• 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 Exposition

Extracts from this document...

Introduction

Mozart Symphony No. 41 in C, K551 "Jupiter" Analysis of Exposition The first movement of Mozart's final symphony can be broken down into several sections, and these are the 1. Exposition * First subject * Transition * Second subject * Closing theme * Codetta 2. Development * First development * Second development 3. Recapitulation Exposition First Subject The first subject is in the movement's opening bars, and is then split further into the antecedent and consequent. The antecedent takes the form of a militaristic march, with a strong duple meter coming through, emphasized by the brass playing the tonic of C, helping to establish the key. The consequent is then played by the first violins. In a contrast to the loud and strong opening; it is played piano and has a much lighter texture. It uses a combination of suspensions and appoggiaturas in a rising sequence that completes the consequent. The antecedent and consequent are both examples of periodic phrasing, which is essentially a balanced phrase. The antecedent is two bars long, and so is the consequent, which I shall now refer to as motif A. This is then followed by a repetition of the antecedent and consequent but in the dominant key of G. ...read more.

Middle

The brass start playing an augmented version of the fanfare, meanwhile there is an inverted pedal being played in the flutes, lasting 8 bars from bar 39 onwards. At bar 44 the fragmented consequent appears again in the bassoons, and the brass start to play the original fanfare from motif B. In bar 49, the brass and bass start to play a pedal, as the whole of motif B is reintroduced into the orchestra, in the dominant of G; climaxing at bar 55 with a general pause. Second Subject Again this section starts in contrast to the end of the transition, with only the violins playing in a 2-part texture, with the second subject in the first violins and the accompaniment in the seconds. The bass then joins in at bar 58, leading to the end of the phrase at bar 61. In this bar the first violins pay a short ascending passage, reminiscent of bar 38 in the flutes which brings back the second subject, but now in a 3 part texture with the bassoons now also joining in. Several bars later in bar 64 the violas and bass also join in, imitating the first part of the second subject, and helping to build the texture of the piece. ...read more.

Conclusion

Closing Theme Bar 101 - 110 sees a whole piano section, helping to bring the second subject to an end bit by bit. It starts with the tune being played in the violins starting on D, using anacrusis to help add to the now lighter atmosphere, almost as if Mozart is teasing the listeners and joking around. In bar 103 the oboes play an inverted pedal quietly, with the bassoons joining in at bars 105, also piano, playing the closing theme starting on G. Because of the light atmosphere and texture in this section, there are no parts for the brass or timpani. Codetta The codetta begins at bar 111, starting at a forte dynamic, leading towards the end of the exposition. The main melody is played in the oboes and bassoons, as well as the bass and viola, while the rest of the orchestra except the timpani accompany them. The first and second violins are playing semi-quavers, which helps build the tension and excitement as the exposition draws to a close. At bar 117 the piece changes, with a cadential passage with most notes on the beat, with the first violins playing demi-semi-quavers, reminiscent of the first subject, mirroring motif A. Here the flutes are playing a pedal, the codetta ending at bar 121. ...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. An investigation into the Mozart Effect.

    This study does not have very good ecological validity, as it is very uncommon for people to have to remember a set of words. Construct validity is the comparison of test scores with the expected results. As seen from the graph, this does not demonstrate a similar trend to that of the expected results.

  2. The Development of the Orchestra

    the story of a young, unhappy, and ultimately suicidal lover (Berlioz himself). The piece is bound together by a recurring, representative musical theme - the famous "fixed idea." This kind of opera-like piece was very representational of the romantic era.

  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. An account of the life and works of W.A. Mozart

    'Amadeus' film, which presents the myths surrounding Salieri's plot to kill Mozart and take credit for the Requiem Mass. The opera 'Mozart and Salieri' written in 1897 displays the story in a similar way, Salieri is characterised as a jealous man, and was possibly envious of Mozart in his day.

  1. Music Song Analysis

    He then goes back into the chorus singing "I am chromosome" this time with no piano but a synth sound also prolonging as the words do. Although only two instruments are used here it is a very significant part in the song and stands out to the rest.

  2. Write a full description of how a Jew becomes a Bar or Bat Mitzvah ...

    There are other ways to make the celebration have a deeper Jewish religious importance, such as Israeli dancing and singing. The ways to celebrate bar and bat mitzvahs vary from family to family but in every case, it always a religious and joyous event.

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

    is a key element of the first subject from bars 13 to 31. The motif is played after each new transition and starts immediately from bar 13. It is played twice, followed by being played in staccato twice (playing the tonic note once more after the motif is played)

  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 Mozartâs 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