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Mendelssohn 'Italian' Symphony > Movement I > Flashcards

Movement I Flashcards

1
Q

1- 209

A

Exposition

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2
Q

1- 66

A

First subject (exposition)

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3
Q

66 - 92

A

Transition passage (exposition)

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4
Q

93 -187

A

Second subject (exposition)

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5
Q

187 - 209

A

Codetta

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6
Q

210 - 368

A

Development

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7
Q

210 - 284

A

First development section

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8
Q

285 - 296

A

Fausse recapitulation

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9
Q

297 - 368

A

Second development section

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10
Q

369 - 510

A

Recapitulation

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11
Q

369 - 391

A

First subject (recapitulation)

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12
Q

391 - 404

A

Transition passage (recapitulation)

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13
Q

405 - 455

A

Second subject (recapitulation)

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14
Q

456 - 510

A

Third development

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15
Q

510 - 586

A

Coda

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16
Q

Home key

A

A major

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17
Q

Form of the movement

A

Sonata form

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18
Q

17

A

E major tonicisation

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19
Q

19

A

Inverted cadence (V6-I)

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20
Q

22 - 23

A

Root position perfect cadence

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21
Q

23

A

Flutes, oboes and horns enter with fig ‘x’ - not developed

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22
Q

41

A

V7/V (B7 with 4-3 sus)

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23
Q

47 - 51

A

4 bars on dominant 7th chord - resolves to tonic of A

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24
Q

51 - 66

A

Repeat of 2-10 with additional timps and enhanced scoring (oboes play S1, full orchestra supports)

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25
Q

66

A

Transition passage begins with antiphonal passage using oscillating quaver motif as strings alternate with the rest of the orchestra

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26
Q

70

A

B minor tonicisation

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27
Q

72

A

D major tonicisation

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28
Q

82

A

Return of S1 fig ‘x’ in violins
(emphasis on major/minor modes)

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29
Q

86

A

B major tonicisation (dominant preparation for next section)

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30
Q

93

A

S2 begins in E major

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31
Q

97

A

Shift to E minor

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32
Q

124

A

S2 transferred from clarinets and bassoons to flutes and oboes

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33
Q

132

A

Violins play gentle quavers underneath S2
Timps roll on 7th of chord B7 (i.e chord of B4/2 or V4/2)

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34
Q

142

A

Texture reduced to just strings

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35
Q

141

A

V6 chord resolves onto A major chord (reminder of S1)

36
Q

143

A

F# tonicisation

37
Q

158

A

pp solo clarinet solo reminder of S1 - augmented, gradually joined by the rest of the orchestra

38
Q

171

A

S1 repeated with vigour played tutti and ff

39
Q

182 - 183

A

Perfect cadence in E major

40
Q

190 - 191

A

Lower strings outline bass notes of the perfect cadence on E - pizzicato

41
Q

194

A

The cadence in reinforced and extended, pedal changes to dominant (B)

42
Q

199

A

Codetta theme heard p above a pedal note E

43
Q

209

A

The tonic of A major arrives in the last bar of the codetta

44
Q

210

A

After the repeat the bar remains on the chord of E major (preparation for the development section)
Thematic material of S2a developed, fig ‘y’ played before this (fig ‘y’ manipulated through modulation, both contrapuntally and sequentially)

45
Q

217

A

A minor tonicisation

46
Q

220

A

D minor tonicisation

47
Q

225

A

New melody introduced - a dance-like motif that never develops beyond the initial four bars

48
Q

230

A

A minor tonicisation

49
Q

231

A

Fuller chord of Eb9/7 acting as dominant for a perfect cadence

50
Q

232

A

Root position A minor chord

51
Q

233 - 234

A

D minor tonicisation

52
Q

236

A

A minor tonicisation

53
Q

237 - 238

A

Reduction of imitative texture - strings only for the next 23 bars
E minor tonicisation using perfect cadence - these two bars are then repeated

54
Q

242

A

C major chord with diminished 7th chord on beat 2, then extended dominant chord

55
Q

243

A

Resolution to G6-3

56
Q

244 - 248

A

Based on previous four bars, but is a complete sequence (i.e one tone higher) - ends in A minor

57
Q

249

A

Stretto section with antiphony heard above an 8-bar pedal on F# which is dominant preparation

58
Q

266

A

Passes through B minor

59
Q

269

A

S1 reinstated by woodwind - now in B major

60
Q

273

A

Answering phrase by brass and timps

61
Q

285

A

Opening phrase from S1 heard tutti, ff, in C major

62
Q

289

A

Only first oboe plays from the woodwind section

63
Q

289

A

C6-3 positioning

64
Q

290

A

E4-2 positioning

65
Q

291

A

Brief A tonicisation (initially a 6-5 inversion)

66
Q

293

A

D6-3, F#4-2 chords

67
Q

295

A

B6-5 resolution

68
Q

297

A

Full orchestra returns - ff, developing S3
E major key here

69
Q

301

A

Material heard over a brief cycle of fifths - Em–>A–>D

70
Q

304

A

B7 resolution

71
Q

305 - 308

A

Repeat of bars 297-301

72
Q

309

A

Bassline descends

73
Q

313

A

F# minor tonicisation

74
Q

319

A

Full orchestra plays ff
S3 played in violins, clarinets, and flutes (F# major)

75
Q

323

A

Tutti climax
S3 low in strings

76
Q

325

A

F# major

77
Q

327

A

Reference to fig ‘x’ reshaped, now heard descending over a C# major chord with C# dominant pedal (lasts 22 bars)

78
Q

345

A

pp solo oboe joins and gently plays S1 with extended notes

79
Q

369 - 386

A

= 3-22
Slight changes to scoring with oboe and trumpets added at the (very) start of the recapitulation

80
Q

387

A

The modulatory section starting in bar 23 of the exposition changed to an interrupted cadence to the chord of the submediant minor

81
Q

389 - 391

A

Reflects the harmonic move back to A major as in bars 17-19 of the exposition

82
Q

383

A

Cadential phrase heard in violins I initially

83
Q

399

A

Violins II join in cadential phrase an octave below violins I

84
Q

391- 404

A

Reduces to woodwind accented chords (and horns)

85
Q

405 - 418

A

Thematic material now heard in viola and cello with accompanying quaver idea in woodwind (fig ‘y’) in flute and clarinet instead of violin II and viola

86
Q

412

A

Modulation to E major (dominant) followed by a cadential progression reinforcing this with a short dominant pedal in the bassoon

87
Q

419 - 426

A

First 4 bars use the same melodic material as bar 405, though the theme is on violins and there is a cello dominant pedal

Mendelssohn 'Italian' Symphony (1 decks)

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