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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
leading into the bridge. the ﬁrst measure of the bridge is C minor. In the last three eighth notes of the measure. and are played by the oboe and bassoon. The melody is in the oboe and bassoon parts. the oboe and bassoon play an ascending D diminished arpeggio. The ﬂute. On the ﬁrst beat of measure 12 there is a half-cadence. In measure 20. and the ﬁrst violins play a syncopated eighth note descending C minor arpeggio. leading into the second theme of the movement. and the ﬂue and horn play three eighth pickup notes leading into the . and the Ab played in the second violins. The melody pauses on beat two of measure 29. The cello/bass play an even C eighth note pedal point. the violas and cello/basses play a descending chromatic line into a G minor chord in measure 16. similar dissonant triplets are played as in measure 20. while the second violins and violas play syncopated eights. ! The second theme of the movement is in the tonic of the original key: C major. the texture thins leaving only the ﬁrst violins. a dotted eight C note is played in both violin parts. At this point. The antecedent melody ascends in quarter notes.25. which sound dissonant due to the C# note played in the ﬁrst violin part. ! The chord in measure 19. On the last three eighth notes of the measure. the ﬁrst violins play sixteenth triplets. In measures 12 and 14 the violins play ornamental 32nd notes. In measure 15. It is composed of a number of unharmonic tones. All strings besides the cello/bass play tremolo. while the bassoon plays it descending.14. In measure 22. each two groups of three beats are replaced with three groups of two beats. In measure 27. or D diminished chord in measure 21. viola.implied pedal point throughout measures 11 . the last beat is played in unison only by the oboe and ﬁrst violins. The melody ends on a C chord on the second beat of measure 18. In the last 3 eighth notes of the measure. In measures 23 . the ﬂute and oboe play an ascending C minor arpeggio. and in measure 14 there is an authentic cadence. leading into the B. leading to a half cadence in measure 29. identical to the cadences in the ﬁrst four measures. In measure 28 and alberta bass begins in the second violin part. creating a hemiolic rhythm. ﬂute and oboe playing a descending C dim arpeggio. oboe and bassoon ascend chromatically in quarter notes until the ﬁrst beat of measure 26. The last three eight notes of measure 18 are an ascending C minor arpeggio. leading into a Bb chord between the violins. and the ﬁrst violins play a syncopated descending C arpeggio in eighth notes every two beats. All string parts play the same rhythm as in measure 19. and cello/bass.
and cell/bass part.22. the violins play sixteenth notes leading into measure 39.59. oboe and ﬂute. containing many unharmonic tones. all parts end on a C major chord on the second beat of the measure except for the ﬁrst violins. The sequence descends in ﬁfths throughout these measures. with the three eighth notes at the end of measure 50 leading into another dissonant chord. In measure 30 the melody in the ﬁrst violins has been embellished by adding triplet sixteenth notes. leading into the A major chord played on the third beat of the measure. closely followed by and antecedent played by the violins. which continue playing an exposed almost cadenza-like extension of the melody. the bassoon.51 are based off of material used in measures 19 . dominant chord played on the ﬁrst beat of measure 56. leading into the development of the movement. A suspenseful G# note is played on the second beat of the measure in the ﬁrst violins. From measures 56 . In measure 51. In measures 32 . the same rhythm is used in each of the parts. the chord changes to a dissonant chord. while the bassoon plays an ascending C major arpeggio. leading to a descending. ending on the third beat of measure 55. while all other parts play either ascending or descending eighth notes. ! The development of the movement is very short.consequent in measure 30. beginning at measure 45 and ending at measure 60. the hemiola rhythm begins once more.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. In measure 41 there is a similar antecedent in the violins. In measure 43. followed by another consequent in measure 42. The last three eighth notes of this measure are played by the woodwinds. under sixteenth triplets played by the horn. ! Measure 39 marks the start of the short closing section of the exposition. . Measures 47 . However in measure 49. harmonically unstable line in measure 46. The violins have an ascending diminished arpeggio throughout this measure. The development begins in D minor with a single note in the second violin. In this measure there is an authentic cadence. leading into the D minor chord in measure 47. with descending syncopated eighths in the ﬁrst violins. leading to the A major. In measure 40 there is a consequent played by the ﬂute and oboe. with the bassoon and oboe playing descending quarter notes. there is imitation of a repeated sequence between the ﬁrst and second violins. In measure 38. viola.
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