ANALYSIS OF MOZART SYMPHONY K-550
This is an excerpt from the paper...
The movement is in sonata-allegro form, and characterized generally by the regular phrasing of its cut-time meter (in 2- and 4-bar groups). The exposition, development, and recapitulation sections are roughly balanced on a ratio of 4-3-5, and the textural qualities of the three sections are basically homophonic-contrapuntal-homophonic (with considerable quasi-contrapuntal decoration of the harmony). Orchestrally, the strings provide the foundation for most of the writing, although the winds are particularly important for their use in the major transitional points of the form. The beginning of the development section (ms. 102-105) and the retransition (ms. 160-166) are the primary examples. Special mention may be made of the bassoon writing in this movement, which is unusually active. The exploitation of the octave sonority, which is characteristic of Mozart's style in general, finds expression here in the three-octave doublings of the melodic line often encountered in the movement (ms. 14-15, 70-71, 89, and similar passages throughout). Also typical of Mozart's style is the extensive chromatic embellishment of melodic lines found here and throughout the work as a whole (see 2nd subjects in 1st and 4th movements, accompaniment figure to 1st theme in 2nd movement, among others). Rhythmically, this movement is rather square, although good use is made of syncopation and agogic accent near the beginning of the developme
. . .
opening motive follows the progressive diminution of the theme's first phrase. At first this foreshortening process accelerates the sense of development and formal motion, driving to a climax in ms. 160, then fragments itself in the retransition over the dominant pedal (ms. 160-166), producing a sense of dissolution and release. This retransitional passage is skillfully slided into the beginning of the recapitulation at ms. 164-165.
The repeat of the opening measures is regular except for the addition of a solo bassoon part in ms. 168-172. At ms. 185, the melody is inflected via a-flat to the key of the sub-mediant major (e-flat), which leads to a development of the transition material (begins ms. 191) to the second theme. A one-measure grand pause (corresponding to the exposition's use of the same device) precedes this subject, heard this time in g-minor. The reprise is generally regular until a syncopated chromatic tutti in ms. 281 leads to the short codetta, artfully constructed from the first theme, and varied texturally with a lightly contrapuntal beginning (ms. 285-292) and a short tutti cadence in the home key (ms. 293-299).
Second Movement
This movement is also cast in the tripartite sonata form, but begins wit
. . .
Some common words found in the essay are:
K-550 Movement, Fourth Movement, Minuet Trio, development section, primary motive, beginning development, beginning development section, begins ms, contrapuntal texture, ms 160-166, motive movement, final section, grand pause, light texture, movement sonata-allegro form, one-measure grand pause, violins solo winds, development section ms,
Approximate Word count = 1945
Approximate Pages = 8 (250 words per page)
|
Customer Service
to Over
32,000 Professionally Written Papers!!!
