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

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

Extracts from this document...

Introduction

Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Development and Recapitulation Development First Development The first development starts in the key of E flat major, piano dynamic markings, with woodwind playing a short passage, which then leads into the closing theme from the exposition which is played by the strings. An inverted pedal played by flutes and oboes plays on top while the closing theme continues, when it is then passed over onto the oboes and bassoons in bar 131. From bar 133 onwards starts a thematic development, as the piece goes through several different keys. The woodwind have taken the fanfare from bar 9 (brass do not play), and are using it as a counter-melody, to aid the harmonic changes the piece is going through. The first subject taken for thematic development is taken from the end of the exposition, bar 108 in the violins. ...read more.

Middle

At bar 146 the oboes and bassoon take the theme and split it into 2 halves, and swap them around, helping to move the piece into G minor again at bar 147. Bar 150 sees the piece in D minor, and in bar 151 the piece moves from A minor to E major in bar 153, with the violas playing a dominant pedal. The tune is then briefly passed over to the woodwind for 3 bars when at bar 157 the strings return, now in a small transition section with a variation on the earlier theme playing while underneath the bass goes through E, E7 and Dim 7th into the key of F major, which is the start of the second development. Second Development This section, starting at bar 161, sounds similar to the exposition of the piece, but is different in several ways. ...read more.

Conclusion

At bar 181 the ostinato in the woodwind stops suddenly, and the first violins play the first theme of the development while the second violins and violas continue the ostinato, leading to bar 183 which sees a dominant pedal in the horns, preparing the piece to return to C, and the trumpets and timpani join in as well, giving further support and preparation, until bar 189 where the development then ends. Recapitulation The recapitulation is very similar to the exposition, except for the following changes. Exposition bars Recap bars Changes in Recap First Subject 1-23 189-211 Identical to the exposition Transition 24-55 212-243 Same length, but starts in C minor, and ends in C major, and also avoids modulating to the dominant at bar 244. Second Subject 56-100 244-288 The same but in C, with some several scoring changes, but no major changes. Closing Theme 101-111 289-299 The same but in C Codetta 111-120 299-313 Very similar, but in C as well. Lasts longer in the recapitulation, helping to emphasise the key of C. ...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

    This also helps add to the drive and excitement, before ending in bar 23 on the tonic with a fermata. Transition The start of the transition is immediately in contrast to the beginning of the piece, starting at piano dynamic markings and without any bass, helping to create a delicate texture.

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

    The use of imitation and sequencing is also demonstrated by the countersubject in bars 5-6. It is imitated in bars 6-7 an octave higher. This is then inverted in descending parallel octaves 8-10, followed again by the countersubject in bar 10 and an imitation of the subject in bar 11.

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

    where they are playing high crotchets on beat 2 and 3 (b.220 - 224). I find this adds a sense of drive, and even though we are still in piano dynamics, it accentuates the sense of pace that the triplet semiquavers asserted at the beginning of this section.

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

    In b.49 the same rhythmic feature is reinstated using the crotchets and dotted quavers to again add a certain momentum and drive. This again is the same as the beginning where this pattern leads into off beat crotchets which brings us to a raucous end of the first subject.

  1. An analysis of Sweelinck's 'Pavana Lachrimae'

    As stated previously, each of these sections, and indeed each of the following sections of the piece, all end with a cadence, which is a distinctly Baroque feature. When moving away from modality, composers sought to clarify their tonality to listeners, which they did by utilising primary chords and simple cadences (only perfect and imperfect are present in 'Pavana Lachrimae').

  2. Music Song Analysis

    This may be in preparation for the next verse where rhythm and time break down and he sings a constant beat per bar, however at the end of each line there is a clear melody in finishing off the last word.

  1. The impact of California Smoking Bar Banned to the bar owners in Orange County.

    In order to examine the impact of the law to the bar owners, it is essential to consider the terms of business loss, customer dissatisfaction, costly enforcement polocies, and non-compliance. (chapter 2) Research Questions In this study, there are two research questions will be analysed, focusin on the California smoking bar banned.

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

    Texture- Texture was one of the more flexible elements of classical music. In general, it was basically homophonic, but was free to change to polyphonic when a composer saw fit. It is often extremely difficult to tell whether Mozart?s music is polyphonic, or just homophonic with very complex backings.

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