Compare the orchestras that Mozart and Beethoven wrote for in the two symphonies you

have studied and give examles of some of the different ways they used them.

There is a slight diffeerence in the orchestration of the two pieces. Generally

speaking, the orchestra used in Mozart’s symphony is smaller. The instruments used
are flutes, clarinets tuned to B, bassoons, horns in E, timpani’s in E & B, and the strings
(violin I, violin II, viola, cello and double bass).

For Symphony No. 5, Beethoven uses a variety of instruments, and introduces

the usage of a new instrument in the last/fourth movement. In most part of this
symphony, the instrumentation consists of flutes, oboes clarinets in Bb and C,
bassoons, horns in Eb and C, trumpets, timpani (in G-C), and the strings (violins I and
II, violas, cellos and double basses. As seen from the list, a difference is that Mozart’s
symphony does not utilise the oboes. This is rather unusual for Mozart’ssymphonies as
oboes are usually a must in orchestras since the baroque period. Because Mozart does
not use an oboe, in the symphony there is seen to be a relianceon the clarinet (a new
memeber of the orchesra at the time). This clarinet voice gives the symphony a very
distinct sound compared to Mozart’s other symphonies.

A general comment that could be made about the two symphonies is that
Symphony No. 5 adopts a very heavy, more weightful tone. The most significant
characteristic of the opening motive is its rhythm. the opening four-note rhythmic motif
(short-short-short-long) — which is repeated throughout the symphony (it is a rhythmic
pattern (dit-dit-dit-dot*). The horns, alone, then unify this strict and strong motif. One
unique characteristic of this piece is the sound of the horns. They produce a muffled
tone and this is because, back in Beethoven’s days horns were severely limited in the
notes they could actually play before the invention of valves. This muffled tone is a
classic characteristic of this Symphony, therefore composers still try to perfrom this
piece by maintaining the muffled tone of the horns.

This weightful tone is also produced because of the prominent use of the brass
and especially the timpanis. Timpanis are usually given much less conventional roles,
but they’ve become a critical criteria of the symphony. The timpanis are tuned from G
to C providing a larger variety of rhythmic tones to play throughout the piece.

The second movement of Symphony No.5, in A♭ major, the subdominant key of

C minor's relative key, is more of a lyricl piece. This lyrical melody is evoked by the a
melody playing in unison by violas and cellos, with accompaniment by the double
basses. A second theme soon follows, with a harmony provided by clarinets, bassoons,
and violins, with a triplet arpeggio in the violas and bass.

For the third movement (Scherzo, Allegro), the opening theme is answered by a
contrasting theme played by the winds. The horns then loudly annunce the main theme
of the movement, again providing a weightful tone to the piece. Finally, the fourth
movement begins without pause from the transition. The music resounds in C major, an
unusual choice by the composer as a symphony that begins in C minor is expected to
finish in that key. The triumphant and exhilarating finale is written in an unusual variant
of sonata form, played fotissimo, and the music continues after a pause with a quiet
reprise of the "horn theme" of the scherzo movement. In this movement, Beethoven
introduces the use of picollo, contrabassoons and trombones (tuned to alto, tenor and
bass). The use of trombones, emphasise the heavy tone familiar throughout the piece,
and reinforce the fact of it being the ‘grande finale’.

For Mozart’s symphony, the first movement opens with a majestic introduction
with fanfares heard in the brass section. This is followed by an Allegro in sonata form,
though while several features – the loud outburst following the soft opening. Unlike
Beethoven’s Symphony No. 5, the fanfares adopt a softer measure. The woodwinds in
this symphony really shine, as they are more independent and project an exalted tone
for the opening. The opening opens with a slow, serious, chromatic introduction,
colored by brass fanfares and descending lines. Such solemnity was a new type of
beginning for Mozart.

Like afformentioned, unlike any other pieces by Mozart, the clarinets really
become the star of the piece (unlike Symphony No. 5 as well). The work has a very
interesting minuet and trio. The trio is an Austrian folk dance called a "Ländler" and
features a clarinet solo. The forceful Menuetto is set off by the trio's unusual tint of the
second clarinet playing arpeggios in its low register. The melody for this particular folk
dance derived from local drinking songs which were popular in Vienna during the late
18th centur