• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Comment on the differences between the exposition and the recapitulation in Mozart's 41st Symphony

Extracts from this document...

Introduction

The difference in material between the exposition and the recap Mozart's 41st symphony is written in sonata form which plays host to three main sections. These sections are the exposition, the development and the recapitulation. Whilst the development introduces new ideas, motifs etc, it is the exposition and recapitulation that bear the same musical integrity as one another. This being said however, when the previous musical ideas created in the exposition are reiterated in the recapitulation, they are not necessarily exactly the same. I will attempt to explore the extent to which the two sections differ from on another within this essay. Most noticeably in this recapitulation is the lack of full modulation to the dominant. Instead we stay generally in C throughout (apart from b.225 - 243). Phrases and motifs that were in the dominant previously stay within C. One of the reasons behind this is that staying with the tonic is the realisation for the listener that we have come to the end by returning to the home key. ...read more.

Middle

The use of syncopation at the end adds drive and vigour. The fact it ends on a major chord provides us with a way to modulate back to C (as G to C is a perfect cadence). The second subject is now presented again, but this time in the tonic. We have modulated back from the dominant which we were in previously. The first 5 bars are scored the same, however the addition of flutes and oboes are brought in to add to the quaver run in b.249. They are not doubling, but adding harmony. The flutes are now doubling the melody also, where before it was only the bassoons. In b.254, the addition of horns is quite prominent also, adding a new depth. This was previously impossible due to the harmonic limitation of the brass instruments, but as we are now in C, it is possible. From b.260, we are getting quite close to the coda. The addition of woodwind here one by one creates a much heaver and substantial texture to the piece. ...read more.

Conclusion

After finishing with a G major chord in b.307, in the same place in the exposition, we would be moving into the development. In the recapitulation though, we are taken straight to 5 bars involving only C major, and the manipulation of it (arpeggiating the notes). Due to the fact it is staying on one chord, it is increasing harmonic stability. Also, as it is scored for all instruments and marked forte, it provides a clear, loud and well stated ending to the Jupiter symphony. To conclude, the main differences between the exposition and the recapitulation are mostly scoring changes, whether this is to add a new harmonic texture, or to reinforce things that were previously there. He often adds more instruments to help add depth to the sound produced, as well as reinstated the harmony. There is not a lot of new material in the recapitulation, and where there is, it is mostly built around existing material. The idea of a recapitulation is to reinstate and build upon previous motifs and phrases. As explained, this is exactly what Mozart does to great effect and provides a well rounded finish to an impressive piece. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Music essays

  1. Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Exposition

    The horns again play the triad, but this time starting on the dominant. From bar 31 it starts to change, as the piece begins to develop and move on. The violins begin to play a fragmentation of the consequent of motif A, using appoggiaturas and a sequence to disguise the

  2. How does Jacques Loussier’s interpretation of Toccata and Fugue in D Minor differ from ...

    In Toccata and Fugue, Andre Arpino adds a "percussive layer to Bach's written rhythmic structure, reinforcing time and meter, while adding to the trio's textural resonance."13 He constantly switches between a swing rhythm and back to create a contrasting effect (e.g.

  1. Critical commentary on the exposition of Mozart's 41st Symphony.

    From b.9 all the woodwind instruments play crotchets and dotted quavers in an order. This section itself is fast paced and has a certain sense of vigour. The rhythms that the woodwind play add a sense of pace and drive.

  2. An investigation into the Mozart Effect.

    It will show how the encoding specificity principle relates to music being present during studying. The experiment is neither damaging nor demoralizing to the participants; therefore it is sound on ethical and humanitarian grounds. If the experiment does show music to have a beneficial effect on learning, it would be

  1. Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Development and Recapitulation

    From bar 143 onwards the thematic development changes slightly, as the sequence ends, with an imperfect cadence from G7 to C minor, and the first subject for thematic development begins to become augmented, with the violins playing the new augmentation at bar 143, then having the flutes pick it up and continue.

  2. Similarities and differences between 'Who Wants To Be A Millionaire? And 'The Weakest Link'.

    created, this has the function of once again drawing your eye to the front of the people because moments later the main part of the logo sweeps over their to produce the finished article. This is all accompanied by a futuristic sound track of not what I would call music

  1. Analysis of Mozart's Symphony No. 41 1st Movement

    dynamics should flow smoothly, rather than the terraced dynamics of the baroque period. The flow of these dynamics created tension and excitement. During Mozart?s ?Jupiter?, there are many crescendos and decrescendos, but also many terraced dynamics. An example of a smooth dynamic change is at bar 39, where there is a gradual crescendo.

  2. Analysis of the Exposition of the First Movement of Beethoven's First Symphony

    The woodwind interject with melodic phrases as the strings emphasize a repeated plagal cadence from G-C-G. The second subject is now firmly set in the key of G major (the dominant of the main key, C). Beethoven immediately makes it clear that the second subject has begun by suddenly changing the dynamics (piano)

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work