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8 Cards in this Set
- Front
- Back
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Background Information |
-Written in 1799 -Performed for first time one year later -Published 1802, dedicated to empress Maria Theresa |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
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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. |
