MOZART SYMPHONY

Generally, however, the distinctive rhythm of the opening motive dominates the entire movement. The composer's characteristic harmonic daring can be seen in these kinds of passages as the beginning in the development section (leading from g-minor to f-sharp-minor, ms. 101-105), and also the decorated pedal dominant n the retransition (ms. 160-166).

The distinctive opening theme is announced by the strings, doubled at the octave during the violins over a homophonic accompaniment during the low strings. It begins with an anacrusis (as indeed do all of the symphony's themes), and is created up of regular 2-bar phrases which are preceded by one introductory measure containing the anacrusis (in the pattern 1+2+2+2+2). The winds enter at ms. 14 in three-octave spacing, affecting a 2-bar transition to a tutti reinforcement of the dominant (D). An fascinating cross-relation is heard in ms. 15 in which c-neutral from the winds sounds against the c-sharp from a German 6th harmony that resolves on the dominant. The bassoons play a short transition back on the primary theme, that is certainly slided and begins this time previous to the accompaniment figure (ms. 20-22), since it does also within the beginning on the recapitulation. A brand new figure at the end on the theme leads to a cadence on f-major, dominant with the relative major (b-flat). This can be the key of the second subject, which seems right after a one-measure grand pause in ms. 43.

The melody in the second theme is "shared" by the strings and winds.

The final section is begun regularly, but the repeat with the second subject is unusual for its minor mode, instead of the expected tonic major. This theme also undergoes some developmental variation in ms. 250-277, ahead of leading to an extended repeat of the closing cadential material inside the end with the exposition.

Also in sonata-allegro form, this famous movement derives its rhythmic vitality and vigorous, active character mostly within the opening theme, a 2-bar arpeggio motive followed by an active 2-bar 8th-note motive on the pattern 2+2+2+2 (ms. 1-8). The second phrase is developmentally treated within the transition among the very first and second subjects (ms. 32-56), and its rapid harmonic rhythm (ms. 2-4) characterizes the tutti computer software with the winds throughout the movement. The abrupt dynamic contrast in between the first a couple of phrases is regular of Mozart's use of dynamics in general. More of this kind of contrasts are heard in ms. 17-32, in which the 8th-note motive in the 2nd phrase is evolved into transitional passage jobs that leads eventually towards second subject in b-flat major at ms. 70-71.

Both the Minuet and Trio sections of this movement are notable for ones irregular phrasing of their themes. The Minuet's theme is created from 2 3-bar phrases, balanced by an 8-bar phrase (3+3+8; ms. 1-14) that cadences over a dominant of g-minor (d). Texturally marked by consistently contrapuntal writing, the minuet is the a lot more heavily orchestrated, utilizing a mixture of wind and string colors most in the time. The final measures (ms. 36-42), however, are exceptional. The vigorous high quality from the theme itself effects type the irregular phrasing, marked syncopation of the tune, as well as the sharp contrast this creates with the strong triple meter.

The lyrical second theme is unusual for its extended and assymetrical 8+7; ms. 71-85). Its abbreviated consequent phrase is balanced by an extended anacrusis inside winds (ms. 85-86).

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