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Background Information
-Written in 1799
-Performed for first time one year later
-Published 1802, dedicated to empress Maria Theresa
Melody
-Mainly diatonic. Examples include the first tune of the second subject.
-Some chromaticism e.g. chromatic lower auxiliary 2nd note of first subject, bar 18. Also chromatic scale at bar 26.
-First subject begins with a rising sequence based on 4 note motif.
-Melodies are often repeated, for example in bar 10 the melody is immediately repeated with fuller instrumentation.
-Ornamentation e.g. turn at end of second subject tune.
Rhythm
-The slow introduction is rhythmically complex -> includes demisemiquavers and sextuplets.
-In the accompaniment of the first theme there is a distinctive repeated quaver pattern in the viola, which is then replaced by a new syncopated idea in the violin and viola over constant crotchet beats in the cello when the tune is repeated at bar 29.
-Many themes begin with an anacrusis. The first theme has three upbeat quavers whilst the second subject first theme has just one.
Texture
-Tutti homophonic chords in slow intro bar 1.
-Monophony in bar 2 where there is just the solo violin.
-Melody dominated homophony in the beginning of the exposition where broken chords accompany melody in the violin
-At bar 128 the bassoon and clarinet play in octaves, and in 6ths at bar 140.
-At the coda texture becomes more complex, lots of imitation between the strings and woodwind between bars 258 - 264.
-Varying numbers of instruments playing, e.g. 10-92 = tutti which contrasts with the three part passage immediately preceding it.
Structure
-First movement of a six movement work in the style of a serenade.
-Sonata form with a slow intro
-Coda is longer than in previous periods.
-The second subject groups include three melodic ideas as well as a codetta.
Harmony
-Harmony is functional with clear perfect cadences, for example bars 28-9 in E flat.
-Mainly root and first inversion chords with occasional 2nd inversion harmony.
-Chromatic chords e.g. bar 7 german augmented 6th on the flat 6th.
-Intro ends with a dominant 7th chord which leads to the tonic at the beginning of the exposition.
-Harmonic rhythm varies; slow 4 bars in E flat at the beginning of the intro, speeds up towards cadences for example bars 27-8.
Tonality
-Functional tonality with modulations to unrelated keys.
-first subject in the tonic of E flat. Modulated to the dominant in the second subject.
-Development includes variety of keys e.g. relative minor of C minor, A flat minor (124) and relative sub-dom of F minor (132).
-All keys in the development are established with perfect cadences.
-Final sections are in E flat.
Instrumentation
- Septet was an unusual grouping; four strings, clarinet, bassoon, and horn
-Clarinet is in B flat (one tone lower than written.)
-Horn in E flat (6th lower than written, used to play low notes e.g. G's in bar 9)
-Violin and viola double stopping in first bar.
-Violin ends slow intro with a trill.
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