Stamitz Opus 3 No 2 Essay Points

Question 1

Stamitz Opus 3 No 2 - Overall form and style

Answer 1

• One of first symphonies in four movements/ that uses the standard four-movement pattern.
• The second movement is in the subdominant, which is a very common more relaxed key for the slow movement.

Question 2

Stamitz Opus 3 No 2 - First movements

Answer 2

• 1st mv is very early version of sonata form. No bar line to delineate end of exposition (so no rpt)
• S1 in tonic, S2 in dominant
• Development includes a return to tonic key → later this key will be saved for start of recap
• Recapitulation reverses S1 and S2. Both subjects in tonic key

Question 3

Stamitz Opus 3 No 2 - Second movements/slow mvts

Answer 3

• Has a very lyrical second movement.
• It begins with only strings and the brass instruments join later.
• Written in a loosely rounded binary form without any repeats.
• Written in relaxed andante which contrasts with most first movements which are usually allegro and is in the subdominant key.
• This second movement has a simple MDH texture which was very typical of the earlier classical period.

Question 4

Stamitz Opus 3 No 2 - Third movements/Dance forms

Answer 4

• Old fashioned in some of its features e.g. first and second violins play the same throughout
• Reduction of forces in the trio (no trumpets) is standard, but the relatively independent woodwind parts are more innovative.
• Another more old-fashioned feature = B section of the rounded binary minuet starts with a new idea before the A’ brings back the opening material. Composers later in the Classical period nearly always treated the beginning of the B section a bit like a sonata development, modulating whilst fragmenting ideas from the A section rather than introducing anything new

Question 5

Stamitz Opus 3 No 2 - 4th movements

Answer 5

• 4th movt is in extended binary form
• Drama created through textural, dynamic, and instrumental contrasts
• Movt begins with dramatic tutti homophony rising chords over semiquaver arpeggios
• Rising triadic melody known as Mannheim rocket is typical of galant
• As typical of style, movt uses homophonic primary chords and finishes with perfect cadence
• Ends with ff tutti chords - very emphatic and dramatic end

Question 6

Stamitz Opus 3 No 2 - Melodic writing

Answer 6

• Gallant style influence
• Melodies moved away from Baroque complexity to simpler and scalic melodies with short phrases - follows simple scalic pattern through majority of 1st mvt
• Melodies pleasant to ear due to predictability
• Mannheim features also evident in the melody here e.g. Mannheim sigh (two slurred notes with first one accented).
• Overall, melody of this early classical work simplistic, built off short phrases and structurally predictable

Question 7

Stamitz Opus 3 No 2 - Harmony and Tonality

Answer 7

• Follows conventional tonalities of 4 mvts - tonic tonic, subdominant, tonic
• Very simple and direct harmony with lots of pedals and primary chords
• In terms of tonality, double returns of tonic and thematic material that would become standard in sonata form is not yet established since tonic returns in dev as well
• In 1st movt modulation is only from tonic-dom-tonic; there is none of the wider exploration of keys expected in later Classical symphonies

Question 8

Stamitz Opus 3 No 2 - Rhythm and metre

Answer 8

• Rhythmic structure of the music in the Galant style favours regularity and simplicity
• Opening of the first movement, for example, starts with a four-bar idea (Mannheim hammerstroke)

Question 9

Stamitz Opus 3 No 2 - Drama, narrative, programme music

Answer 9

• Not programmatic
• Highly dramatic in 1st mvt
• Uses Mannheim techniques such as the opening forte tutti chords ‘Mannheim hammerstroke’, the dramatic crescendo with pedal notes ‘Mannheim roller’, and sudden dynamic contrast

Question 10

Stamitz Opus 3 No 2 - Folk and nationalism

Answer 10

• Some folk related elements such as: pedal notes (that it can be argued are a sophisticated version of a drone) dotted rhythms, accented notes as well as simple melodies and motifs

Question 11

Stamitz Opus 3 No 2 - Orchestration and texture

Answer 11

• Galantwriting is typically melody-dominated homophony – the second movement provides very clear examples.
• Mostly MDH
• Textural contrast in trio where oboe and horn play melody with light string accompaniment → also pioneering solo woodwind
• Textural and instrumental contrasts add drama to finale
• In 3rd mvt, 1st and 2nd vlns play same part (traditional)