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Mozart Symphony 41 Mvmt 2 M. 1-59 Analysis
! In the ﬁrst 59 measures of the second movement of Mozartʼs 41st Symphony, often nicknamed the “Jupiter Symphony,” the exposition and development are played. The instrumentation of the movement consists of a Flute, Oboe, Bassoon, Horn, two Violin sections, a Viola section, and a Cello and Bass line. The movement begins in F Major, and is in a 3/4 time signature. ! The Movement begins with a measure in which only the ﬁrst violins play an arpeggiated F Major
chord, the tonic, with one unharmonic G thirty-second note. The second violins, violas, and cello/bass join on the third beat of the measure, and all parts play a C7 chord, to create a half-cadence. The third measure begins similarly to the ﬁrst; the ﬁrst violins play an Arpeggiated C7 chord with the second violins, violas, and cello/basses joining on the third beat, ending the phrase with a F major chord, to create an authentic cadence. Measures 1 and 2 are the antecedent, and measures 3 and 4 are the consequent. In measure 5, the ﬁrst and second violins play a melody in octaves with unharmonic notes used as decoration to the music. In the next measure, both parts descend chromatically, still in octaves. The violas and cell/bass enter on the second beat of the measure, moving in contrary motion to the violins. Both parts lead into the subdominant in measure 7 in which a Bb chord is played. In this measure, the ﬁrst violins and oboe play an identical elaboration on the theme played by the violins in measure ﬁve, with more unharmonic notes. The violas and second violins play ascending sixteenth note thirds, changing on the second sixteenth of each beat in the measure. The Bassoon and horn play a sustained chord throughout the measure, and the cell/bass begin an implied pedal point, repeating the same eighth note throughout the measure. In measure 8, the identical melody continues in the ﬁrst violins and oboe. The oboe ends on the ﬁrst beat of measure 9. The implied pedal point continues in the cello/bass until measure 10. At measure 9, the melody is played by the ﬂute, bassoon, and ﬁrst violins. At this point the oboe and horn are silent for two measures, but all parts continue their previous note patterns until measure 11, in which there is an authentic cadence on the ﬁrst beat. In measures 11 - 14, the violas and cello/bass play the theme played by the ﬁrst violins in measure 1 - 4. The horn and bassoon play an
creating a hemiolic rhythm. leading to a half cadence in measure 29. The melody ends on a C chord on the second beat of measure 18. In measure 28 and alberta bass begins in the second violin part. and in measure 14 there is an authentic cadence.14. At this point. the ﬁrst violins play sixteenth triplets. In measure 22. viola. In measures 12 and 14 the violins play ornamental 32nd notes. In measure 27. or D diminished chord in measure 21. similar dissonant triplets are played as in measure 20. The antecedent melody ascends in quarter notes. the last beat is played in unison only by the oboe and ﬁrst violins.25. All strings besides the cello/bass play tremolo. All string parts play the same rhythm as in measure 19. The melody is in the oboe and bassoon parts. It is composed of a number of unharmonic tones. the oboe and bassoon play an ascending D diminished arpeggio. In the last three eighth notes of the measure. the violas and cello/basses play a descending chromatic line into a G minor chord in measure 16. the ﬂute and oboe play an ascending C minor arpeggio. ! The second theme of the movement is in the tonic of the original key: C major. ! The chord in measure 19. oboe and bassoon ascend chromatically in quarter notes until the ﬁrst beat of measure 26. In measure 20. and are played by the oboe and bassoon. and the ﬂue and horn play three eighth pickup notes leading into the . the ﬁrst measure of the bridge is C minor. and the Ab played in the second violins. The melody pauses on beat two of measure 29. leading into the bridge. The last three eight notes of measure 18 are an ascending C minor arpeggio. leading into the B. ﬂute and oboe playing a descending C dim arpeggio. The cello/bass play an even C eighth note pedal point. and the ﬁrst violins play a syncopated eighth note descending C minor arpeggio. In measure 15. In the last 3 eighth notes of the measure. leading into a Bb chord between the violins. identical to the cadences in the ﬁrst four measures. and the ﬁrst violins play a syncopated descending C arpeggio in eighth notes every two beats. The ﬂute. On the ﬁrst beat of measure 12 there is a half-cadence. which sound dissonant due to the C# note played in the ﬁrst violin part. while the second violins and violas play syncopated eights. each two groups of three beats are replaced with three groups of two beats. leading into the second theme of the movement. On the last three eighth notes of the measure. while the bassoon plays it descending. a dotted eight C note is played in both violin parts. the texture thins leaving only the ﬁrst violins. and cello/bass.implied pedal point throughout measures 11 . In measures 23 .
In measures 32 . leading to the A major. and cell/bass part. In measure 38. the hemiola rhythm begins once more. beginning at measure 45 and ending at measure 60.consequent in measure 30. However in measure 49. In measure 40 there is a consequent played by the ﬂute and oboe. In this measure there is an authentic cadence.22. The violins have an ascending diminished arpeggio throughout this measure. with descending syncopated eighths in the ﬁrst violins. In measure 43. In measure 51. From measures 56 . A suspenseful G# note is played on the second beat of the measure in the ﬁrst violins. followed by another consequent in measure 42. Measures 47 . with the three eighth notes at the end of measure 50 leading into another dissonant chord. In measure 41 there is a similar antecedent in the violins. dominant chord played on the ﬁrst beat of measure 56. closely followed by and antecedent played by the violins. ! The development of the movement is very short. viola. In measure 30 the melody in the ﬁrst violins has been embellished by adding triplet sixteenth notes. the same rhythm is used in each of the parts. harmonically unstable line in measure 46. with the bassoon and oboe playing descending quarter notes. The last three eighth notes of this measure are played by the woodwinds.59. the chord changes to a dissonant chord. The development begins in D minor with a single note in the second violin. leading into the A major chord played on the third beat of the measure. . the violins play sixteenth notes leading into measure 39.36 there is a sixteenth triplet sequence that begins in the ﬁrst violin part and switches between the ﬁrst violins and ﬂute in measures 35 and 36. which continue playing an exposed almost cadenza-like extension of the melody. under sixteenth triplets played by the horn. oboe and ﬂute. while all other parts play either ascending or descending eighth notes. the bassoon. ending on the third beat of measure 55. containing many unharmonic tones. ! Measure 39 marks the start of the short closing section of the exposition. leading to a descending. all parts end on a C major chord on the second beat of the measure except for the ﬁrst violins. leading into the D minor chord in measure 47. leading into the development of the movement. there is imitation of a repeated sequence between the ﬁrst and second violins. while the bassoon plays an ascending C major arpeggio. The sequence descends in ﬁfths throughout these measures.51 are based off of material used in measures 19 .
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