−D7 [2] P (f]−c])

16 ⊥ C][5/[97 − F]−D7 (ped)

19 M2 f]-Ion F]−D]m7 −A/C]− [3] B, HiStr, PD(c])21 ⊥ G]m7 − C]7 − F] (ped)25 F]m− . . .− F]− . . .− [4] mode change (ped)

30 M1 f]-Aeol C]7 −D7 − E7 −D7 − E7 − F]− [5] A’, Cl+HiStr

34... f]-Phryg G7 BCl

35... F]−D7 [6] P (f]−c])

37 ⊥ C][5/[97 − F]−D]m7/F] BCl (ped)

40 M3 a-Aeol E7 −<(F7 − E7)/E − F[9/]117 −A [7] C, WW+Hrp, PD(e), T

44 M3 f -Aeol G[57 −<(C[9

7 −G[57 )− [8] Fl, PD(c]), SD

47 ⊥ B[/D −D7 − F]48 M3 a-Aeol E7 −<(F7 − E7)/E − F7 −A [9] Str+Hrp, PD(e), T

44 M3 f -Aeol G[57 −<(C[9

7 −G[57 )− [10] Hns, PD(c]), SD

55 ⊥ B[/D −D7 − F]56 F]m− . . .− F] [11] PD(c]) (61 m.)

19.4.3 Mvt. 3 Habanera

Form: ABAC. The habanera rhythm (18triplet + 1

8 + 18 ) and frequent use of pedal point (in

middle and upper voices) characterize this movement. Strings use a wide range of playingtechniques (muted, on the fingerboard, pizz, portamento, harmonics, on a specific string,divisi). The scales and harmonies used are specified in Table 19.4. See Table 19.6 for theanalysis.

19.4.4 Mvt. 4 Feria




19.5 Gaspard de la nuit (1908)

Source: [46]. Music for piano. An overview of the formal analysis is shown in Fig. 19.6.

Mvt. 2 Le gibet, Tres lent: ABA’ form (E[m,[

44

], 52 m.)

A B A’

Figure 19.6: Ravel, Gaspard de la nuit

19.5.1 Le gibet

Form: ternary song form, ABA’. This very slow tempo piece is kept at low volume: betweenppp and mf (climax in m. 17). Three short motifs return various times; the A section subjectsM0 and M1 are treated with parallel chord settings. Remarkable is the continuous use of theb[ = a] pedal note throughout the piece. See Table 19.7 for the analysis.

19.6 Ma mere l’oye, 5 Pieces Enfantines (1911)

Source: [48]. Music for orchestra. This suite contains five fairy tales from Mother Goose. Anoverview of the formal analysis is shown in Fig. 19.7.

19.6.1 Mvt 1 Pavane de la Belle au bois dormant, Lent

Form: ternary song form, ABA’. The opening slow movement is a miniature dance (pavane),with very light orchestral textures (solo lead instruments, muted and pizzicato strings); thereis a slight increase in tension towards the end through interval relations between melody andother middle voices and 9th chord structures. The second melodic statement, M2, is a variedmelodic inversion of M1. See Table 19.8 for the analysis.

19.6.2 Mvt 2 Petit Poucet, Tres modere



19.6. MA MERE L’OYE

Table 19.7: Ravel, Gaspard de la nuit, Mvt. 2 Le gibet, Tres lent

m M R H Comment

Tres lent[

44

]1 E[m A [[[[[[[] intro, PD(b[)

3 M0 <(E[m7 − C[∆7 −D[6 −A[[97 )− E[m7 e[-Aeol, LH: exact par6 M1 G[]11

7 /B[ <(B[[97sus4 −B[[137 ) RH (ped)

8 M0 E[m7 − C[∆7 −D[6 −A[[97 − E[m7 LH: exact par (ped)10 M1’ G[]11

7 /B[ RH: 2pt (ped)12 M0 <(B[[97sus4 −B[[13

7 ) RH+LH (ped)15 <(E[7sus4 −B[7sus4)−17 M0 <(E[[97sus4 − E[[13

7 )− RH+LH, climax19 ⊥ E[[97sus4 − E[[97 −20 F[97/A[− . . .− trans, par ch Σ(cm>)21 <(F[97 −B[m7 −D

9/[137 −A[[97 )/A[ ~H‖i↘

23 E[9/137 /G = G

[9/137 − . . .− B [\\\\\\] par ch Σ(cm>),

24 G137 − C13

7 − F]97 −B[137 − ~H‖i↘, P (a])

25 <(D][107 −G]13

7 )− (ped)26 M2 C]

[9/137 − RH, c]-Alt sc=g-Ac sc

28 ⊥ −A[9/[137

30 M2’ C][9/137 −B[]11

7 − LH (ped)32 ⊥ Gm11

7 − E[97 − E[[9/]11/137 − RH, PD(b[)

35 M0’ A[97/C A’ [[[[[[[] RH+LH (ped)

37... A[97/C (ped)

40 ⊥ G[137 /B[ trans, contrary par ch

42 M1 G[97/B[−G[137 LH, c-Alt sc, (ped)

43 ⊥ (G[137 −B[7sus4 −A[

9/]117 )/B[ (ped)

48 M0 <(E[m7 − C[∆7 −D[6 −A[[97 )− close, LH (ped)50 ⊥ E[m7 (52 m.)



1. Pavane de la Belle au bois dormant, Lent: ABA’ form (A-modal,[

44

], 20 m.)

A B A’

2. Petit Poucet, Tres modere: ABA’ form (C-modal,[

24

][34

], 79 m.)

A B A’

3. Laideronnette, Imperatrice des Pagodes, Mouvement de Marche:ABA’ form (F]-modal (Pentatonic),

[24

], 204 m.)

I A B A’

4. Les entretiens de la Belle et de la Bete, Mouvement de Valse modere:ABA’ Coda form (F ),

[34

], 172 m.)

A B A’ Coda

5. Le jardin feerique, Lent et grave: ABA’ form (C,[

34

], 56 m.)

A B A’

Figure 19.7: Ravel, Ma mere l’oye, 5 Pieces Enfantines

Table 19.8: Ravel, Ma mere l’oye, 1. Pavane de la Belle au bois dormant, Lent

m M R H Comment

1 M1 Am <(Am7 −G7no 3)−Am− A, Fl: a-Aeol, pizz muted Str, 2pt-S5 M2 Em <(Em7 − F]∅7)/E − . . .− Fl, arco Str, chr middle voice

9 M3 Em7 − C − C∆7 − F − Em/G− B, Cl, pizz Str

11... C∆7 −Dm/F − Em7−

12 ⊥ A7 −Am−

13 M1 Dm <(Dm97 −G)− [1] A’, Fl: a-Aeol, mel tension, S9

16 ⊥ Em Em17 M2 Am <(Em7 − F]∅7)/E −Am Vi1, arco Str (20 m.)



19.6.3 Mvt 3 Laideronnette, Imperatrice des Pagodes, Mouvement de Marche

Form: ternary song form, ABA’. This lively march is full of pentatonic melodies (M1, M2,and M4) and motifs (Mt and M3), using the f] pentatonic scale (the piano, ‘black keys’).While the A sections move in lively 16th note rhythms, the middle section eases down, withits quarter and half note rhythms and lyrical, quasi-improvising flute lead melody. Andonce, again, there are brief quotes from the first movement (the chromatic middle voice).See Table 19.9 and 19.10 for the analysis.

19.6.4 Mvt 4 Les entretiens de la Belle et de la Bete, Mouvement de Valse modere




Table 19.9: Ravel, Ma mere l’oye, 3. Laideronnette, Imperatrice des Pagodes, Mouvement deMarche

m M R H Comment

1 C] C6/94 − . . .− Intro, muted Str trem, P T (c])

9 M1 C]6/94 − . . .− [1] A, Pi: f]-Pent (ped)

13 ⊥ C]97sus4 − . . .−16 M1 C]

6/94 − . . .− [2] Pi-Fl: f]-Pent (ped)

21 ⊥ G]97sus4 Fl24 Mt <(C]97sus4 −G]m7/B)− C]7sus4− [3] Pi+Fl+Cel, trans32 M2 C]m <(C]m7 −D]m7)/C]− F]97− [4] (a): Ob, f]-Pent

38... <(B/F]− F]

9/]117 )− [5] (b): Fl, Pent-WhTSc

46... C][97 /E]−A][97 [6] (c): Fl-EHn, quote Mvt 1

50... G]97sus4 − . . .−

54... C]

6/94 − C]7sus4 − C]7−

56... F] <(F]69 − E9

∆7)− [7] Flts, cresc, f]-Pent65 ⊥ F]69 tutti climax

69 M3 D]m D]m117 − . . .− [8] B, WW+Str unis, f]-Pent

83 M3 D]m117 − . . .− [9] Cl, Str bg, P (d]−a])

93 M3 D]m117 − . . .− [10] Cel-Cl imit, 3rd st, (ped)

109 M4 (A]m97 − . . .− C]m7)/A]− [11] Fl, PD(a])

113... (D]−A]m7 −D]m7 − F]m7)/A]

115... (A]m9

7 − . . .− C]m7)/A]− (ped)

119... (D]m7 −G]7 −D]m7 − C]m)/A]−

121... (D]− C]m−D]−A]m7)/A]−

123... <(D][97 − . . .−G]m)/A]− [12]

135 ⊥ (F]−A]m7)/A]−137 M3 D]m7 − . . .− [13] Cl+Va, P (d]−a])

142 M1 D]m D]m117 − . . .− [14] A, Cel: f]-Pent, P T (d])

149 M1/3 G]97sus4 − . . .− WW+Str imit, tutti bg157 Mt <(C]97sus4 −G]m7/B)− C]97− [15] Pi+Fl+Cel, trans



Table 19.10: Ravel, Ma mere l’oye, 3. Laideronnette, Imperatrice des Pagodes, Mouvement deMarche (cont’d)

m M R H Comment

165 M2 C]m <(C]m7 −D]m7)/C]− F]97− [16] (a): Ob, f]-Pent

171... <(B/F]− F]

9/]117 )− [17] (b): Fl, Pent-WhTSc

179... C][97 /E]−A][97 [18] (c): Fl-EHn, quote Mvt 1

183... G]97sus4 − . . .−

187... C]

6/94 − C]7sus4 − C]7−

189... F] <(F]69 − E9

∆7)− [19] Flts, cresc, f]-Pent198 ⊥ F]69 tutti climax (204 m.)



Table 19.11: Ravel, Ma mere l’oye, 5. Le jardin feerique, Lent et grave

m M R H Comment

1 M1 C C − C∆7/E −Dm9 − Em7 − F 9− A (a) Str, ~H‖d , PB(↗)

3... G7 − F/A−G7/B−

4... Am7/C − Em/G−

5... Am9

7 − Em97 −Am9

7 −Dm9 −G/D− (b)9 ⊥ Dm7 −Am7 −Dm7 −G7sus4 (b’) cresc to climax

14 M2 <(F 9∆7 −G9

7 − F )/F [1] Cl+Va, EHn+Va, P (f)

18... (F 9

∆7 −G97)/F− Fl+Vln, 3rd stat

20 ⊥ Em−G97 − Em tutti climax

23 M3 Em Em−Dm7− [2] B (a): Cel+Vi1, e-Phryg/Aeol

25... C]m−Bm− E7− (a’): e-Mixolyd

26... C]m− F]m9

7 −Bm7−27 ⊥ <(D∆7 − C]m−Bm7)− (b) climax, ~H‖d29 M3’ <(E − C]m7 −Bm7)−

31... <(G]m− F]m−D]∅7)− (a): Va, e-Ion

33... G− F −Dm−<(G− Em−Dm) [3] Vi+Va+Cel, e-Phryg, cresc

36 ⊥ <(G− Em−Dm7)− tutti climax, Σ(cm<)

40 M1’ C C∆7 − Em7 − F∆7 −G−Am [4] A’, Str, Σ(cm>)42 ⊥ Dm7 − Em− F∆7 −G−Am9

7−44 M2 F 9

∆7 − . . .− WW+Str, P (f−c), cresc

48... F 9

∆7− tutti50 ⊥ <(C6 −G7sus4)/C − C [5] tutti climax, P T (c) (56 m.)

19.6.5 Mvt 5 Le jardin feerique, Lent et grave

Form: ternary song form, ABA’. The closing slow movement has two highly lyrical outersections, that are full of diatonic parallel chords and a stepwise ascending bass in the stringsection. Then, through a repeated ascending motif M2, these lead to a maestoso tutti climax.The contrasting middle section presents a number of modal scales, played by solo stringinstruments and doubled with celesta. In the coda the climax is supported by the pedalnotes played as a bell chord effect. See Table 19.11 for the analysis.





Table 19.12: Ravel, Daphnis et Chloe, Introduction

[#]+m M R H Comment

Lent[

44

](]]])

0 A A6/9/]11∆7 − . . .− (E-Ionian scale) A, Str: bell chord in 5ths

1 Mb A6/9/]11∆7 − . . .− Fl: birdsong, Ch: ch in 4th

1+3 ⊥ A6/9/]11∆7 − . . .− Hns in 4th

1+5 M0 F 97 /A− . . .− FHn: main theme D&C

2 Mb G9/]117 − . . .− Ob: birdsong

2+4 M0 D[9/]117 /F − . . .− Fl+Bsn: 2nd stat, Str: trem

3 M1 F 97 −<(Cm7 − F alt

7 )/F B, FHn, triplets

3+4... <(B13

7 −D]alt7 )/D]− WW+Str, build-up to clim

4... A6/C]− . . .− Str: triplet trem

4+3... G

9/]11/137 /B − . . .− tutti climax

4+7 ⊥ G9/]117 /B − . . .− easing down

19.7 Daphnis et Chloe, Ballet in three parts (1912)

Daphnis et Chloe is a ballet in three parts. Source: [47]. Music for orchestra and choir. Theanalysis presented here is incomplete. However, it contains all the dances and sections thatRavel used in his two orchestral suites, plus a number of additional ballet scenes.

19.7.1 Introduction

Form: binary, AB. The main characteristics are the long note opening string bell chord,adding overtones in 5ths (1− 5− 9− 6− 3−∆7− ]11, yielding the E-Ionian scale), birdsongfor solo woodwinds and the Daphnis et Chloe main themes (M0 and M1). Parallel chords onneighbouring steps for choir and horns. The B section is a build-up to the main theme M1 intutti climax. See Table 19.12 for the analysis.

19.7.2 Danse Religieuse



19.7. DAPHNIS ET CHLOE




19.7.3 Nymphs dance

Form: ABAC. In this scene the theme from the introduction returns in three statements,depicting the nymphs, that will start a slow dance, until they discover Daphnis. Tremolostrings provide the background. Then there is the beautiful, somewhat haunting choir, hum-ming in the distance, with lots of parallel chromatic stepwise movement. See Table 19.13 forthe analysis.

19.7.4 Danse Guerriere




Table 19.13: Ravel, Daphnis et Chloe, Nymphs dance

[#]+m M R H Comment

Modere[

44

]Three nymphs

70 <(G]alt7 − F]alt

7 ) Str: tremolo70+4 M G]alt

7 − . . .− Fl: intro theme (see #1)71 M’ F]alt

7 − . . .− FHn: 2nd st, PB(↘): WhTSc72 M” Ealt

7 − . . .− Cl: 3rd stat73 B[13

7 /D − . . .−B[97/D− WW+Hns, Str: gliss

Lent et tres souple de mesure[

68

]([[[[[) 3 nymphs dance

74 M1b d[ D[6∆7 − . . .− WW: S7 parallel (see #4)74+4 D[+ − . . .− Tpt, Str: desc trem75 M’ D[

[9/]11/137 −D[alt

7 − . . . Ob+Cl76 <(E[m7/G[−D[]5∆7)− E[m7/G[− Str: desc trem77 E[

[9/]11/137 − . . .− Str: S5 parallel

78 M’ g G97 −G7 − . . . Fl: intro th, Str: trem

79 M0 D[9/]11/137 /F − . . .− Cl+Va: main theme D&C

80 B97/D]− . . . WW: S5 par

81 c C9/]117 − . . .− Str: asc trem,

[34

](\\\\\)

82 A[137 /C − C

[9/]117 − . . .− WW+Str

Meme mouvement Choir: distant voices

83 Mv a Am− C]97 −Gm−B97 −Am6/+7− T: 1st stat (par desc)

83+5 Mv Am6 − C]97 −Gm7 −B97 − Fm6− A: 2nd stat

84 Mv Fm6 −A7 − E[m7 −G97 − C]m6− S: 3rd stat

84+4 A−A]m− F]− Σ(cm<)85 <(G7 − . . .−G]∅7)/B − . . .− climax, P (b)86 Mv Bm9

7 −G]m97 −Am− F]97 − Em− S; 4th stat

87 Em− C/E − E97sus4− par S5

87+2 Em7/D −Am7/C −Am7/C−87+3 Bm7 −Am9

7 − F]∅7/A− par S7

87+4 G∆7 −Am7/G−88 Mt c F][13

7 − C9/[57 − trans, FHn-Tpt

88+2 C][57 − . . .−D∅7/C − C9/[57 − . . .− chr asc, P T (c)

89 (C9/[57 −B[5

7 − C[57 − C][57 )/C− P i

B(↗), (ped)89+2 Mt’ (Fm7 − F∆7 −G)/C− Tpt90 (F+ −B[−B − C −A]m−B[)/C chr asc, P T (c)90+2 Mt (D]m− F]−G]−D7)/C− FHn-Tpt91 (B −A−D]m+7 −D+)/C− Str: gliss, chr↗91+2 (A]m− C −A[− F −D]m)/C−



19.7.5 Lever du jour

Form: ABAC. The main features of this scene are the virtuoso whirlwind arpeggios (32ths),the slowly rising melodic lightwaves through the strings and woodwinds and the intertwin-ing birdsong, until finally the main theme emerges. See Table 19.14 for the analysis.

19.7.6 Pantomime




Table 19.14: Ravel, Daphnis et Chloe, Lever du jour

[#]+m M R H Comment

Lent[

44

](]])

155 D <(D97/A− C9

7/F]) Mixolydian A1, Fl-Cl: 32ths, Str bg155+4 D][97 − C]11

7 /F]−D][97 −[

34

]156 M1 G6

9/D− Bsn+DB: theme, Vi1: birdsong

156+2... G6

9/D− Bsn+LoStr, Vi1+Pi: birdsong

156+4... G6

9/D− EHn+Bsn+LoStr+Va157 ⊥ D6

9− clim, Pi: birds, WW+Str: 32ths158 M2 D6

9− Cl+Va, Str bg+32ths

158+3... D6

9− Bcl+Vc: countersubject

159 ⊥ Am97− B Pi: birdsong, Str bg+32ths

159+1 M2’ Am97 − Em9

7 −Bm97 − Em9

7− Cl+Bsn+Va+Vc160 M2 G]m9

7 − C]97/E]−B69/D]− C]97− BCl+Va, ECl: birds, P i

m(↗)160+4 ⊥ B9

7 −Am97 − F]alt

7 − C]9∅7/E −D]97− cresc-decr

161 M2 D69− A2, Vi1+2, Choir: ch in 4ths,

162... C6

9− WW: 32ths, build to climax162+2 ⊥ Am9

7 −A137 −A9

7sus4− Vi+Fl+Bcl, Pm(↗)163 C]13

7 /E]− tutti climax164 C]13

7 /E]−B[5/[97 /E]− trans, Str: 32ths

165 M0 Em97− C, theme D&C, WW: 32ths

166 E97− Cl: 32ths, Str bg

167 M1 A97sus4− Bsn+LoStr: theme,

167+2... A9

7sus4− +Va, WW: 32ths

167+4... A9

7sus4 −G69− +Vi2, build to climax

167+6... G6

9 − Em117 − +Vi1+Brs, all WW: 32ths

168... D6

9− tutti climax, WW+Str: 32ths

169... D6

9−169+3 ⊥ D6

9− BCl+Va, Str bg

Retenez[

34

]+[

98

]170 Mt D7 − C]11

7 − trans, Ob171 ⊥ F]∅7/A− F]

[5/[97



Table 19.15: Ravel, Daphnis et Chloe, Danse Generale chord structures

Scale Pitch content Chords Comment

c]-Oct c]− d− e− f − g − g]− a]− b B[7 TGm7 used in [217]C]7B[m

f]-Oct f]− g − a− a]− c− c]− d]− e A,Am SDF]7, F ]m used in [203]C7 used in [204]E[7 used in [207]D]m7 used in [213]

19.7.7 Danse Generale

Form: ternary song form, ABA’. The chord structures in this closing movement, a fast ex-uberant and ecstatic dance in irregular meter

[54

], are based on two octatonic scales on the

tonic and subdominant step, as demonstrated in Table 19.15. Ostinato triplet patterns arejuxtaposed with 16th note runs, and both appear as series of chromatic parallel 3-part chords(extended chord functions). The main Daphnis et Chloe theme returns here as M0 in the mid-dle B section. The choir joins the orchestra in the second A section, gradually building upto an enormous closing climax. Note the diminished fifth relationship between chords androots in #219. See Table 19.16 to 19.18 for the analysis.



Table 19.16: Ravel, Daphnis et Chloe, Danse Generale

[#] M R Ped H Comment

Lent[

44

](]]]) transition

193 A6/]119 − Tpt, tutti, ~H‖d

Anime A[

54

]194 V F

]11/137 /A− A, WW: triplets ~H‖i

195 M0 F9/]117 /A− AFl+Vi

195+1 F9/]117 /A− WW: tripl ~H‖i

196 M1 I c] C]9/[57 − Cl+Va

196+4 ⊥ C]9/]117 − Hns+Tpt: tripl ~H‖i

197 M1 <(G]57 −G]7/B])− AFl+Vi2, Str: tripl

197+2... <(G]5

7 −G]7/B])−[

24

]197+4 ⊥ <(D]]57 −B9

7)− tutti cresc to clim198 D]]57 − trans

[54

]WW+Str: tripl ~H‖i↘

198+2 D]]117 −A]m− Tpt-Hns: tripl ~H‖i

199 IV a A]m/A− WW: triplets

199+1... A]m/A− Str: tripl ~H‖i , a−e-bass riff

200 M2... A]m/A− (= E

[9/]11/13no 7 ) ECl

201 M2 V... A]m/A− Cl+Tpt, Str: tripl ~H‖i

201+2...

... A]m/A− WW+Str: 16th/tripl ~H‖i201+4

...... (A]m−B7 − F7 −D7)/A−

[34

]cresc

201+7 ⊥ ⊥ (B7 −D7)/A−[

54

]202 M2 IV a A]m/A− tutti clim, Brs: tripl (a−e-riff)

202+2...

... A]m/A− WW+Str: 16th/tripl ~H‖i , cresc

203...

... <(F]m7 −Am7)/A− tutti climax, triplets (a−e-riff)

203+2...

... <(F]m7 −Am7)/A− clim, WW+Str: 16th+tripl ~H‖i203+5 ⊥ ⊥ A− Tpt: tripl ~H‖i↘

204 IV f] C/F] B, Hns+WW: triplets

204+1 Mt... C7/F] VI+Va: D&C

204+3 ⊥... (C7 − C[9

7 − F][97 )/F]− Bsn+Vc, WW: 16th↘

205 Mt... (D∆7 −D7 −Bm7 − F])/F]− Vc: 2nd stat, WW: tripl

205+2 ⊥ ⊥ (D −Bm7)/F]−Dm/F− Bsn+Vc, WW: 16th↘



Table 19.17: Ravel, Daphnis et Chloe, Danse Generale (cont’d)


206 M3 I e B[7/E− Bsn+Hns+Vc: Dorcon,206+1 ⊥ (B[7 − E[10

7 )/E −B[7/E− Tpt-WW: triplets207 M3 IV-I E[97 − E7 WW+Hns+Str: 2nd st207+1 <(E[97 − E[10

7 )/E[− WW+Brs: tripl, clim208 IV-I <(E[97 − E[10

7 /G])− WW: tripl ~H‖i208+2 <(B[97 −Gm7)

209 M0 I c] C]97−[

34

]Tpt+Str: th D&C

209+6...

... C]97 − C]]11/137 − tutti clim, tripl ~H‖i

209+10 ⊥... C]

]11/137 − Str+WW: tripl ~H‖i↘

210 I... C]7 A’

[54

]Str bg

210+2 M1... C]

[5/[97 − BCl+Vc

210+4... C]

[5/[97 − Hns: triplets ~H‖i

211 M1... G]

[9/]117 /C]− Cl+Va

211+2... G]7/C]− Tpt: triplets, WW: 16th ~H‖i

212 M1... C]

[5/[97 − Tpt+Vi2, Choir

212+2 M1... C]

[5/[97 − Cl+Vi1, Tpt-WW: tripl ~H‖i

213 M1... G]97sus4/C] Cl+Vi1, Tpt-WW: tripl ~H‖i

213+2 ⊥ G]97sus4/C] Str+WW: 16th/tripl ~H‖i , cresc214 M2 I7 e A]m/E7− WW unis, Brs+Str: triplets

214+2 ⊥... (A]m−B[+)/E− WW: 16ths, Brs+Str: tripl ~H‖i

215 M2... E∅7− WW: unis, tutti climax

215+2 ⊥ ⊥ E∅7 −B[7/E WW: 16ths, Str: tripl ~H‖i , cresc216 V Bm7/A− tutti climax216+1 B7/F]−A[7/E[− F7/C− WW+Str: 16ths Σ(cm<)

D7/A−B/F]216+2 A[7/E[− F7/C −D7/A− cresc

B7/F]−A[7/E[−216+3 M2 IV C7− WW, tutti climax



Table 19.18: Ravel, Daphnis et Chloe, Danse Generale (cont’d)


217 Gm7− tutti climax217+1 G7 − E9

7 − C]7− WW+Str: 16ths Σ(cm<)B[7 −G7−

217+2 E97 − C]7 −B[7− cresc

G97 − E9

7−217+3 M2 I C]7− WW: unis, tutti climax

218 V b <(C]7 −B7)/B− Coda[

34

]b−f]-riff,

218+4 <(E]m7/G]−D]m)− Brs: tripl, WW: 16th, g]−d]-riff218+6 G][13

7 /F]− F]/C−219 I B[/E − E/B[− tutti, cresc, Σ(cm<),219+1 A[/D −B[7/A[− WW: 16ths, Brs+Str: tripl219+2 G[/C − C/G[− build-up to final climax219+3 E/B[−B[/E−219+4 D/A[− E7/D−219+5 C/G[− F]/C−219+6 V/IV A/E[−Gm/B[− E7/B[−220 M2 IV=I a <(B[m/A− Ealt

7 )− tutti climax

220+4 ⊥... B[m/A− Hns: tripl, WW: 16ths

221 I-V-I... <(A−G]5

7 )/E tutti climax221+4 ⊥ A



Table 19.19: Ravel, L’Enfant et les Sortileges, Opening scene

[#]+m M R H Comment

Tranquillo[

88

](])

0 G g-pentatonic scale (par 4ths/5ths) Introduction, 2Ob1 g-pent. DB: harmonics countersub2 [V] g-pent. VMS: L’Enfant

Piu animato[

44

]3+3 M1 Am9

7 −Bm/D− WW: Maman motif,

3+4... Bm9

7 − C]m/E − C]m97 dim, Seq(3×R7)

3+5 ⊥ D]m7/F]− E[m97 −A[7 − Fm9

7−4 B[m9

7 − Fm97− Str bg

4+2 B[m97 − E[

[10/]117 −A[

[9/137 − Hns+WW

5 <(C]9 − F]]97 )− WW+Str accts5+4 <(E −B[m)−A∆7no 3− WW6 F]m7no 3 − C]m7 −G]m7 −A∆7 Str: diat par6+3 M1 F]m7no 3 −Am9

7 −Bm/D WW

19.8 Opera L’Enfant et les Sortileges (1925)

Source: [44]. This opera is full of unique orchestration effects, that support the story andits set of haunting and comical wallpaper characters, that come alive in the nightmarishdream of the main character, the child (national TV news banner: ‘Youngster on lude; sniffingwallpaper glue, or, how safe are our homes?’). In the analysis diagrams the beginning of vocallines is indicated as [V] (due to the operatic, story-telling and fragmented character of thevocal lines, the individual statements have not been marked in the tables). The melodicmaterial for the orchestra instruments is labeled as usual with M1, etc. This analysis coversthe first half of the opera.

19.8.1 Opening scene

Vocal parts: L’Enfant (mezzo-soprano) and Maman. Two hoboes, playing meandering high8th note patterns in parallel fourths and fifths set the (Oriental) mood. The Maman motif ischaracterized by a falling fourth in the lead voice; it is an instrumental (non-singing) part.See Table 19.19 for the analysis.

19.8.2 Scene L’Enfant: ‘Ca m’est egal!’



19.8. OPERA L’ENFANT ET LES SORTILEGES




Table 19.20: Ravel, L’Enfant et les Sortileges, Scene Le Fauteuil et La Bergere

[#]+m M R H Comment

Presto[

24

](\)

16 diminished 5th intervals trans, intro, Bsn16+4 octave leaps CBsn

Lento maestoso[

34

]([[) Duet: Fauteuil/Bergere

17 M3.1 Gm <(Gm+7 −A[57 −D9

7)− A, Pno+VB+VS, P (g−d)17+2 ⊥ (F −A[−B − E[m)/D− Pno: RH arp↗↘17+4 M3.1 <(Gm+7 −A[5

7 −D97)− 2nd stat

17+6... (F −A[−B − E[m)/D− Pno: RH arp↗↘

17+7... Em+7/9−

17+8... (E[+ −D+ −D[)/A Pno: RH

17+9 ⊥ Am−Dno 3 cad, Pno+Str pizz

B, Le Fauteuil18 M3.2 Cm9

7− (Dor scale) EHn+Vi, Seq(3×2m;R7)

18+2... B[m9

7− Cl+Hrp18+4 ⊥ A[m9

7 − . . .− Bsn+Pno18+8 D[9

7 Tbns

19 M3.1 <(Gm+7 −A[57 −D9

7)− A’, Pno repeat, P (g−d)

20 ⊥ <(Gm+7 −A[57 −D9

7)− Duet, WW accts20+2 C9

∅7 − . . .− C∅7−20+8 D9

7sus4− cad, Str acct

19.8.3 Scene Le Fauteuil et La Bergere

Form: ternary song, ABA’. Vocal parts: Le Fauteuil (bass) and La Bergere (soprano). Thisis a charming and elegant dialogue between soprano and bass, accompanied by piano. Themiddle section is a harmonic sequence with descending stepwise melody in woodwinds anddoubling. See Table 19.20 for the analysis.

19.8.4 Scene L’Horloge Comtoise




19.8.5 Scene La Theiere et La Tasse

Form: ternary song, ABA’. Vocal parts: La Theiere (tenor) and La Tasse (mezzo-alto). SeeTable 19.21 for the analysis.

After being launched by a grunting trombone and counterbassoon, here’s another dia-logue, in a competitive high tea setting, over a Cakewalk dance rhythm. The contrastingmiddle section is pure Oriental parody (fake Japanese lyrics over celesta in pentatonic par-allel fourth triplets and string pizzicati). In the closing section the two elements (British andOriental) are united in a tutti climax.

19.8.6 Scene Le Feu




Table 19.21: Ravel, L’Enfant et les Sortileges, Scene La Theiere et La Tasse

[#]+m M R H Comment

Allegro non troppo A[

44

]([[[[[[[) ‘British’

28 [V] B[m B[m intro, Tbn-CBsn28+8 <(B[m−G[7)− LoBrs: muted riff29 M5.1 E[7 −A[m6 − C[+− La Theiere, WW+Brs+Pno29+4 ⊥ E[7 − 〈Bm|A[m〉 Fl+Hns+Tpt: accts30 M5.1 〈Bm|A[m〉 − F∅7 −D[∅7/F[− 2nd stat

30+3... C[ Tpt-Bsn: accts

30+4... Cm/G−G9

7−30+6 ⊥ C7 −Gm/D − E[7 − C7 climax

B ([) ‘Oriental’31 M5.2 F Gmadd4 − C9

7 no 3− La Tasse, Cel: tripl par 4ths,

31+2... F 6 − . . .− F7 −B[6 − . . .− Str: pizz

32... <(Am7 −Gmadd9)− Em11

7 −

32+2... Am7 − E∅7 −Am7 −B∅7/D−

32+4... G7 −Dm7/C −D7−

32+6 ⊥ <(G97 −Gm7)− C9

7 − F cad

A’ ([[[[[[[) Instrumental

33 M5.1’ B[m B[m6 − E[]11/137 − Tbn: solo

33+3... A[m6/11 FHn-Tpt-Tbn: accts

33+5 ⊥ 〈Gm|E[7〉 − E[97 −A[m6/11

34 M5.1 A[m6/11− Tbn: solo

34+2... F[m

9/117 − FHn-Tpt-Tbn: accts

34+4... Cm/G−A[∆7 − F7/A− WW+Brs

34+6... G∅7/B[−G/B − C7 −D[]11

7

35+1... G7 −Dm7/C− ([) Duet: Tasse/Theiere

35+3 ⊥ D7 −G7 −Gm7− C97sus4−

36 <(A[m]11 − F ) Coda, tutti, triplets36+4 A[m]11 −Bm]11 −Dm− F]m−A climax36+6 C9

∆7 − F cad

Interlude[

34

]Transition

37 f -pentatonic scale L’Enfant, Cel38 A9/C] LoWW+Hrp+Pno+DB



Table 19.22: Ravel, L’Enfant et les Sortileges, Scene Les Pastoures et Les Patres

[#]+m M R H Comment

Moderato Introduction[

24

](\)

50 Am C9− Hns+Vln50+1 〈E|C〉 Fl+Cl: ~H‖i S5↗↘

51 [V] Am117 P (a−e) A, folk dance, Ch+Pno

51+4 M7.1a Am117 P (a−e) Choir

52 M7.1bb <(E[107 −D[10

7 − E7 −D7 −Am) cad, +Bsn+Cl, 1−5-ped53 M7.1c <(Dm−D)−Am11

7 − Em7− Pno+WW, P (d−a)

54 M7.1b <(Am− C]11∆7 ) Ob, P (a−e)

55 M7.1c F 6∆7 P (f−c)

55+4 ⊥ Dm−D −Am117 − Em7 −Am cad, Fl, 1−5-ped

B (]]]) Instrumental56 M7.2 A 〈Bm−A− C]m|A〉 WW+Tpt par, P (a−e)57 M7.3 〈Bm−A− C]m|A〉 ECl (ped)58 M7.2 〈Bm−A− C]m|A〉 Solo Voice, Pno+WW59 ⊥ 〈Bm−A− C]m|A〉 2 Soli, +Tpt (ped)

Rallentando – Piu lento C (\\\)60 M7.1b’ Am Am11

7 −Dm97 − C/E Cl, WW+Hns

60+7 C/E Str61 M7.1a Am11

7 Pno, P (a−e)61+5 M7.1b <(E[10

7 −D[107 − E[10

7 −D[107 −Am) Pno+WW

19.8.7 Scene Les Pastoures et Les Patres

Form: binary form, AB Coda. Vocal parts: Les Pastoures et Les Patres, choir. The intro-duction is a 16th note triplet exact parallel glissando in flutes and clarinets. A small drumprovides the groove for this pastoral folk dance. The choir is divided into humming voices forcontinuous harmonic support and parts with lyrics (sections or solos). The accompanimentis mainly by piano (playing ringing open intervals in bith hands) and woodwinds.

The middle section is for the orchestra instruments, playing in parallel S64 triads and

parallel thirds (the choral harmonic support carries on here). Note the continuous use ofroot-fifth pedal point (1−5-ped) and the frequent use of diatonic parallel in this scene. SeeTable 19.22 for the analysis.

19.8.8 Scene L’Enfant et La Princesse



19.9. PIANO CONCERTO IN G

Table 19.23: Ravel, L’Enfant et les Sortileges, Scene L’Enfant: ‘Toi, le coeur de la rose’

[#]+m M R H Comment

Andante[

44

]([[[) L’Enfant

73 M9.1 E[ <(E[− E[69 − E[∆7)/B[ A, 2Cl+Bsn+3Vi1, PD(b[)

73+5... <(E[−B[7sus4 − Cm7)/B[

73+7 ⊥ Cm7/B[−A[/C − E[

74 M9.2 Gm−Gm7/F− B, Ob+2Cl+FHn+3Vi1

74+1... Cm7/E[− E[∆7/D −Gm7−

74+2... E[∆7 − Cm7 −B[97/C−

74+3... Cm Cl+Bsn+Vi1

74+4... Cm− Cm7/B[−A[∆7−

74+6 ⊥ A[∆7 − Fm7/A[−A[∆7/C74+7 <(E[− . . .−A[6∆7)− E[ closing cad

Poco animato[

34

]([[[) trans

74+11 M9.3 E[+ − . . .− 〈F |E[7〉 Voc, tutti climax

19.8.9 Scene L’Enfant: ‘Toi, le coeur de la rose’

Form: binary song, AB. Vocal part: L’Enfant (mezzo-soprano), aria. This is a lovely, delicateshort ballad, full of melancholy, with tonal character and popular hit potential. The accom-paniment is brilliant in its simplicity and beauty: three solo violins play steady 4th notes,doubled with sustained chords in woodwinds and occasionally a single French horn. That’senough to move a sensitive listener. See Table 19.23 for the analysis.

19.9 Concerto pour Piano et Orchestre (1932)

Source: [45]. An overview of the formal analysis of the three-movement piano concerto isshown in Fig. 19.8. The fast opening sonata form movement has a long recapitulation sectionwith the character of a secondary development. The slow middle movement has ternaryform. The very fast closing movement is another sonata form. Key areas are determined bythe melodic modes used; there is use of bitonality (as two parallel modes) and polychords(e.g. as a triad over an independent root).

19.9.1 Mvt. 1 Allegramente

Form: sonata form. See Table 19.24 to 19.27 for the analysis.This fast opening movement of the piano concerto has no introduction. The harmony in

the first measures of the Exposition is a polychord: a G major triad over a D]7 chord, notated



Mvt. 1 Allegramente: sonata form (G-modal,[

22

], 323 m.)


Recapitulation + 2nd Dev (123 m.) Cd (28 m.)

Mvt. 2 Adagio assai: ABA’ Coda form (E-modal,[

34

], 108 m.)

A B A’ Cd

Mvt. 3 Presto: sonata form (G-modal,[

24

], 306 m.)

Intro (36 m.) Exposition (117 m.) Development (60 m.)

Recap (54 m.) Coda (38 m.)

Figure 19.8: Ravel, Concerto pour Piano et Orchestre

as 〈G|D]7〉 (this notation is defined in Chapter 1, and more specifically in Section 1.3.1; seebelow). This harmony is found explicitly as triplet arpeggio patterns in the piano. Althoughthe concerto is in the key of G major, there is a dominant pedal point d in the bass (m. 1-13), until the descending diatonic parallel triads in G-Lydian take over. So the completeharmonic texture may be notated as 〈G|D]7/D〉R.

The Group 1 theme M1 has the lead part for piccolo (m. 2 ff.) and consists of C- andG-pentatonic motifs. It has structure M1(abc) (4 + 4 + 6 m.). The M1c-phrase with themany descending fourth leaps will return as an independent element; therefore it is labeledMf=M1c. The second statement is for trumpet in [2] (m. 25 ff.). The descending fourth motifMf appears in variation in B-Aeolian [3] (m. 37 ff.).

Thematic Group 2 starts in [4], also with a mix of modes: in M2.1 for solo piano we findF] : {f]−g−a−a]−c]−d−e}, an altered scale (with \5, m. 44) also known as F]-Mixolydianwith [9, ]9. Then in M2.2 for E[ clarinet there is F] : {f] − g] − a − a] − c] − d] − (e)}, aMixolydian mode with [10 (m. 52); this scale has Blues flavour because of the lowered thirddegree [3 = [10. The lowered ninth and third (tenth) continue in M2.3, again for solo piano;the chordal functions (e = 7, g = [9, a = [10, d = [13) yield an F]alt

7 chord. The lyrical themeM3 in [7] (m. 75 ff.) mixes the E-Mixolydian mode (the E major pentatonic theme) in thepiano melody over harmonies from a variation on an altered scale E : {e − (f]) − g − g] −a] − c] − d} (with \9, \13, m. 78), with C]-Aeolian (m. 88 ff.). The second statement is forbassoon in [9] (m. 96 ff.). The stepwise ascending closing phrase for trumpet (m. 104), withopening contrary motion in the brass and lower strings leads into the development.

As we have seen, an important element are the melodic modes in the lead parts (pianoor orchestra instruments); harmonies will be derived from these modes. Frequently theseare unconventional chords, not built completely from thirds. In this fast opening movementthere are a number of polychords as triads (or 7th chords) with independent bass. Beforecontinuing the description of the movement, let’s list these chords and their companionmodal scales:



Table 19.24: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente

m M R H Comment

Allegramente (])[

22

]Exposition, Group 1

1 G 〈G|D]7/D〉R Pno+Str, PD(d)2 M1 <(〈G|D]7/D〉R −

⟨D7no 3|G]4/D

⟩R) ab): Pi, Pno 8th triplet arp

... Pno RH/LH G-Ion/C]-Dor

10... (f) <(〈G|D]7/D〉R −

⟨D7no 3|G]4/D

⟩R) c): Pi, PD(d)

13...

⟨D7no 3|G]4/D

⟩R −Bm− Pi+Fl

14... A−G− F]m− Em− Str+Pno LH ~H‖d↘, G-Lyd

15 ⊥ F]m−G− F]m− Em−16 (M1) D −D9

7sus4 − . . .− [1] tr, Cl-(Fl+Pi), Pno glis, PD(d)

20... D9

7sus4 − . . .− C −Bm− Ob+Cl, Hns+Tpt

23... Am7 −G9

∆7 − F]∅7 − Em− tutti, ~H‖d , Σ(cm<)24 ⊥ D − C −Bm−Am7− D-Mixolyd25 M1 G−<(G−D7sus4)/D− [2] ab): Tpt, Brs+Hrp appogg

33... (f) <(G−D7sus4)/D c): Tpt, PD(d)

36 ⊥ D7sus4 −G/D −Bm/F]−(]]) B-Aeol, climax

37 Mf Bm <(Bm− C]m)/F]− [3] WW+Tbn+Vi PD(f])

40... Bm/F]− C]m/G]−D− Bsn+Brs [S6

4 ]↗41 ⊥ E/B − F]m/C]−G/D−42 Mt F]m/C]−D∆7− Hn, Str pizz43 ⊥ D]∅7 − [G]m/C]]R−

Meno vivo44 M2.1 F] F]

[9/[137 − . . .− [4] Gr 2, Pno solo F]-alt’, P (f])

52 M2.2 F ]9 − . . .− [5] Cl-Tpt F]-Mixolyd’, Str bg55 M2.3 F]alt

7 − . . .− Pno solo F]-alt’63 M2.2 F ]9 − . . .− [6] Pi-Cl-Tpt F]-Mixolyd’, Str bg67 M2.3 B

[9/[137 − . . .− Pno B-alt, Hns P i

m(↘)(]]]]) B-Aeol, climax

75 M3 E Em− E9∆7 − . . .− [7] a): Pno solo E-Mixolyd

78... E

[9/]117 − . . .− E-alt’, Str bg

80... E

[9/]117 − . . .− 〈E∆7|Am〉 − . . .− b)

84... Am+7 −A9

∆7 − . . .− [8] c): Pno solo

88... <(C]m9

7 −D]m7 − C]m7)− d), C]-Aeol91 ⊥ E −G]m− F]m9

7 −B97−



1. [G]/E]R (m. 142) yields the E-Lydian-augmented scale (Ionian with raised 4th and 5thdegree, ]4, ]5): e− f]− g]− (a])− b]− (c])− d], or, equivalently, G]-Mixolydian withlowered 6th ([6) g]− (a])− b]− (c])− d]− e(= f[)− (f]). Some degrees are shown inbrackets, since they do not appear explicitely in the score.

2. [G]/A]R (m. 146) yields the G]-Mixolydian scale with [9: g]−a−b]−(c])−d]−e−(f]).This type returns in m. 156 as [E6/F ]R.

3. [G]/D]R (m. 146) yields G]-Mixolydian with [9, ]11, [13: g]− (a)− b]− d(= ×c)− d]−(e− f]). This type returns in m. 169 as [A]9

7 /E[]R.

4. [A/F ]R (m. 156) yields the A-Lydian scale with lowered 6th degree [6: a − (b) − c] −(d]) − e − f − (g]) or A-Mixolydian with 9, ]11, [13: a − (b) − c] − (d]) − e − f − (g),or F -Lydian-augmented f − (g)− a− (b)− c]− (d)− e. This type returns in m. 160 ff.as [A/F ]R− [D/B[]R− [G/E[]R, in m. 229 as [F]/D]R in m. 234 as [B/G]R in m. 249 as[B7/G]R.

5. [F]/A]R in m. 255 yields F]-Mixolydian with [9, ]9: f]− (g)− a− a]− b− c]− (d])− e,or F]-altered with \5: f]− (g)− a− a]− (b)− c]− (d)− e. The same scale type is usedin m. 44 in M2.1.

The Development ([10], m. 107 ff.) picks up speed with the original tempo and the 8thnote groove in the piano; this hints at the fourth leap theme Mf , but now set in two partsS(2p). There is extended pedal point P (f]) (m. 108-141). From [12] (m. 123) a number ofstatements with material from the Mf and M2.2-phrase (Blues). The transitory episode in[14] (m. 142) continues the piano 8th note rhythms over E-Lydian-augmented (Ionian withraised 4th and 5th degree, a] = ]4, b] = ]5) and Mixolydian with [9 modes. The bass movesthrough an extended circle of fifths pattern in m. 142-170: e− a− d− g− c− f − b[− e[, withadded 6th chords in the right hand B6−E6−A6. The ascending fourth leaps in the bass areimitated in the 3-part S(3p) woodwind chords (m. 160-161). The conclusion in [16] (m. 162)for piano and strings is in E[-Mixolydian (the [7 also contributes to the Blues flavour). Thereis a solo phrase [17] (m. 171) for the piano in 8th notes in parallel octaves at the end. Thecadence E[7−G may be considered as plagal, since the pitch e[ lies on the subdominant axisSD: c− e[− f]− a.

The opening theme M1 returns in the (False) Recapitulation in [18] (m. 172) as blockchords in the piano with offbeat accents in the orchestra. The M1b-phrase and M1c=Mf -phrases are played by woodwinds. In [19] Mf is repeated, doubled by piccolo and trumpet.

This section might also be considered a genuine recapitulation, were it not that the Group2 themes M2 and M3 are treated with significantly different settings and instrumentation.Note that the key centres in the exposition are G−Bm−E (all related to G-major or Ionianmode), now they are G−B[−Dm (G-minor or Aeolian mode). After the oboe lead transition(m. 189-190) the solo piano once again takes responsibility for the first Group 2 theme M2.1and M2.2 in [20] (m. 191 ff.), now varied and embellished. However, it is the harp harmonicsplaying M2.3 in [22] (m. 204) in the new 3/4 meter and tempo (Andante) which gives thissection the flavour of a secondary development. There is extended pedal point P (a) (m. 191-225).

The number of statements of M2 is the same as in the exposition; that also holds forM3 (two statements). The piano seems to comment on theme statements; see the arpeggios



Table 19.25: Ravel, Concerto pour Piano et Orchestre, Mvt. 1 Allegramente (cont’d)

m M R H Comment

96 M3 Em− E9∆7 − . . .− [9] 2nd stat, a): Bsn, WW+Hn bg

99... E

[9/]117 − . . .− E-alt’, Pno arp

101... E

[9/]117 − . . .− 〈E∆7|Am〉 − . . .− b)

103... Am+7 Str bg, WW accents

104 ⊥ A9∆7 − . . .− F]97/C]− a’): Tpt, Bsn+Brs Σ(cm<), clim

Tempo primo (]]]]]) Development107 (Mf ) B C]m+7− [10] trans, Pno S(2p)

108... <(C]m+7 − F]97)/C]− Str-WW accts

111... B/F]− b’): Pno, PD(f])

112... <(E∆7 −B∆7)/F]− Str-WW accts

115... E+/F]− [11] c’): Pno, PD(f])

116... <(F]97 − C]m+7)− Str-WW accts

119... (D]m7 −B∆7)/F]− c’): Pno

120 ⊥ <(E9∆7 −B∆7)/F]− Str-WW accts

123 Mf D D/F]− [12] (]) Pno, D-Mixolyd, P (f])124 ⊥ (D9

7 −Bm7)/F] Str+WW accts127 M2.2 D]9 − . . .− Pno D-Blues131 Mf D]9

7 /F]− [13] Pno132 ⊥ <(D]9

7 /F]− Cm)−D]97 /F] Str+WW accts

135 M2.2 D]97 /F]− . . .− Pno F -Blues

139 Mf G]7/F]− . . .− (]]]]) tr, Pno S(2, 3p)-Tpt142 E [G]/E]R − . . .− [14] Pno E-Lyd-augm146 [G]/A]R − . . .− [G]/D]R−150 M

′f Dm/G− . . .− [15] (\) Hn

152 [B6/C]R − . . .− Pno B-Mixolyd-[9156 [E6/F ]R − . . .− [A/F ]R− Pno E-Mixolyd-[9160 [A/F ]R − [D/B[]R − [G/E[]R− WW S(3p) 4ths↗163 E[97 − . . .− [16] Pno E[-Mixolyd, P (e[)

169 M1’ E[ [A]97 /E[]R− Fl+Tpt

171 E[[137 − . . .− [17] Pno solo cad



behind M2.2 in [24]. This role is fulfilled by the 32th notes arpeggios and (chromatic) scalarruns in the woodwinds when the horn takes the lead for M2.3 in [25] (m. 221 ff., but nowstarting on the pitch c = [10). The piano plays a variation on M3 in the first statement [26](m. 230 ff., 16th note left hand arpeggios) and is doubled with first violins in the secondstatement [27] (m. 243 ff.). This may be considered a solo cadenza in the piano concertocontext. Meanwhile, the descending 5th pattern in the roots R5 : a − d − g − c has beenleading us into the subdominant area.

The original mood and tempo return in the transitory section in [29] (m. 255 ff.) with thevirtuoso 8th note groove patterns in the piano, and occasional downbeat accents in (pizzi-cato) strings and woodwinds. It feels like executing a homerun; the piano lead tones createascending arpeggio patterns, such as b − e − g − b − c] in m. 257-259, that remind us of thewoodwind accents in m. 109-111 (beginning of the development). The bassline starts on a(m. 255-268) and then ascends as b[− c− d− e[− e− f (reached in m. 275); there is anothersequential cycle-of-fifth pattern in m. 275-289: (f−b[)−(g−c)−(a−d)−(d−g−c−f−b[−e[).The Mf motif emerges in m. 269 in the piano, and is taken over by the trumpet in [31]. Thetransition in [32] and [33] (m. 281 ff.) is the equivalent of m. 151 ff. (at the end of the devel-opment section).

The Coda [34], m. 295 ff., is an orchestral tutti, beginning with stretto imitations of M1phrases and motifs. The piano is continuing the transition pattern in 8th note block chords.In the lead there is the major pentatonic 8th note pattern (m. 298), that is harmonised differ-ently four times: m. 298-300 over alternating bass part patterns c− g (stressing the subdomi-nant domain), then m. 301-304 over bass e−b, then [35] m. 305-308 and 309-312. This is whenthe descending root-by-fifth pattern a− d− g in the bass establishes the starting point tonicroot, and a tutti climax in [36] concludes the movement. In this climax bassoon and hornsplay diatonic parallel triads ~H‖d that pass through major-minor modal variants: G-Lydianand G-Aeolian. The final measures copy this idea to the full orchestra, but now there is thejuxtaposition of G-Lydian (major mode) and G-Phrygian (minor mode).

19.9.2 Mvt. 2 Adagio assai





m M R H Comment

[18] (]) (False) Recap172 M1 G <(G−D7sus4)/D− ab): Pno-Pi, tutti, PD(d)

177... D7no 3 − . . .− Pno+HiWW

180... (f) (G− . . .−G6

9)/D− c): Pn+Cl (see m. 10)182 ⊥ (G−G6

9)/D− Pno+HiWW184 Mf B[ <(B[]97 − F

9/]117 )− [19] ([) Fl+Cl+Tpt

187 B[/F − C7/G−B[∆7/A− [S64 ] , PL(↗)

188 E[/B[− F/C −G/D−189 Mt Am/E − F∆7 − F]∅7 − Em9

7− Ob, Bsn+Hns bg (see m. 42)

Meno vivo [20] 2nd Development191 M2.1 A A

[9/[137 −A]9

7 − Pno solo A-alt’, P (a)

199 M2.2 A]97 − . . .− [21]

Andante [22][

34

]204 M2.3 A7 −Aalt

7 − Harp harmonics, A-Myxol-alt’

210... Aalt

7 − [23]212 ⊥ A−D7/A− Str harmonics

Tempo 1o [24][

22

]216 M2.2 A]9

7 − Pi, tutti climax, Pno arp217 ⊥ Aalt

7 − . . . Cl-Tpt, Str glissAndante - a piacere [25]

[34

]221 M2.3 A]9

7 − Hn, Bsn-Fl 32ths, P (a)

226... D[10

7 −D97 −D[9

7 − Cl-Ob P iL(↗), P i

m(↘)229 ⊥ [F]/D]R−

[26][

44

]230 M3 C [F]/D]R −G−G7− a): Pno solo G-Mixolyd

234... [B/G]R − C∆7/G− b), LH 16th arp

238... C9

∆7/B − Em97 −Bm7− c), E-Aeol

242 ⊥ <(Am97 − Em9

7)−Dm7 − [F]/D]R−247 M3’ G−G9

∆7 −G137 − [27] a’): Pno+VI1, P (g)

249... [B7/G]R − C −A7 − E−

252 ⊥ A137 /E − . . .− [28] tutti clim, Pno arp

Tempo primo [29][

22

]255 A A2 − [F]/A]R − [Em/F ]R trans, Pno solo polymod, P (a)263 F∆7/A− [C7sus4/A]R− WW accents




m M R H Comment

267 (F]∅7 −D)/A−Gm/B[− [30], Pno, Str bg, PB(↗)269 (Mf ) Gm7/B[− . . .−273 ⊥ Am/C − C/D − Cm/E[− C7/E− [S6]↗275 M

′f F7no 3 −B[/F −G[[97 /B[− [31] Tpt (see m. 150 ff.)

278 [A6/B[]R −G[9/137 /B− Pno A-Mixolyd-[9,

Seq(2×4m;R7)281 [B6/C]R −A

[9/137 − [32] Pno B-Mixol-[9

284 [C]/D]R − F]/D −B/G−287 [E/C]R − [A/F ]R− WW S(3p) 4ths↗288 [D/B[]R − [G/E[]R−289 E[ E[97− [33] tr, Pno E[-Mixol, P (e[)

295 M1’ C C −G137 −G7sus4 −G7− [34] Coda, a’): imit Tpt-WW

298... (f) C∆7 −G7 − C/G−G9− c’): imit Tpt-WW

301... C −G7 −<(Em7 −Bm7)− b)

305... A9

7 − . . .− [35] b): Bsn

309... G D9

7sus4 − . . .− b): imit WW

313... <(G− [F]/G]R − 〈E|G〉 − [F]/G]R)− [36] Tpt+HiWW, tutti clim

315... <(G− [F/G]R − 〈E[|G〉 − [F]/G]R)− G-Aeol ~H‖d

317... <(G− [F]/G]R − 〈E|G〉 − [F]/G]R)− repeat, G-Lydian

318... <(G− [F/G]R − 〈E[|G〉 − [F]/G]R)− G-Aeol

319... <(G− [F]/G]R − 〈E|G〉 − [F]/G]R)−

320... <(G− [F/G]R − 〈E[|G〉 − [F]/G]R)−

321 ⊥ G− F]− E− ~H‖d↘ G-Lyd322 D − Cm−B[m−A[− ~H‖d↘ G-Phryg323 G (323 m.)



19.9.3 Mvt. 3 Presto



Chapter 20

Sergei Prokofiev

Biographical data:

1600 1700 1800 1900 2000

∗ 11 (23) -4-1891 in Sonzowka† 5-3-1953 in Moscow

Classical harmonic analysis will fail in many pieces by Prokofiev. His chord structuresand progressions are frequently based on non-traditional principles (non-diatonic chordstructures, bitonality, etc.); see [35] for an overview of his techniques. Formal analysis andkey/root identification is still applicable to a subset of his compositions, deliberately writtenin a more or less tonal style.

20.1 Classical Symphony (No. 1), Op. 25 (1917)

Source: [41]. This symphony is based on the classical template four-movement form: sonataallegro – slow second movement – scherzo and trio – very fast closing sonata movement.The harmonic idiom is kept very simple (and therefore atypical of later Prokofiev compo-sitions): note the use of triads, 7th chords and the rare use of extensions and chromaticalterations. The instrumentation has an early Classical Period (Haydn) flavour, with stringsand two-player woodwind section dominating. An overview of the formal analysis is shownin Fig. 20.1.


Form: sonata form. This opening movement obeys closely to the classical sonata form model.The Exposition contains two thematic groups, in the tonic and dominant key respectively.The Development contains modulating sections, melodic augmentation and imitation (in-cluding a stretto). There is a Recapitulation with coda closing. The instrumentation is light,with strings and woodwinds dominating, and occasional brass support for climaxes. A re-markable feature is the key sign change in the development, that only returns to the originaltwo sharps (D major) during the recapitulation. See Table 20.1 and 20.2 for the analysis.

The Exposition first group theme has M1.1(ab) (4+4 m.) structure. The a-phrase is in thetonic major D, in 8th note rhythm over a simple tonic-dominant-tonic I−V−I harmony. The


CHAPTER 20. SERGEI PROKOFIEV

Table 20.1: Prokofiev, Classical Symphony, Mvt. 1 Allegro

m M R H Comment

1 D D− Intro (]]) Str unis

3 M1.1 D/F]−A7/E −D −A−D −A/Ed− Exp, Gr 1 (a): Vi1, HiStr bg

7 ⊥ <(Bm/D −A/E −Bm/D)−D− mod trans, P (d)11 M1.1 C C −G/D − C −G7 − C −G/D− [1] 2nd stat, (a): Vi115 ⊥ F]∅7/B − C]5

∆7 −A7/C]−A− mod trans, P (b)19 M1.2 D <(D −A7)− [2] (a): WW

23... <(D −A7)− F]7

d− (a’): Bsn+Vc

26 ⊥ G− F]7d− G−A]◦/E −Bm cad, Σ(cm<)

28 M1.2 Bm <(Bm− F])− [3] 2nd stat, (a): WW32 ⊥ <(Bm−Bm7/F])−Bm− E (a’): Bsn+Vc36 (M1.2) <(E7 − F]m− E7)− [4] trans, Fl+Vi1, P (d)40 ⊥ E7 − F]m− E −D∆7 −Bm42 E7 − . . .− [5] trans lead↗, PD(e)46 M2 A A−G]∅7 − F− [6] Gr 2 (a): Vi152 B [7] Hns+LoStr unis arp54 M2 A−G]◦− 2nd stat, (a): Vi1

58... C <(F − C)− [8] (b), plagal cad

62... F]m− C]− F]m7 −A− (b): Fl

65 ⊥ C]−Bm− E− cad66 M2 A A−G]◦ −D∆7− [9] 3rd stat, (a): VI172 ⊥ Bm9

7 − E137 − E7−

74 A− . . .−D∆7 −Bm7 − E7− [10] tutti clim, cad78 A− . . .−D∆7 −Bm7 − E7−

82 A− E7

d− F]m− E7

d− D − E7 −A [11] tutti clim, closing

87 M1.1 Dm Dm−A−Dm−Am/E− [12] Dev (\\) (a): Vi1

91 ⊥ <(G7

d− Am7/C)−G7

d− mod trans, P (g)

95 M1.2 A[ A[− . . .− E[[97d− [13] imit: WW+Str

99 M1.2 F F − . . .−A[97

d− imit (cont’d)

103 (M1.1) <(F]∅7/B − Em7 − F]∅7/B) [14] mod tr, (b): WW107 ⊥ <(B7 − F][57 /C −B7)− (b): WW+Str

111 M2 E E/B − . . .−B7/Ad− [15] Hns+LoStr aug, climax

115 M2 C C/G− . . .− F]7− Vi+Fl (augm)

119 M2 B B/F]− . . .− F]7/Ed− [16] Hns+LoStr

123 M2 G G/D −G−D7/F]d− [17] Fl+Vi (sync, 1beat del)


20.1. CLASSICAL SYMPHONY (NO. 1), OP. 25

Table 20.2: Prokofiev, Classical Symphony, Mvt. 1 Allegro (cont’d)

m M R H Comment

127 M2 C C7/G− E◦/G− F stretto, tutti climax

131 Am− C/G−Am7/G−G7

d− [18] retrans, climax

134 Am−Dm97 −D/G−G7− cad

138 C − . . .− [19] clos, unis arp↑

142 M1.1 C C −G7/D − C −G− C [20] Rec, Gr 1 (a): Vi1

146... <(F]∅7/B −Bm)− mod trans, (b): Vi1

148 ⊥ F]∅7/B − C]m−A7/G−A− cad, Σ(cm<)150 M1.2 D <(D −A7)− [21] (]]) (a): WW

154... <(D −A7)− F]7− (a’): Bsn+Vc

157 ⊥ G− F]7d− G− F][57 /E −Bm cad, Σ(cm<)

159 M1.2 B B − C]−B − F]7 −B −B7

d− [22] (a): WW

163... C − C/E − Em7− WW-Va imit

167 M1.2’ A[97 [23] Cl+Vc-Va

169 ⊥ A7 − Em−A7− cad, Σ(cm<)171 M2 D D − C]◦ −B[− [24] Gr 2 (a): Vi1177 ⊥ E [25] WW+LoStr unis arp179 M2 D − C]◦− (a): Vi1

183... B[− F −B[− F [26] (b)

187... Bm Bm− F]−B (b): Fl

189 ⊥ m7 − F]7d− G∆7Em9

7 −A7− [27] cad194 D D −G∆7 − Em−A7− [28] Coda tutti climax, cad198 D −Bm− Em9

7 −A7−

202 D −A7

d− Bm−A7

d− G−A7 [29] cad closing

205 D climax, Σ(cm<) (207 m.)



Mvt. 1 Allegro: sonata form (D,[

22

], 207 m.)

Exposition Development Recapitulation Cd

Mvt. 2 Larghetto: ABA’B’A” form (A,[

34

], 71 m.)

I A B A’ B’ A”C

Mvt. 2 Gavotte (expanded version), non troppo allegro: scherzo and trio form,ABABAB Coda form (D −G,

[44

], 120 m.)

A B1 A’ B2 A” B3 Coda

Mvt. 4 Finale. Molto vivace: sonata form (D,[

22

], 225 m.)


Figure 20.1: Prokofiev, Classical Symphony, Op. 25

melodic curve is descending, using stepwise motion in the first measure, leaps in the secondand then a closing arpeggio on staccato notes. The instrumentation is violins and violas;note the closing contrary motion in the first two measures. The b-phrase is in the relativeminor Bm, over a tonic pedal and changing the instrumentation (adding low strings andwoodwinds).In its basic form the theme M1.2 is two measures long with structure M1.2(ab):the a-cell has the characteristic upward sixth leap at the end on beat 3 and 4, the b-cell hasdiatonically descending motion. Prokofiev plays with these two elementary cells already inthe exposition. The first statement is in imitation in the woodwinds: flute-(oboe+clarinet)-(bassoon+cello), yielding a total melodic structure M1.2((ab)+(ab)+(aab)). This approach isrepeated in the second statement in [3], m. 28. In the transition [4] the total length is stretchedby fragmenting the cells.

The secondary group theme has sentence structure M2(aab) (2 + 2 + (2 or 4) m.): the a-phrase contains the light and playful downward octave leaps, the b-phrase is a downward-upward arpeggio in the first statement in [6] and a more lyrical four-measure phrase in thesecond statement [7–8]. So the overall structure is M2(aab1aab2b2). In the third statement[9], the b1-phrase is varied, becoming arpeggio-flavoured cadences with tutti climax at theend of the exposition.





Table 20.3: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro

m M R H Comment

1 M1.1 D D − Em−B/F]− F]7d− G A (]]) (ab): Vi+WW, Σ(cm>)

5 M1.2 || : D −Ad− Bm− F]m− C]7

d− D [1] stat 1, (aa’): HiStr

9 ⊥ D −A7

d− C]/G]−G]−A7 −D (bb’): Str+WW, clim, cad

13 M1.2 D −Ad− Bm− F]m− C]7

d− D stat 2, (aa’): HiStr

17 ⊥ D −A7

d− C]/G]−G]−A7− (bb’): Str+WW, clim

20 D −Gno 3 : || cad

21 M2 G (G−G[97 − Em7 −Bm7)/G− [2] B1, (a): WW 4th, P (g−d)

25 ⊥ (G−G[97 − Em7 − F]∅7 −G)/G− (a’): WW

29 M2/c (G−G[97 − Em7 −Bm7)/G− [3] (a): Str, Mc: WW P (g−d)

33 ⊥ / ⊥ (G−G[97 − Em7 − F]∅7 −G)/G− (a’): WW

37 M1.1 D D − Em−B/F]− F]7d− G [4] A’ (]]) (ab): Vi+WW, Σ(cm>)

41 M1.2’ D −Dm−A/C]− var, (a): HiStr+WW

43 ⊥ C]m− C −Bm117 −A

d− (a’)

45 M1.1 Bm/D − F]m7 − C]/E]− (a): Str+WW, clim, cad47 ⊥ G]−A[5

7 /E[−D (b): WW

49 M1.2 D −Ad− Bm− F]m− C]7

d− D [5] stat 2, (aa’): HiStr

53 ⊥ D −A7

d− C]/G]−G]−A7 −D (bb’): Str+WW, clim, cad

20.1.3 Mvt. 3 Gavotte

Form: scherzo and trio, ABABAB Coda form. This gavotte is the new expanded version. SeeTable 20.3 and 20.4 for the analysis.

The A section theme M1.1(ab) (2 + 2 m) is characterized by the pesante 4th note octaveleaps and contrary motion. The M1.2 subject is derived from the first theme, but containsmore scalar, stepwise motion in 8th notes. It has M1.2(aab) (2 + 2 + 4 m.) sentence structure.A characteristic feature of this section are the many deceptive cadences. Once again, stringsand wind dominate the orchestration, with occasional brass support in the cadences.

The B sections act as contrasting trios, and contain extended tonic-dominant pedal point,with continuous 4th note rhythm. The B1 melody [2] has regular period M2(abab’) (2 + 2 +2 + 2 m.) structure. The theme in B2 [6] has M3(ab) (4 + 4 m.) structure.

20.1.4 Mvt. 4 Finale




Table 20.4: Prokofiev, Classical Symphony, Mvt. 3 Gavotte. Non troppo allegro (cont’d)

m M R H Comment

57 M3 G (G− Em7 −Dm7G∆7 −Am7)/G− [6] B2 (]) (a): Str, P (g−d)

59... C −G7no 3 − C−

61 ⊥ G/B −Am− E7/D −D/G− (a’)65 M2/c (C −G7sus4 − C −G− E◦7)/G− (a): Str, Mc: WW, P (c−g)67 ⊥ / ⊥ (F −Am7 − Em− F −G)/C−69 C −G]◦/B −Am− retrans71 E7/D −D −G−G7/F−

73 M1.1 B[− Cm−G/D −Dm−D7

d− E[ (ab): Str+WW, cad

77 M1.1’ D A[57 /E[− Em7 −B/F]− [7] A” (]]) (a): Vi1+WW, Σ(cm>)

79... C]m− F]7

d− G (b)

81 M1.2’ D/F]−Dm−A/C]− var, (a): HiStr+WW

83 ⊥ C]m− C −Bm117 −A

d− (a’)

85 M1.1 Bm/D − F]m7− (a): Str+WW, clim, cad

86... C]/G]−A]m− C]/G]−

87 ⊥ Em7no 3/A−A−D (b), cad

89 M3 G (G− Em7 −Dm7G∆7 −Am7)/G− [8] B3 (]) (a): Str, P (g−d)

91... G−G7 − (C −G7no 3 − C)/C

99 ⊥ G/B −Am− E7/D −D/G− (a’)97 M2/c (C −G7sus4 − C −G− E◦7)/G− (a): Str, Mc: Bsn, P (c−g)

99... /

... (F −Am7 − Em− F −G)/C−101 ⊥ / ⊥ C −G]◦/B −Am− retrans103 E7/D −D− cad

104 M1.1’ D G− Em−A[57 no 3/E[− [9] Coda (]]) (a): WW, Σ(cm>)

105... D − C/E −B]9/D−

107 ⊥ C]mF]− F]7d− G (b): WW

109 M1.2’ D −Ad− Bm var, (a): WW

111... F]m− C]7

d− D

113... D −A7

d− C]/G]−G]−A7 (bb’): Str+WW

117... D − . . .− C]−A]m− C]/G]− (b): Bsn+DB

119 ⊥ Em7/A−A7 −D cad (120 m.)


20.2. PETER AND THE WOLF OP. 67

20.2 Peter and the Wolf Op. 67 (1936)

Peter and the Wolf is both a ballet and an introduction to the instruments from the orchestra.1

Source: [41]. An overview of the formal analysis is shown in Fig. 20.2. The piece may besubdivided into a number of sections. The long opening section introduces the charactersand instruments. Then the story develops in the next three sections.

Introducing the characters (226 m.)

Peter Bird P+B Duck B+D Cat Grandfather Wlf

The story develops (91 m.)

Cat Duck Cat WCB

Catching the wolf (175 m.)

Peter P+B W Peter W Hunters Bird

Triumphal Procession (March) - Coda (71+47=118 m.)

Peter Hnt+Wlf GC Coda

Figure 20.2: Prokofiev, Peter and the Wolf Op. 67

Form: symphonic tale. See Table 20.5 to 20.7 for the analysis. Each character in the storyhas its own theme and instrumentation: [1] M1, Peter, strings; [2] M2, Bird, flute; [6] M3,Duck, oboe; [11] M4, Cat, clarinet; [15] M5, Grandfather, bassoon; [9] M6, Wolf, French horns;[35] (M7), Hunters, percussion.

20.2.1 Introducing the characters (#0–19)

The Peter subject has M1(abab) (2 + 2 + 2 + 2 m.) period structure in 8th note rhythm;the first statement is in first violins, the repeat in the second violins. The Bird theme hasM2(aa’b) (2 + 2 + 4 m.) sentence structure. The a-phrase is in staccato 8th note rhythms, theb-phrase consists of legato 16th note arpeggios. This theme nicely illustrates a procedure thatProkofiev uses in the quasi-tonal composition style: creating sequences of non-diatonicallyrelated triads (or more generally, chords in thirds) by chromatic pitch alteration in the voices.In M2, this implies the harmonic progression:

[2] [2]+4 [2]+6g ↗ g] ↘ g ↗ a[ ↘ g ↘ f]e − e − e ↘ e[ ↘ d − dc ↗ c] ↘ c ↘ c[ = b − bC − C]m − C − A[m − G − Bm

.

1This piece is so well-known as a music education tool for children, that it suffers somewhat from overexpo-sure. Many celebrities have lent their voice to the story-teller part. Global dumping of CD releases enables thecustomer to find this piece as bonus gift with used car sales (‘Peter and the Golf’). Rumour has it that there existsa Michael Jackson adaptation, probably called ‘Pete It’.



Table 20.5: Prokofiev, Peter and the Wolf Op. 67

[#]+m M R H Comment

Introducing the charactersM1 C C

⟨Cm+7|A[

⟩− E[6− Peter (Str.)

1-2 ⊥ E[ Bm−D7/A−G−G7−1 M1 C

⟨Cm+7|A[

⟩− E[6 2nd stat

⊥ E[ Bm−D7/A−G−G7−1+8 C −<(G]7 − C]m−G−G7 − C trans2 M2 (C − C]m) C −A[m+7 Bird (Fl solo)2+4 ⊥ C −A[m+7 −G∆7 −G3 M2 <(C − C]m−G)−<(C −G+)3+6 ⊥ G∆7 −G−4 D7 −G7 − C −G7 − C7 − F trans4+4 M1’/2 F F D[−D[∆7 −D[9∆7 −A[ Peter & Bird5 M1’/2 A[ A[ Em−G7 − C5+5 C − C]m−G−G7 − C trans6 M3 A[ A[6 −B[[97 − E[]57 −A[6 − E[7 −G Duck (Ob)6+4 ⊥ A[6 −B[m7 −A[6 − E[−6+9 M3 A[6 − E[7 −A[6 −G7− 2nd stat6+13 ⊥ A[6 −B[m7 −A[6 − E[− E[/D[−7 Bm−G7/B − C trans, P (c)7+8 (M3) C −G+/B − E[7/B[− (Str)8 (M2/3) <(A[6 − E[)− Bird & Duck8+4 (M2)/3 A[6 −B[[97 − E[]57 −A[6 − E[−8+8 (M2)/3 A[−G7 −A[6 − E[−8+12 trans, e[-ped9 (M2)/3.2 A[− F7/A−B[m4 −G/B− Bird & Duck, PD(e[)9+4 ⊥ Cm−A/C]−Dm− C[/E[− P i

B(↗), climax10 E <(E6 − Em)11 M4 G G− C −Am/C −A7/C]−D −G Cat (Cl)11+4 ⊥ G− C −A/C]−G/D −D −G−11+8 <(D7 −G) trans12 M4 C G7 − C − F∆7 −Dm9

7 −D97 −G7sus4 2nd stat

12+5 ⊥ C − F∆7 −D]97 −Am7 −G7 − C

13 F]7 − F]/A] − F][5/[97 /A] trans

13+7 G7/D −D7/C −G7/B − (F])−13+11 G7/B −Dalt

7 /C −G7/B − F]714 M4 B B − E∆7 − C]7 − F]7sus4 −B 3rd stat14+4 <(F]7 −B)−B7−14+7 M4 E E −A∆7 − F][10

7 −B7sus4 − E Duck & Bird



Table 20.6: Prokofiev, Peter and the Wolf Op. 67 (cont’d)

[#]+m M R H Comment

15 M5 Bm Bm(7) −A7 − F]7 − F][97 − C]∅7 Grandfather (Bsn)15+7 M5 Bm− F]m−A7 − F]7− 2nd stat16 ⊥ F][97 − C]∅7 −B[−A−B[/D −A/C]17 B[ B[ G[9∆7 −D[ Am− C7/G− F trans18 M5 Bm Bm(7)−A7 − F]7− 3rd stat18+5 ⊥ F][97 − C]∅7 −Dm− F]−Bm PD(f])19 M6 Gm Gm F 9/G− Fm−D[∆7 −Am7− Wolf (Hns)19+5 M6 Dm C9/D − C −D7− 2nd stat19+9 M6 Gm F 9/G−Gm 3rd stat

The story develops20 M4 A A/C]−D −<(D∅7 − E◦7)−D]∅7/F] Cat20+7 ⊥ <(A[7/E[− E[7)21 M3.2 A[ A[− F7/A−B[m4 −G7/B − Cm− Duck21+5 ⊥ A[5

7 /C]−Dm− C[/E[−21+8 <(C]m7/E − Em)− trans22 C]∅7 −<(F]

[5/[97 − F]7) cresc to climax

23 Cm−A[/C dim24 M3 A[ <(A[6 −G7 − E[−G7)− Duck24+4 ⊥ (A[− Cm−G− E[)/E[−A[25 M4 G G− C −Am/C −A7/C]−D7− Cat25+4 G−D∅7(no3)−G26 M4 C C − F −Dm7 −D7 −G−G7 − C−26+4 G∅7(no3)− C27 M6/4 Fm (Fm E[7)/F Wolf & Cat27+8 M6/(1) (Fm− E[7)/F Wolf & Bird

Catching the wolf28 M1 D D −B[]9∆7 − F Peter28+4 F ]11

∆7 −Dm97 −Dm7/G− (Am− F )/C− trans

29 (M1) C]∅7 C∆7 G Peter30 M1/(2) C C −A[∆7 − (Bm− . . .− Fm) Peter & Bird, chr30+3 ⊥ A[m−Gm− F]m− Fm− chr desc30+4 M1/(2) E[ A[30+8 ⊥ (G]m− . . .− C]m)−Bm chr desc31 M6 Gm Gm−G

[9/137 − F∆7− Wolf, climax

31+3 ⊥ Dm Dm−D[9/137 − C∆7

32 M1 C C (Cm− . . .− Fm)− E[6 Peter, chr desc



Table 20.7: Prokofiev, Peter and the Wolf Op. 67 (cont’d)

[#]+m M R H Comment

33 〈B|G〉 − (C − 〈B|G〉)− C climax (Brs mute)34 . . .−G trans, Vi solo35 M7 <(A[m−G

[9/[137 /B)− Fm−G

[9/[137 − Tbn, Wolf struggling

35+7 M7 Fm− E[7no 3 − E[m− F[9/[137 − Tbn (Brs mutes off)

35+11 Dm F∆7 Str downbows36 F∆7 − E[9∆7 −D∅7 − F∆7 −G7/F trans, dim37 Dm7/C Wolf38 <(D[− C/G) Hunters (Perc)39 M8 <(D[− C/G) WW, cresc, clim (Timp)40 M8 Am−<(D − C]/G]) −G7 − C Tpt+Hn+Perc41 A[ A[ − Cm− E[7 −G7 −A[ − E[−A[ trans42 E E∆7 −G]m/B −B7/A−D]7 − E Bird42+12 B − C]m−B −D]m7 − E43 E/G]− Em/G−D/F]−Dm/F− trans

Triumphal procession - March43+4 C <(C −G+

∆7)

44 M1 <(C −Am7/G) −A[]9∆7 − E[6 Peter, Hns 3-pt augm44+8 M1 E[ −Bm−D7/A−G−G7

45 M8 <(C −G+∆7) −<(C −B/F]) Hunters, Tpt

46 M6 Em −D9 − Em −G+/D]−B◦/D with Wolf47 M8 <(D[− C/G) −D[−G7 − C48 M5/4 Bm Bm−B − E∆7 − C]97 − F]97sus4 −B Grandfather & Cat48+5 M5/4 B − C]97 − C]m7 −G]m7−48+7 ⊥ B/F]− F]7 −B

Conclusion - Coda49 M1 C C −A[]9∆7 − E[ Peter tutti50 M1 E[ −BmD7/A−G−G7− (Brass, tutti)51 <(D[−A[+∆7) −<(D[9 − C/G) trans, Bird51+11 D[− C/G−D[−G7−52 <(C − 〈B|G〉)− Em trans53 M3 A[ <(A[6 −G− E[7 −G7)−A[/E[ Duck54 C G[

[9/]117 − E[m11

7 no 3 − Cm/E[ Σ(cm<)54+1 Em7no 3 −Dm7 − Em7/B − F]m7/A (tutti)54+3 B[m/D[−A[m7 −B[7/D −G9

∆7 − C

54+4 C − Fm/C − C Closing climax



After the second statement of the Bird theme, M1 and M2 are combined [4] by segmentingboth themes into their individual phrases.

The Duck subject for low register oboe (‘quack’) [6] is another sentence, M3(aab) (2 +2 + 4 m.). The quacking is even more obvious in M3.2 [9] with the accented e[ pedal. Thelow clarinet plays the Cat theme [11], a regular period M4(abab’) (2 + 2 + 2 + 2 m.). TheGransfather theme for bassoon [15] is irregular M5(ab) (4 + 2 m.). Finally, the Wolf theme forthree French horns [19] is presented: it consists of two one-measure cells that are juxtaposedM5(abaa’aba’). The harmonies illustrate a combination of diatonic parallel triads and theabovementioned chromatic voice movement:

[19]+1 diat chrom chrom diat [19]+7b[ ↘ a[ − a[ ↗ a ↘ gg ↘ f − f − f ↘ ed ↘ c ↗ d[ ↗ d ↘ c

Gm − Fm − D[ − Dm − C

.

In a sonata form interpretation, the first section might be considered the exposition.

20.2.2 The story develops (#20–27)




20.2.3 Catching the wolf (#28–42)

In this section Peter gets involved in the fight; the first statement is played by clarinet andviolins in the key of D major [28]. When he teams up with Bird the original key C majorreturns [30, 32], as a contrast to the minor keys for the Wolf theme [31, 35, 37]. The strugglingof Wolf in order to free himself from the rope is accompanied with a minor key motif M7 fortrombone [35], juxtaposed with repeated fortissimo chords in all orchestral sections. Notethe string section series of downbows in [35+11].

In [38] the Hunters come on stage, with support from the percussion (bass drum, piatti,snare drum, tambourine and timpani patterns). There is a pizzicato quarter note riff for thestrings on alternating chords <(D[ − C/G) with a diminished fifth leap downward in thebass and wide upward leaps in the lead violins. On top of this riff pattern we hear a forcefultheme M8(aabccddd’) ((1+1)+2+(1+1)+(1+1+2) m.), played first by unisono woodwinds[39], later horn and trumpet [40].

20.2.4 Triumphal procession - March (#43–48)




20.2.5 Conclusion - Coda (#49–54)

All is well in the coda, returning to the initial key C major with another ben tenuto, energicostatement of the Peter theme for brass, over a steady quarter note riff in the strings andsustained chords in the woodwinds (tutti orchestration). This setting is briefly interruptedby Bird [51] and Duck patterns [53]. The piece closes in a tutti climax, starting with contraryopening motion in [54].


Chapter 21

Dmitri Shostakovich

Biographical data:

1600 1700 1800 1900 2000

∗ 25-9-1906 in St. Petersburg† 9-8-1975 in Moscow

With Dmitri Shostakovich traditional analysis, especially classifying chord structuresand progressions, becomes troublesome. Many of his chord structures are not built on thirds,there are bitonalities, and non-diatonic additions to chord structures (determined by voiceleading). However, formal analysis (classifying phrases and sections) and key root sequenceidentification is still possible. But always keep in mind that the value of traditional analysisis limited in his music.

21.1 String Quartet No. 1 in C Major, Op. 49 (1935)

Source: [62]. An overview of the formal analysis is shown in Fig. 21.1. Note the shortdevelopment section in the opening sonata movement.

Mvt. 1 Moderato: sonata form (C,[

34

], 121 m.)

Exposition Dev. Recapitulation

Mvt. 2 Moderato: Theme and variations form (Am,[

44

], 85 m.)

Th. V1 V2 V3 V4 V5 V6 V7

Figure 21.1: Shostakovich, String Quartet No. 1 in C Major, Op. 49


CHAPTER 21. DMITRI SHOSTAKOVICH

21.1.1 Mvt. 1, Moderato

Form: Sonata. The exposition first group divides the string quartet into upper three stringparts (note the equal rhythms, chromatism and the series of first inversion chords) and thecello (diatonic, stepwise axcending motion). The second group starts with a groove, pre-sented by the cello (upward glissandi leaps) and the viola (steady 8th note pedal point),with the melody M2 in the lead violin. The roles are reversed in the second statement.

The brief development section opens with the second group groove. After the transitionthere is a varied statement of the main theme M1 in the new

[44

]meter. The recapitulation

continues this meter, until the secondary theme is presented in the original triple meter. SeeTable 21.1 for the analysis.

21.1.2 Mvt. 2, Moderato



21.1. STRING QUARTET NO. 1 IN C MAJOR, OP. 49

Table 21.1: Shostakovich, String Quartet No. 1, Mvt. 1 Moderato

m M R H Comment

1 M1.1 C C − . . .− F/A−[

34

]Exp, Gr 1, Vc, P i

m(↘), Σ(cm>)6 ⊥ Dm− . . .−G− [S6]

11 M1.1 C7 − F −G− [1] 2nd stat, Vc, [S6] , PB(↗)15 M1.1’ C − Fm/A[− . . .− trans, [S6]20 ⊥ F]◦7−21 M1.2 Cm Cm− . . .− [2] Vi1

24... (E − F∆7 − Em7 −A)/E− [S6] , P (e)

28 ⊥ G− P im(↘)

29 M1.1’ C C6 − . . .−G [3] trans, Σ(cm)37 M2 E[ <(E[6 −B[9)− [4] Gr 2, Vi1, P (g)47 Mt G7/F − Cm/E[−B[/D− [5] trans51 ⊥ B[m7/D[− imit Vi1-Va54 M2 <(E[6 −B[9) [6] 2nd stat, Vc, P (g), ‘groove’62 M2’ D[−Dm [7] trans65 D[−B[7− [8] cad.

67 M2’ E[ <(E[6 −B[9) Dev, Gr 2, Vi1, P (g), ‘groove’71 Mt E[7/D[− trans74 M1.1’ Em Em−B◦− [9]

[44

]Gr 1

77 ⊥ Em/B − F∆7/E −B◦/D−80 D]◦7 − C]◦7− [10] retrans, P i

m(↘)85 G/D − C/E −G7sus4/D−

88 M1.1 C C − . . .− F/A−G◦ − F/A− [11] Recap, Gr 1, Vc, Σ(cm>), P im(↘)

94 ⊥ Em/B−97 A[ A[− E[7− [12]

[34

]Gr 2, ‘groove’, P (c)

99 M2 <(A[6 − E[9) Va107 B[m−Gm− Fm− Em− [13] trans108 G[5

7 −

110 M2’ C <(C −G)/C [14] Coda, P (c−g)118 ⊥ C closing (121 m.)


21.1. STRING QUARTET NO. 1 IN C MAJOR, OP. 49




21.2. STRING QUARTET NO. 2 IN A MAJOR, OP. 68

21.2 String Quartet No. 2 in A Major, Op. 68 (1944)


Mvt. 2 Recitative and Romance: ternary song form (B[,[

34

], 123 m.)

Rec. Romance Recit.

Figure 21.2: Shostakovich, String Quartet No. 2 in A Major, Op. 6

21.2.1 Mvt. 2 Moderato con moto

Form: ternary song form, ABA’-Coda. This movement features the lead violin, that playslong through-composed melodies (M1, M2, and M3), that may be subdivided into shorterphrases. The background in the outer sections consists of sustained harmonies in the lowerthree string parts, with subtle dynamic markings and changes (a series of dcrescendi).

The middle section contains more movement in the supporting voices. The rhythm issynchronised, when all strings play sectional harmony in series of first inversion chords([S6] ). From [42] onwards, there is a build-up to the main climax; note the use of more 8thnote patterns, the off-beat and syncopated rhythm. The key remains static: B[ major. SeeTable 21.2 for the analysis.

21.3 String Quartet No. 3 in F Major, Op. 49 (1946)


Mvt. 2 Moderato con moto: ternary song form (Em,[

34

], 196 m.)

A B A’

Figure 21.3: Shostakovich, String Quartet No. 3 in F Major, Op. 73

21.3.1 Mvt. 2, Moderato con moto




Table 21.2: Shostakovich, String Quartet No. 2, Mvt. 2 Recitative and Romance

[#]+m M R H Comment

Adagio (recitative)31 M1.1 B[ F7/E[ Vi1 recitative32 M1.2 F − C/E − C7/E33 M1.3 F7/E[34 M1.4 F −B[ Vi1, Vc

(romance)[

34

]35 M2.1 B[− . . .−B[[97 Vi1, P T (b[)

36... G[/B[ − E[m7/D[ −B[−A∅7 −A[7/G[−

37... G[9

7 /Fd− A[m− E[∆7/E − E7/D −Dm7

37+5 ⊥ F − E[−Dm− E[m− Cm−A[ [S6]38 M2.2 D∅7 − Cm/E[−B[97 −B[−Dm7/F −Gm climax

39... Am7/G−B[∆7−

39+4 ⊥ F][107 no 1 −B∅7no 3 −A◦/C−

40 M2.3 A◦/C −D∅7/C40+4 D∅7/C − E[∆7/D − Fm9

7 − F7/C − E[∆7/D S2-series40+5 M2.4 Cm9

7/B[−A◦ −Am117 Vc

40+6... D7 −Dm7 −D∅7

41... Dm7 − E[m−B[7/F

41+6 ⊥ F/A−G/B −A[/C −B[/D − E∅7/D −G/D [S6]42 M2.5 G[/D[− F 4 − E◦7−42+3 ⊥ G[−B[m− Em7 −B[7 −D[9

7 −B[7− Va syncopes43 M2.6 E[m+7 −B[[97 − E[m7 Vi1+Vc, climax

44... G[−B − C/G−A−A7

d− climax

45... G/D −G[− Fm− Em− E[m ex parallel

45+4 ⊥ B[/D −A/C]−A[/C −G/B −B[/F [S6]

Adagio (recitative)45+8 M3.1 B[7/A[ Vi1 M3.1=M1.1’46 ⊥ B[7/A[47 M3.2 B[/F48 F − E[−Dm− E[m− F[ [S6]

48+2 M3.3 F [97 /C − F7/E[

49 F7/E[− F −B[ (123 m.)


21.3. STRING QUARTET NO. 3 IN F MAJOR, OP. 73





The key relationship diagram is shown in Fig. 21.4. The ternary form of the Mvt. 2 is reflectedin the keys used. The outer sections are in the tonic minor key Em, the middle BB sectionin the supertonic major key F] (1). The closing A section moves to the parallel major key E,when the B section texture returns (2).

Mvt. 2 Moderato con moto

Em Bm F]m

E B F]��1

��)

16?

2

Figure 21.4: Shostakovich, String Quartet No. 3, key relationship diagram

21.4 Symphony No. 1 in F Minor, Op. 10 (1924-5)


Mvt. 3 Lento: ternary song form (D[,[

44

], 120 m.)

A B A’

Figure 21.5: Shostakovich, Symphony No. 1 in F Minor, Op. 10

21.4.1 Mvt. 3 Lento

Form: ternary, ABA’. See Table 21.3 and 21.4 for the analysis.1 The main element in this slowmovement is the combination of chromatic stepwise movement (both in the lead melodyM1 and in the bass and inner voices) and the melodic interval of the minor third (threechromatic steps, also in the melodic brass motto M0 and in lower voices). Although hereonly one movement from the symphony is analysed, the same melodical material returns inthe other movements.

The main theme is stated twice by the solo oboe, with a string section bowed tremolobackground (sustained notes in celli and bass). At [1] a solo cello takes the lead with M2,which has similarities with M1; alternating chromatically ascending and descending motivesare juxtaposed. Just before [3] there is the first statement of the descending minor third mottoM0 by the trumpets. From here on it is combined with the other thematic material.

The middle section [8] presents the lyrical theme M5 in the lower strings; this creates amelodic arch, consisting of wide leaps and groups of chromatically ascending and descend-ing steps. The oboe sgnal theme M6 [6] leads into the seond statement of the lyrical theme inthe high strings, which now has the M0 motto as a countertheme in bassoon and low strings.

1Analysis of this movement was suggested to me by Bill Dobbins, professor at the Eastman School of Music,and jazz composer and arranger.



Table 21.3: Shostakovich, Symphony No. 1, Mvt. 3 Lento

m M R H Comment

Lento A ([[[[[)1 M1 D[ D[−G7/D − E[− E[m− Ob P i

L(↘), Str bg, P iB(↗)

5 ⊥ F7 −G[− E[/G−A[+ −A[[97 −9 M1’ D[− C[m/D − E[−D[m7/E− 2nd stat, Ob, P i

B(↗)

13... B[7 −G[+ − Cm7 −D[−

15 ⊥ F [137 /E[− C9

7/Ed−

16 M2 Dm/F −D/F]−B7sus4− [1] tr, Vc P iL(↗), Seq, P i

B(↗)

19 ⊥ E/G]−D][137sus4/A−

21 M2 G[/B[− E[− C/F]− [2] Fl+Vi, Hns ~H‖i↘24 ⊥/0 F][97 − Tpt: ”Minor 3rd motto” (3i↘)25 M2’ C/F]− C7/F − E− [3] Ob+Vi2, P i

B(↘) ,27 ⊥ A[m/E[−A[[57 /D− cresc to clim29 M1/3 D[−B[[97 /D− [4] M1: WW+Vi, M3: Hns,31 ⊥/⊥ E[7 −A[7− tutti climax33 M1/0 D[∆7 − C[m/D− [5] M0: Tpt, P i

B(↗)

35... /

... Gm/D − F 137 /E[−

37 ⊥/⊥ D[m/E −B[∅7 − C∅7 − C]◦7− P iB(↗)

39 M0 B[/D − . . .− [6] closing, M0: Tpt imit42 ⊥ D[[97 − . . .− LoStr echoes44 M4/0 B[mno 3 − F]7/A]−B

]11/137 − [7] Bsn+Va, M0: Tpt

Largo B (\\\\\)47 M5 Em EmG − F]/C]− [8] lyrical th: Vc+Db49 ⊥ Em/B − C]5

7 /E−51 M6 Em−B[m/F − E[7/C − F/F]− [9] Ob signal theme

55... Am/E −A7/E− Str bg P i

m(↗), P iB(↗)

57 ⊥ B[m/F −B7/F]− Em

59 M5/0 F][57 /A]−B[57 [10] M5: HiStr, M0: Tpt

61... /0 E9

7/G]−B[m+7/A− M0: Bsn+LoStr

63... /

... G[− F/A− E[−D/F]− [11] symmetrical roots, P iL(↘)

65... /

... C − F]m−B[/D − Cm unis chr↘66 ⊥/⊥ E/G]− E[−→B[−→Bm

67 M6 E7 − F][107 − [12] Tpt

69 I(M6) G/C]− F]/D −A[/E− Hns, P iL(↗), climax

71 Fm7 −G7/F − F]−



Table 21.4: Shostakovich, Symphony No. 1, Mvt. 3 Lento (cont’d)

m M R H Comment

73 B/F −G]/E− [13] Str P iL(↘), Σ(cm>)

75 M5 Em−G− F]/C]− [14] Vc+DB, HiStr trem77 ⊥ Em/B − E/B[−A− F]m/B−79 M4/0 F]7/E −A[[57 /D− [15] M4: Cl, M0: LoStr

Lento A’ ([[[[[)81 M1/3’ D[ D[−D◦7 − E[− [16] Solo Vi, P i

m(↘), P iB(↗)

84... /

... E[m7 − F7 −G[

87 ⊥/⊥/0 E[/G−A[+ −A[[97 M0: Tpt motto89 M1/3 D[− C[m/D − E[− [17] M1: HiStr+WW, M3: Hns92 ⊥⊥/0 D[m/E −B[∅7 − C∅7 − C]◦7− [18] M0: Tpt95 M0 B[/D − . . .− [19] trans, motto: Hns-Tu imit99 ⊥ B[m7 − . . .− LoStr

101 M1/6 E[− F [97 −B[[57 −B[[97 [20] M1: LoStr, M6: Tpt

104 ⊥/⊥ E[∆7/D − F [57 /B −B[−

106 M6’ E[]5∆7 − E[m7 −A[97− Tpt, WW par P im(↘)

111 M1’/0 <(D[−A[7sus4)/D[− [21] Coda, div Str + WW imit,115 M0 D[ P T (d[), Str imit (120 mm.)



In the last A section and coda themes are combined, and the motto M0 is transferred frombrass to strings (imitations from high to low).




21.5. SYMPHONY NO. 9 IN E[ MAJOR, OP. 70

21.5 Symphony No. 9 in E[ Major, Op. 70 (1945)


Mvt. 1 Allegro: sonata form (E[,[

22

], 247 m.)


Figure 21.6: Shostakovich, Symphony No. 9 in E[ Major, Op. 70




21.5. SYMPHONY NO. 9 IN E[ MAJOR, OP. 70


The key relationship diagram is shown in Fig. 21.7. The opening movement sonata formstructure is respected in the scheme of keys. The exposition has the first group in the tonicmajor key E[, the secondary group in the dominant key B[. Both keys take a sidestep totheir relative submediant major key, C (1) and G (2), respectively.

Mvt. 1 Allegro

D A E

C[m G[m D[m

C[ G[∗ C]

A[m E[m B[m

A[ E[ B[

Fm Cm Gm

F C G1

-

2

��

3,6

4

5 -

HHY

HHj7

�

8AAAAAU

Figure 21.7: Shostakovich, Symphony No. 9, key relationship diagram

The development starts in the key of G[ = F] and moves outward into more remote keys(3–6). The recapitulation first has a sidestep into the lowered supertonic (Neapolitan) majorkey E = [II (7), before taking the familiar excursion into the subdominant domain A[ − F(8) before returning home. Note the many occurrences of groups of minor third (3i) relatedkeys, used in this movement.


Bibliography

[1] Johann Sebastian Bach. Eleven Great Cantatas. Dover Publications, Inc., New York, 1976.ISBN 0-486-23268-9. 350 pp.

[2] Johann Sebastian Bach. The Six Brandenburg Concertos and the Four Orchestral Suites.Dover Publications, Inc., New York, 1976. ISBN 0-486-23376-6. xi + 273 pp.

[3] Johann Sebastian Bach. 388 vierstimmige Choralgesange. Number Z. 40 101 in EMB StudyScores. Editio Musica Budapest, Budapest, 1988. ISBN 0-486-23268-9. 239 pp.

[4] Ludwig van Beethoven. Complete String Quartets. Dover Publications, Inc., New York,1970. ISBN 0-486-22361-2. 206 + 227 pp.

[5] Ludwig van Beethoven. Symphonies Nos. 5, 6 and 7 in Full Score. Dover Publications,Inc., New York, 1989. ISBN 0-486-264034-8. 257 pp.

[6] Ludwig van Beethoven. Symphonies Nos. 8 and 9 in Full Score. Dover Publications, Inc.,New York, 1989. ISBN 0-486-264035-6. 252 pp.

[7] Ludwig van Beethoven. Sonaten I fur Klavier. Number K 107 in Urtext. KonemannMusic, Budapest, 1994. ISBN 963-8303-20-4. 237 pp.

[8] Ludwig van Beethoven. Sonaten II fur Klavier. Number K 108 in Urtext. KonemannMusic, Budapest, 1994. ISBN 963-8303-21-2. 223 pp.

[9] Hector Berlioz. Symphonie Fantastique and Harold in Italy in Full Score. Dover Publica-tions, Inc., New York, 1984. ISBN 0-486-24657-4. 320 pp.

[10] Johannes Brahms. Complete Chamber Music for Strings and Clarinet Quintet. Dover Pub-lications, Inc., New York, 1968. ISBN 0-486-21914-3. viii + 262 pp.

[11] Johannes Brahms. Complete Symphonies in Full Score. Dover Publications, Inc., NewYork, 1974. ISBN 0-486-23053-8. 344 pp.

[12] Johannes Brahms. German Requiem in Full Score. Dover Publications, Inc., New York,1987. ISBN 0-486-25486-0. xvi + 192 pp.

[13] Grosvenor Cooper and Leonard B. Meyer. The Rhythmic Structure of Music. The Univer-sity of Chicago Press, Chicago, MI, 1960. ISBN 0-226-11522-4. ix + 212 pp.

[14] Claude Debussy. Quartet for 2 Violins, Viola and Violoncello, Op. 10. Number 210 inEdition Eulenburg. Ernst Eulenburg Ltd., London, 1969. v + 50 pp.

875

BIBLIOGRAPHY

[15] Claude Debussy. Piano Music (1888-1905). Dover Publications, Inc., New York, secondedition, 1973. ISBN 0-486-22771-5. 175 pp.

[16] Claude Debussy. Three Great Orchestral Works in Full Score. Dover Publications, Inc.,New York, 1983. ISBN 0-486-24441-5. 279 pp.

[17] Jonathan Dunsby and Arnold Whittall. Music Analysis in Theory and Practice. FaberMusic, London, 1988. ISBN 0-571-10065-1. 250 pp.

[18] Gabriel Faure. Masques et Bergamasques, Suite for Orchestra, Op. 112. Number 1387 inEdition Eulenburg. Ernst Eulenburg Ltd., London, 1981. xi + 61 pp.

[19] Gabriel Faure. Pelleas et Melisande, Suite for Orchestra, Op. 80. Number 1386 in EditionEulenburg. Ernst Eulenburg Ltd., London, 1981. xiii + 61 pp.

[20] Gabriel Faure. Requiem in Full Score. Dover Publications, Inc., New York, 1992. ISBN0-486-27155-2. 128 pp.

[21] Constantin Floros. Gustav Mahler III: Die Symphonien. Breitkopf & Hartel, Wiesbaden,1985. ISBN 3-7651-0210-5. 336 pp. (in German).

[22] Constantin Floros, Christian Martin Schmidt, and Giselher Schubert. Johannes Brahms:Die Simfonien, Einfuhrung und Analyse. Number ED 8711 in Studienbuch Musik. SchottMusik International, Mainz, 1998. ISBN 3-7957-8711-4. 276 pp. (in German).

[23] Hans Gal. Schumann Orchestral Music. BBC Music Guides. BBC Publications, London,1979. ISBN 0-563-12423-7. 64 pp.

[24] Edvard Grieg. Peer Gynt Suites Nos. 1 and 2 in Full Score. Dover Publications, Inc., NewYork, 1997. ISBN 0-486-29582-6. 92 pp.

[25] Joseph Haydn. Eleven Late String Quartets, Opp. 74, 76 and 77, Complete. Dover Publica-tions, Inc., New York, 1979. ISBN 0-486-23753-2. 308 pp.

[26] Joachim Kaiser. Beethovens 32 Klaviersonaten und ihre Interpreten. Fischer TaschenbuchVerlag, Frankfurt am Main, 1999. ISBN 3-596-23601-0. 661 pp. (in German).

[27] Konrad Kuster. Beethoven. Deutsche Verlags-Anstalt GmbH, Stuttgart, 1994. ISBN 3-421-06690-6. 448 pp. (in German).

[28] Fred Lerdahl and Ray Jackendoff. A Generative Theory of Tonal Music. The MIT PressSeries on Cognitive Theory and Mental Representation. The MIT Press, Cambridge,MA, 1983. ISBN 0-262-62049-9. xiv + 368 pp.

[29] Julian Littlewood. The Variations of Johannes Brahms. Poetics of Music. Plumbago Books,London, 2004. ISBN 0-9540123-4-8. xiv + 369 pp.

[30] Gustav Mahler. Symphonies Nos. 3 and 4 in Full Score. Dover Publications, Inc., NewYork, 1989. ISBN 0-486-26166-2. 353 pp.

[31] Gustav Mahler. Songs of a Wayfarer and Kindertotenlieder in Full Score. Dover Publications,Inc., New York, 1990. ISBN 0-486-26318-26318-5. xiv + 142 pp.


BIBLIOGRAPHY

[32] Gustav Mahler. Symphonies Nos. 5 and 6 in Full Score. Dover Publications, Inc., NewYork, 1992. ISBN 0-486-26888-8. v + 505 pp.

[33] Felix Mendelssohn-Bartholdy. Major Orchestral Works. Dover Publications, Inc., NewYork, 1975. ISBN 0-486-23184-4. 406 pp.

[34] Leonard B. Meyer. Style and Music: Theory, History and Ideology. Studies in the Criticismand Theory of Music. University of Pennsylvania Press, Philadelphia, 1989. ISBN 0-8122-8178-0. xi + 376 pp.

[35] Neil Minturn. The Music of Sergei Prokofiev. Composers of the Twentieth Century. YaleUniversity Press, New Haven and London, 1997. ISBN 0-300-06366-0. xiii + 241 pp.

[36] Wolfgang Amadeus Mozart. Complete String Quartets. Dover Publications, Inc., NewYork, 1970. ISBN 0-486-22372-8. 277 pp.

[37] Wolfgang Amadeus Mozart. Later Symphonies, Full Orchestral Score of Symphonies 35-41.Dover Publications, Inc., New York, 1974. ISBN 0-486-23052-X. 285 pp.

[38] Wolfgang Amadeus Mozart. Complete String Quintets with the Horn and Clarinet Quintet.Dover Publications, Inc., New York, 1978. ISBN 0-486-23603-X. 181 pp.

[39] Wolfgang Amadeus Mozart. The Magic FLute (Die Zauberflote) in Full Score. Dover Pub-lications, Inc., New York, 1985. ISBN 0-486-24783-X. 225 pp.

[40] Wolfgang Amadeus Mozart. Sonaten, Fantasien und Rondi I fur Klavier. Number K 103in Urtext. Konemann Music, Budapest, 1993. ISBN 963-8303-33-6. 222 pp.

[41] Sergei Prokofiev. Four Orchestral Works. Dover Publications, Inc., New York, 1974. ISBN0-486-20279-8. 442 pp.

[42] Giacomo Puccini. Madama Butterfly in Full Score. Dover Publications, Inc., New York,1990. ISBN 0-486-26345-2. 483 pp.

[43] Maurice Ravel. Quartet in F major, for two violins, viola and cello. Number Score no. 539in Full & Study Size Scores. International Music Company, New York, 1903. 48 pp.

[44] Maurice Ravel. L’Enfant et les Sortileges. Number 13019 in Editions Musicales. DurandS.A., Paris, 1925. 212 pp.

[45] Maurice Ravel. Concert pour Piano et Orchestre. Editions Durand & Cie., Paris, 1932. 95pp.

[46] Maurice Ravel. Piano Masterpieces. Dover Publications, Inc., New York, 1986. ISBN0-486-25137-3. 126 pp.

[47] Maurice Ravel. Daphnis et Chloe. Dover Publications, Inc., New York, 1988. ISBN 0-486-25826-2. 315 pp.

[48] Maurice Ravel. Four Orchestral Works in Full Score. Dover Publications, Inc., New York,1989. ISBN 0-486-25962-5. 225 pp.


BIBLIOGRAPHY

[49] Charles Rosen. The Classical Style: Haydn, Mozart, Beethoven. Faber and Faber, London -Boston, revised edition, 1976. ISBN 0-571-04905-2. 467 pp.

[50] Charles Rosen. Sonata Forms. W.W. Norton & Company, Inc., New York - London,revised edition, 1980. ISBN 0-393-3-219-9. x + 415 pp.

[51] Charles Rosen. The Romantic Generation. Fontana Press, London, paperback edition,1999. ISBN 0-00-255712-6. xv + 723 pp.

[52] Carl Schachter. Unfoldings: Essays in Schenkerian Theory and Analysis. Oxford UniversityPress, Oxford, New York, 1999. ISBN 0-19-512013-2. 294 pp.

[53] Joseph Schillinger. The Schillinger System of Musical Composition, volume I and II of DaCapo Press Music Reprint Series. Da Capo Press, New York, fourth edition, 1946. ISBN0-306-77521-2 and 0-306-77522-0. xxiii + 1640 pp.

[54] Arnold Schoenberg. Structural Functions of Harmony. Faber & Faber, London, Boston,second (revised) edition, 1969. ISBN 0-571-13000-3. xvi + 203 pp. (edited by LeonardStein).

[55] Arnold Schoenberg. Fundamentals of Musical Composition. Faber & Faber, London,Boston, second (revised) edition, 1970. ISBN 0-571-09276-4. xiv + 224 pp. (edited byGerald Strang).

[56] Arnold Schoenberg. Theory of Harmony. University of California Press, Berkeley, LosAngeles, third edition, 1978. ISBN 0-520-04944-6. xxi + 441 pp. (translated by RoyE. Carter).

[57] Franz Schubert. Complete Song Cycles. Dover Publications, Inc., New York, 1970. ISBN0-486-22649-2. 217 pp.

[58] Franz Schubert. Complete Chamber Music for Strings. Dover Publications, Inc., New York,1973. ISBN 0-486-21463-X. 347 pp.

[59] Franz Schubert. Four Symphonies in Full Score. Dover Publications, Inc., New York, 1978.ISBN 0-486-23681-1. 262 pp.

[60] Robert Schumann. Complete Symphonies in Full Score. Dover Publications, Inc., NewYork, 1980. ISBN 0-486-24013-4. 405 pp.

[61] Klaus Schweizer and Arnold Werner-Jensen. Reclams Konzertfuhrer. Philipp Reclam Jun.GmbH & Co., Stuttgart, 1998. ISBN 3-15-010434-3. 1140 pp. (in German).

[62] Dmitri Shostakovich. String Quartets Nos. 1-5. Dover Publications, Inc., New York, 1994.ISBN 0-486-28140-X. 214 pp.

[63] Dmitri Shostakovich. Symphonies Nos. 1 and 5 in Full Score. Dover Publications, Inc.,New York, 1995. ISBN 0-486-28368-2. 252 pp.

[64] Dmitri Shostakovich. Symphonies Nos. 9 and 10 in Full Score. Dover Publications, Inc.,New York, 1995. ISBN 0-486-28801-3. vi + 297 pp.


BIBLIOGRAPHY

[65] Jean Sibelius. Tone Poems in Full Score. Dover Publications, Inc., New York, 1991. ISBN0-486-26483-1. 312 pp.

[66] Richard Strauss. Tone Poems Series 1: Don Juan, Tod und Verklarung, Don Quixote. DoverPublications, Inc., New York, 1979. ISBN 0-486-23754-0. 286 pp.

[67] Richard Strauss. Tone Poems Series 2: Till Eulenspiegels Lustige Streiche, “Also SprachZarathustra”, Ein Heldenleben. Dover Publications, Inc., New York, 1979. ISBN 0-486-23755-9. 315 pp.

[68] Richard Strauss. Eine Alpensinfonie and Symphonia Domestica in Full Score. Dover Publi-cations, Inc., New York, 1993. ISBN 0-486-27725-9. 284 pp.

[69] Peter Ilyitch Tchaikovsky. Fourth, Fifth and Sixth Symphony in Full Score. Dover Publica-tions, Inc., New York, 1979. ISBN 0-486-23861-X. 470 pp.

[70] Peter Ilyitch Tchaikovsky. Nutcracker Suite in Full Score. Dover Publications, Inc., NewYork, 1987. ISBN 0-486-25379-1. 117 pp.

[71] Dmitri Tymoczko. A Geometry of Music; Harmony and Counterpoint in the Extended Com-mon Practice. Oxford Studies in Music Theory. Oxford University Press, New York, 2011.ISBN 978-0-19-533667-2. xviii + 450 pp.

[72] Arnold Werner-Jensen. Reclams Kammermusikfuhrer. Philipp Reclam Jun. GmbH & Co.,Stuttgart, 1997. ISBN 3-15-010437-8. 1168 pp. (in German).

[73] Christoph Wolff. Johann Sebastian Bach. Fischer Taschenbuch Verlag, Frankfurt am Main,2007. ISBN 978-3-596-16739-5. xxviii + 625 pp. (in German).


Index

AAA form, 312, 589AAB form, 357AABA form, 186AB form, 38, 40, 192, 198, 208, 210, 212, 586,

804, 825ABA form, 14, 32, 56, 65, 94, 152, 163, 186,

251, 349, 381, 457, 470, 491, 508, 525,550, 573, 594, 607, 616, 637, 659, 681,693, 701, 716, 781, 786, 794, 798, 802,812, 818, 820, 863, 866

ABAACB form, 391ABAB form, 104, 115, 233, 338, 361, 430, 568,

598ABABA form, 306, 397, 495, 575, 688, 697ABABAB form, 842ABAC form, 474, 790, 806, 809ABACA form, 444, 578, 614, 775ABACABA form, 229ABC form, 183, 186, 192, 200, 204, 327, 499,

601, 663, 823ABCA form, 34, 610ABCABC form, 247ABCABCA form, 620ABCAD form, 707Alberti bass, 236antecedent, 14aria, 178, 180, 194, 198, 200, 204, 208, 212, 825

ballet music, 568, 804, 847Baroque music, 1bell chord, 485, 688, 695, 708, 741, 802, 804binary form, 38, 40, 104, 115, 233, 247, 391,

568, 586, 804, 823, 825bitonality, 11, 825Blues, 826bourree, 40

cadence, 13deceptive, 6, 312, 842

cadential formulas, 1call-and-response, 6, 13, 32, 99, 122, 156, 163,

178, 364, 381, 397, 437, 444, 499, 607,647

canon, 56, 523cantate, 19, 27chaconne, 27choir music, 19, 198, 210, 213, 495, 601, 644,

647, 657, 804, 823chorale, 3, 19, 27, 121, 441, 681chorale setting, 198, 280, 364chord structures in 3rds, 1chords

augmented 6th, 10, 298, 586extended, 10parallel, 10

circle of fifths, 15, 828clarinet quintet, 121Classical music, 4, 43, 633coda, 163, 186, 204, 212, 229, 233, 247, 280,

364, 391, 397, 444, 470, 491, 561, 575,589, 594, 598, 616, 677, 688, 697, 707,716, 855

coda section, 12, 76, 99, 110, 121, 223, 236, 255,275, 292, 299, 415, 423, 441, 464, 474,485, 514, 523, 626, 830, 837

coloratura, 180, 204common practice, 1concerto, 32, 34, 825counterpoint, 6, 13countersubject, 13cross-rhythm, 292, 701, 716

dance, 38, 43, 186, 240, 423, 485, 573, 578, 586,620, 725, 806, 812

Arabian, 575, 594Cakewalk, 820Chinese, 575folk, 575, 823

880

INDEX

Russian, 573Spanish, 786

development, 6, 12secondary, 6, 12, 110, 173, 255, 287, 415,

423, 441, 450, 523, 547, 561, 828

exposition, 6, 12

finale, 14, 65, 134, 143, 186, 213, 251, 514, 555,561, 842

form, 1fugue, 6, 8, 168, 457, 633

gavotte, 38, 842gigue, 40group, 13

habanera, 790harmonic progression, 3harmony

functional, 1, 4, 15sectional, 575, 578, 647, 863theory of, 11, 312tonal, 1, 312

hemiola, 152, 464, 491, 514hoquetus, 391, 397, 491, 666horn 5ths, 594

Impressionism, 1, 4, 11, 633, 644instrumentation, 3introduction, 43, 312, 391, 397, 495, 575, 598,

601, 610, 614, 633, 723, 724, 747, 781,804, 823

introduction section, 12, 76, 128, 168, 223, 240,291, 387, 437, 450, 479, 485, 561, 666,741

inversionharmonic, 7melodic, 5

key relationship diagram, 15

main motif, 51malaguena, 786march, 194, 361, 397, 568, 589, 798, 853Mazurka, 586melody, 3, 13menuet, 626

menuet and trio form, 15, 48, 56, 65, 85, 94,125, 142, 152, 163, 221

modal music, 16mode

Aeolian, 16, 775, 826, 828, 830Dorian, 16, 620, 716Ionian, 16, 594, 716, 775, 828Lydian, 16, 826, 828, 830Lydian augmented, 828major, 16minor, 16Mixolydian, 16, 594, 716, 826, 828Phrygian, 620, 782, 830

modulation, 13monothematic, 13, 60, 85, 221, 306motif, 14musical analysis, 1

Neapolitan chord, 4, 7, 204, 233, 297, 364, 373,666, 697, 707, 746, 873

opera, 168, 633, 816orchestral music, 32, 34, 405, 495, 568, 583,

591, 601, 616, 659, 714, 723, 738, 746,761, 767, 775, 781, 786, 794, 804, 847

ostinato, 27, 307, 499, 550, 589, 607, 663, 786,812

overture, 34, 168, 405, 568, 626, 633

pavane, 775, 794pedal point, 4, 5, 7, 10, 51, 56, 90, 128, 129,

163, 168, 183, 194, 223, 275, 280, 299,307, 312, 338, 349, 357, 361, 391, 397,495, 499, 508, 519, 532, 538, 573, 575,589, 598, 607, 647, 671, 677, 775, 790,823, 826, 828, 842, 858

period, 5, 14, 94, 110, 121, 142, 156, 163, 186,280, 391, 397, 437, 450, 457, 464, 474,495, 503, 540, 550, 561, 568, 573, 578,616, 620, 842, 847, 851

phrase, 14piano music, 71, 217, 223, 233, 312, 701, 775,

781, 794pivot pitch chord change, 12, 312, 358, 361,

373polychord, 11, 825, 826polytonality, 11


INDEX

quintet, 200

recapitulation, 7, 12false, 12, 13, 128, 156, 415, 423, 441, 464,

491, 538, 828recitative and aria, 180requiem, 495, 601Romantic music, 1, 4, 633rondo form, 229, 361, 387, 444, 474, 514, 540,

575, 620, 670, 746, 767, 775root cycle, 1, 4, 155, 299

saltarello, 420, 430scale

altered, 826, 828octatonic, 7, 786, 787, 812pentatonic, 644, 657, 701, 798, 820, 826,

830scherzo and trio form, 15, 259, 269, 280, 306,

381, 444, 491, 508, 525, 842section, 12sentence, 5, 14, 80, 85, 90, 94, 99, 110, 121, 125,

129, 142, 147, 152, 156, 163, 292, 299,391, 415, 441, 444, 450, 474, 485, 503,508, 514, 525, 550, 578, 586, 594, 626,681, 754, 840, 842, 847, 851

sequence, 4sonata form, 12, 43, 52, 60, 71, 76, 90, 99, 110,

121, 128, 134, 146, 156, 168, 217, 223,236, 240, 254, 265, 287, 291, 297, 361,375, 405, 415, 423, 437, 450, 461, 474,485, 499, 514, 519, 532, 540, 561, 626,738, 746, 825, 837, 851, 858

song, 178song cycle, 312, 659string quartet, 14, 43, 51, 60, 76, 90, 240, 297,

499, 514, 707, 779, 857, 863string quintet, 99, 108, 375string sextet, 491subject, 13

secondary, 13suite, 568, 616, 626, 794symmetric octave division, 10, 146, 241, 373,

375, 557, 601, 610, 647, 657, 697, 772symmetric root movement, see symmetric oc-

tave divisionsymphonic poem, 387, 723, 738, 746, 761, 767

symphonic tale, 847symphony, 14, 128, 138, 146, 155, 254, 265,

275, 287, 291, 357, 387, 412, 423, 437,450, 461, 479, 519, 532, 547, 557, 566,666, 688, 693, 697, 837, 866, 871

tarantella, 725ternary form, 391

See ternary song form, 14ternary song form, 14, 32, 34, 56, 65, 142, 152,

247, 251, 259, 269, 312, 349, 381, 457,470, 491, 525, 550, 573, 607, 637, 659,693, 701, 716, 781, 786, 794, 798, 802,812, 818, 820, 863, 866

theme, 13theme and variations form, 688tonal centre, 3tonal music, 1tone poem, see symphonic poemtransition, 8, 13trio, 208, 210

variation, 13vocal duet, 168, 183, 186, 192, 198, 641, 644,

818, 820vocal quintet, 180vocal solo, 178, 312, 653, 659vocal trio, 183, 637, 644, 650voice leading, 3, 297, 749, 857

waltz, 387, 391, 402, 557, 578, 772whole-tone scale, 8


Musical Analysis: Visiting the Great Composers, 5th Edition

Documents

Transcript of Musical Analysis: Visiting the Great Composers, 5th Edition