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

    a thicker texture as the flutes are added (along with a part for the lower strings). These stop at the beginning of b.71 where the strings are the only instruments playing. In b.81, all the woodwinds are brought back in and we are shown left with a very prominent forte section were all the instruments are playing.

  2. An Evaluation of the Marketing Strategy of Nestl Yorkie Chocolate Bars.

    This sort of thing can cause a lot of people to stop buying the good and in this case, it definitely has. I think Nestl� could improve the promotion by using a less controversial ad campaign. This could actually help Nestl� to sell more Yorkie bars, as people wouldn't be offended by their campaign.

  1. An investigation into the Mozart Effect.

    better Discussion Validity Validity refers the trueness of an experiment and how well it can be generalised. The variables were operationalised by giving them a standard in which it all can be measured against. Ecological validity is how true and similar a study is to real life.

  2. 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.

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

    imitated a bar later in the left hand, which is a feature common throughout the piece. This has the effect of creating 'horizontally' moving passages which was common of the Renaissance period. Composers often created different melody lines in different instruments of parts (polyphony)

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

    Not only were there contrasts in mood with new themes, but contrasts of mood within a single theme. Mozart uses both these effects in his pieces. An example is during the first four bars. We start with a loud full solid sound for two bars, and then drop away to a delicate little melody.

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