Ben Hoyt January 26, 2012

Mozart Symphony 41 Mvmt 2 M. 1-59 Analysis

! In the rst 59 measures of the second movement of Mozarts 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 rst 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 rst; the rst 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 rst 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 rst violins and oboe play an identical elaboration on the theme played by the violins in measure ve, 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 rst violins and oboe. The oboe ends on the rst 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 ute, bassoon, and rst 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 rst beat. In measures 11 - 14, the violas and cello/bass play the theme played by the rst violins in measure 1 - 4. The horn and bassoon play an

implied pedal point throughout measures 11 - 14. On the rst beat of measure 12 there is a half-cadence, and in measure 14 there is an authentic cadence, identical to the cadences in the rst four measures. In measures 12 and 14 the violins play ornamental 32nd notes. In measure 15, a dotted eight C note is played in both violin parts, leading into a Bb chord between the violins, viola, and cello/bass. On 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 melody ends on a C chord on the second beat of measure 18. The last three eight notes of measure 18 are an ascending C minor arpeggio, and are played by the oboe and bassoon, leading into the bridge. ! The chord in measure 19, the rst measure of the bridge is C minor. The cello/bass play an even

C eighth note pedal point, while the second violins and violas play syncopated eights, and the rst violins play a syncopated eighth note descending C minor arpeggio. In measure 20, the rst violins play sixteenth triplets, which sound dissonant due to the C# note played in the rst violin part, and the Ab played in the second violins. In the last 3 eighth notes of the measure, the oboe and bassoon play an ascending D diminished arpeggio, leading into the B, or D diminished chord in measure 21. All string parts play the same rhythm as in measure 19. In measure 22, similar dissonant triplets are played as in measure 20. In the last three eighth notes of the measure, the ute and oboe play an ascending C minor arpeggio, while the bassoon plays it descending. In measures 23 - 25, each two groups of three beats are replaced with three groups of two beats, creating a hemiolic rhythm. All strings besides the cello/bass play tremolo, and the rst violins play a syncopated descending C arpeggio in eighth notes every two beats. The ute, oboe and bassoon ascend chromatically in quarter notes until the rst beat of measure 26. At this point, the texture thins leaving only the rst violins, ute and oboe playing a descending C dim arpeggio. In measure 27, the last beat is played in unison only by the oboe and rst violins. It is composed of a number of unharmonic tones, leading into the second theme of the movement. ! The second theme of the movement is in the tonic of the original key: C major. The melody is in

the oboe and bassoon parts. In measure 28 and alberta bass begins in the second violin part. The antecedent melody ascends in quarter notes, leading to a half cadence in measure 29. The melody pauses on beat two of measure 29, and the ue and horn play three eighth pickup notes leading into the

consequent in measure 30. In measure 30 the melody in the rst violins has been embellished by adding triplet sixteenth notes. In measures 32 - 36 there is a sixteenth triplet sequence that begins in the rst violin part and switches between the rst violins and ute in measures 35 and 36. The sequence descends in fths throughout these measures, with the bassoon and oboe playing descending quarter notes. In measure 38, the violins play sixteenth notes leading into measure 39, while all other parts play either ascending or descending eighth notes. ! Measure 39 marks the start of the short closing section of the exposition. In this measure there is

an authentic cadence, closely followed by and antecedent played by the violins, under sixteenth triplets played by the horn. In measure 40 there is a consequent played by the ute and oboe, while the bassoon plays an ascending C major arpeggio. In measure 41 there is a similar antecedent in the violins, followed by another consequent in measure 42. In measure 43, all parts end on a C major chord on the second beat of the measure except for the rst violins, which continue playing an exposed almost cadenza-like extension of the melody, containing many unharmonic tones, leading into the development of the movement. ! The development of the movement is very short, beginning at measure 45 and ending at measure

60. The development begins in D minor with a single note in the second violin, viola, and cell/bass part. The violins have an ascending diminished arpeggio throughout this measure, leading to a descending, harmonically unstable line in measure 46. The last three eighth notes of this measure are played by the woodwinds, leading into the D minor chord in measure 47. Measures 47 - 51 are based off of material used in measures 19 - 22; the same rhythm is used in each of the parts. However in measure 49, the chord changes to a dissonant chord, with the three eighth notes at the end of measure 50 leading into another dissonant chord. In measure 51, the hemiola rhythm begins once more, with descending syncopated eighths in the rst violins, ending on the third beat of measure 55, leading to the A major, dominant chord played on the rst beat of measure 56. A suspenseful G# note is played on the second beat of the measure in the rst violins, leading into the A major chord played on the third beat of the measure. From measures 56 - 59, there is imitation of a repeated sequence between the rst and second violins, the bassoon, oboe and ute.