Essay - Melodic writing

Question 1

Melodic writing - pieces to talk about

Answer 1

• Stamitz Op 3 No 2
• Haydn 26
• Haydn 104
• Mozart Symphony 40+41
• Beethoven 3
• Beethoven 5
• Beethoven 6
• Beethoven 9
• Mendelssohn 4
• Berlioz Symphonie Fantastique
• Dvorak 9

Question 2

Melodic writing - Stamitz Op 3 No 2

Answer 2

• 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 3

Melodic writing - Haydn 26

Answer 3

• Haydn Symphony 26 (1st mvt) - simple minor key, syncopated melody based on arpeggio of accompanying chord
• Haydn 26 1st mvt in ‘Storm and stress’ style - often uses minor tonality and syncopations for unrest

Question 4

Melodic writing - Mozart Symphony 40+41

Answer 4

• Mozart took slightly contrasting approach than Haydn - with more limited instrumentation, his melodies remained more intricate.
• E.g. Mozart Symphony 40 in G minor contains lots of short melodic ideas, overall effect is lyrical → Slow legato melody in winds emphasises main melody more → melody has chromatic inflection potentially to make up for interest since harmony is very triadic
• Mozart’s 41st symphony (his last symphony) last movement → interweaves six melodic themes from throughout work in contrapuntal texture - shows his Baroque influences
• Chromatic inflections in melody became more common throughout romantic period so can argue that Mozart had influence in melodic writing on future composers

Question 5

Melodic writing - Haydn 104

Answer 5

• By his final symphonies, melodies became simpler (e.g. Haydn 104). Monothematicism seen across final few works.
• Final mvt of Haydn 104 in sonata form but S2 is just S1 in the dominant key. Melody is simple and functional (based off D major scale) and very conjunct
• Regular phrase lengths e.g. S1 is 8 bars antecedent + consequent phrasing

Question 6

Melodic writing - Beethoven 3

Answer 6

• Beethoven 3rd Symphony → melody to given to a bass clef reading instrument.
• The piece opens with a highly lyrical arpeggiac theme, showing start of move into romanticism
• Melody passed around instruments in a quick succession - means a larger range of pitches/timbres being used for melodies (not confined in one instrumental part)

Question 7

Melodic writing - Beethoven 5

Answer 7

• Beethoven’s 5th Symphony - idea of leitmotif → dramatic opening theme becomes basis of whole symphony through manipulation rather than exact repetition
• Begins in Cm, ends in C major → represents triumph over adversity → philosophical idea replaces gallant style

Question 8

Melodic writing - Beethoven 6

Answer 8

• 6th symphony also an example of Beethoven introducing programmatic elements into his work
• Last movement has simpler melody - F major highly scalic and arpeggiac with long lyrical phrases) → depicts Shepherd’s song of thanksgiving.
• Contrasts previous movement with disjunct and short phrased minor melody + super high piccolo moment depicts thunderstorm
• Overall, Beethoven’s melodic writing can be seen as highly developmental time with new concepts being introducts e.g. motifs and melodies depicting images becoming new symphonic standard

Question 9

Melodic writing - Beethoven 9

Answer 9

• Final mv ‘Ode to Joy’ theme where vocal parts borrow from previous mvs → Standard classical orchestration with added horns and trombones in last two mvs as well as piccolo, contrabassoon, bass drum, triangle, cymbals, choir

Question 10

Melodic writing - Mendelssohn 4

Answer 10

Mendelssohn also used new melodic methods. Mendelssohn’s 4th Symphony → 4th mv has tripleted, tarantella style flute melody (example of programmatic writing as he wanted to depict Italian dances)
* New melodic material in development in mv1
* In the coda of the last movement, Mendelssohn brings back a minor version of the S1 of the mv 1– a common feature of Romantic symphonies.

Question 11

Melodic writing - Berlioz Symphonie Fantastique

Answer 11

• Composers drew more on idea of motifs. Berlioz coined term ‘idee fixe’ (theme that represents place or person that recurs throughout symphony manipulated for specific purposes).
• Symphonie Fantastique (Berlioz) → idee fixe first introudced in violins → as new oboe theme enters, idee fixe heard again in counterpoint
• This concept made melodies have stronger links to each other

Question 12

Melodic writing - Dvorak 9