Shostakovich
- Submitted by: Carrarth
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- Category: Arts
- Date Submitted: 11/13/2015 09:26 PM
- Pages: 2
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An Adagio introduction in d minor is presented in full orchestra in a heavy, homophonic texture with the orchestra playing in octaves and only using the tonic and dominant notes. With a fanfare-like rhythm.
* Bar 3-5 we have the double bases, cello’s, viola’s, 2nd violins and the bassons playing with the 1st violins call and responding
Exposition.
Theme 1. (17)
The tempo is Allegro and key has returned to the home key of D major. The theme is a sweet and cute melodic line introduced by the strings and bassoon. Though the dynamics are soft suspence is built
Transition.(33)
The Transition is forceful with terras dynamics. The violins answer with force. The key now modulates to A major, the dominant key.
* Bar 40 has rhythmic motifs parallel to 10th.
* bar 50 plays the motif B.
Theme 2. (66)
The second theme is identical to the first but is now presented in the key A major
* Bar 80, tension built by strings.
* Bar 99, leading to Codetta.
* Bar 112 unison rhythm in the orchestra
Development. (124-193)
The development contains a six note rhythmic motive derived from thematic material. The development opens in the key of b minor. Tension is heightened by chromatic climbing up the register, an increase in dynamics and rhythmic repetition on the beat. Bar 145, theme of codetta.
Recapitulation.
Theme 1. (194)
The theme is presented in D major as it was originally
* Bar 201, Flute and Oboe duet.
* Bar 208 Tutti.
* Bar 220, circle of fifths.
Bridge. (236)
The bridge is again forceful but does not work to modulate the key.
* Bar 242, silence
Theme 2. (256)
The theme is presented in the tonic again but is cramatic.
* Bar 257 closing section.
* Bar 267, leading to coda.
Coda.
A rousing conclusion to, Haydn’s 104 symphony first movement is created by a descending scale passagages in the strings, driving rhythm, and strong dynamics achieved by the use of full orchestra and...
* Bar 3-5 we have the double bases, cello’s, viola’s, 2nd violins and the bassons playing with the 1st violins call and responding
Exposition.
Theme 1. (17)
The tempo is Allegro and key has returned to the home key of D major. The theme is a sweet and cute melodic line introduced by the strings and bassoon. Though the dynamics are soft suspence is built
Transition.(33)
The Transition is forceful with terras dynamics. The violins answer with force. The key now modulates to A major, the dominant key.
* Bar 40 has rhythmic motifs parallel to 10th.
* bar 50 plays the motif B.
Theme 2. (66)
The second theme is identical to the first but is now presented in the key A major
* Bar 80, tension built by strings.
* Bar 99, leading to Codetta.
* Bar 112 unison rhythm in the orchestra
Development. (124-193)
The development contains a six note rhythmic motive derived from thematic material. The development opens in the key of b minor. Tension is heightened by chromatic climbing up the register, an increase in dynamics and rhythmic repetition on the beat. Bar 145, theme of codetta.
Recapitulation.
Theme 1. (194)
The theme is presented in D major as it was originally
* Bar 201, Flute and Oboe duet.
* Bar 208 Tutti.
* Bar 220, circle of fifths.
Bridge. (236)
The bridge is again forceful but does not work to modulate the key.
* Bar 242, silence
Theme 2. (256)
The theme is presented in the tonic again but is cramatic.
* Bar 257 closing section.
* Bar 267, leading to coda.
Coda.
A rousing conclusion to, Haydn’s 104 symphony first movement is created by a descending scale passagages in the strings, driving rhythm, and strong dynamics achieved by the use of full orchestra and...