Page 133 - (DK) The Classical Music Book - Big Ideas Simply Explained

CLASSICAL 1750–1820 131

in C major (No. 41) that followed, mold with radically different works,
counterpoint—alternate melodic such as “Eroica” in 1804, and the
lines played above or below the Ninth Symphony of 1824.
main melody—is apparent
throughout. Even the minuet Romantic developments
and trio of the symphony’s third Mozart’s music is so The tonally (and expressively)
movement, normally an exercise pure and beautiful that diverse music of Beethoven’s
in pleasant repetition, prove rather I see it as a reflection contemporary Franz Schubert
heated, more in the manner of a of the inner workings also found its model in Mozart’s
quarrel than a courtly dance. of the universe. final works. Those who followed
Together, the symphony’s four Albert Einstein these Viennese masters, such as
movements move us far beyond Hector Berlioz and Franz Liszt,
the balance and poise of Mozart’s continued to adapt the Classical
earlier works—as well as those symphony to their own Romantic
of his contemporaries. They look ends, introducing new dramatic
ahead to the more turbulent effects and elements, such as
music of the Romantic period. program notes to help the audience
After Mozart’s death, his final three interpret the music, as in Berlioz’s
Mozart’s legacy symphonies, a magnificent triptych Symphonie fantastique and
It is not clear if Symphony No. 40 with the G minor at its heart, were Liszt’s symphonic poems.
was premiered during Mozart’s repeatedly held up as the pinnacle Collectively, these gave the
lifetime, and many commentators of the Classical symphony. These symphony an even greater sense
claimed that it was not written works—along with Haydn’s own of theater and formed the basis
for Vienna at all, but for posterity. great body of symphonies—no for Richard Wagner’s “symphonic”
However, the presence of a second doubt provided the benchmark for operas, with their emphasis on
version of the score, including the young Ludwig van Beethoven. recurrent motifs and the changing
parts for two clarinets, probably Born in Bonn, Beethoven arrived role of the orchestra—Wagner was
written for Mozart’s friends, in Vienna the year after Mozart’s the first to place the orchestra out
the clarinetists and basset horn death and became one of Haydn’s of sight of the audience, focusing
players Anton and Johann Stadler, pupils, initially emulating the attention on the stage. The roots of
indicates that Mozart must have music of both his teacher and his such bold innovations are found in
heard at least one performance idol Mozart. Eventually, however, the symphonic works Mozart wrote
before he died in 1791. Beethoven would break their toward the end of his short life. ■

The first movement of a The second
symphony presents several themes and movement presents lyrical
develops the sections in different keys, ending melodies. It usually has a ternary form,
in the main key, usually in a fast-pace with three sections, the third
sonata-allegro form. repeating the first.

The fourth movement is
fairly fast and often in a rondo form, in Two brisk minuets separated by a
which the first section is repeated and there contrasting trio section in ternary form
is a different new section between make up the third movement.
each repetition.

US_128-131_Mozart_Symphony.indd 131 26/03/18 1:00 PM