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Ok, that's more than enough. You seem to have it down alright, but I'll just provide a general overview of the form here for your convenience. (and because I feel like typing a lot)
Let's say we have a ''Symphony in C major''. (Note that this symphony contains an introduction. This is optional. Beethoven's first, second, fourth and seventh all have long, pompous introductions.) We're going to look at the first movement, which is in sonata form.
Outline of form -
1. Introduction
2. Exposition (Subject I - Modulating Bridge - Subject II - Cadence material/codetta) - Development - Recapitulation
3. Recapitulation (Subject I - Bridge - Subject II - Cadence material/codetta)
4. Coda
The introduction introduces and psychologically adds weight to the movement. It's usually slower than the exposition itself and may contain material that will be further developed in the exposition. (often, this material is *very* subtly borrowed - only your inner ear will recognise it when it appears in the exposition)
The piece starts with an exposition. The exposition is initiated by a ''Subject I''. This subject is in the home key (in this case, C major) of the piece. After this subject has been played out, you will hear a transition - this is the modulating bridge. You'll recognise it in that it doesen't have a thematic profile - it just serves as a bridge to modulate from the first subject to the second subject) The bridge modulates to the dominant key, which in this case is G major, for the second subject.
When the second subject has been played out, you'll hear some cadence material (also called a codetta) which concludes the exposition and initiates either a repeat of the exposition or the start of the development.
The development is often the most interesting section of a piece in the sonata mold. It's often harmonically unstable, and the themes can be broken down, integrated into each other to form a new theme, (!) etc. This is where a classical composer has the most artistic freedom. There's really no limit to the number of parts in a development section - some of Beety's developments are absolutely gigantic.
The last part of the development often stresses the tonic key of the piece to prepare for the Recapitulation. The recapitulation is pretty much an altered replay of the exposition, except in this case the modulating bridge is not a modulating bridge. The bridge doesen't go to g major anymore! It just stays in C. This means that, for the recap, the second subject is also in C major! Intriguing. The codetta concludes/cadence material concludes the recap as we move on to the Coda.
The coda is there to end the movement and bang the home key, just there, home. It's similar to the development section in many ways - the only really important thing here is to bang home the home key and create a convincing ending to the movement.
Note:
- Remember that in Beethoven, codas are more expansive - particularly in the later symphonies. They've often been called second development sections, and rightly so.
- ALL of Beethoven's first movements in his symphonies are in this form. Sometimes the last movements will take on this form as well.
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Can you process this? Is anything unclear? It'll most likely be much more clear once you start listening to the symphonies, but it'd be nice if you roughly grasped it in advance.
Do you want me to guide you through each of the symphonies? I could provide a general outline of each movement if you want me to. I could point out when the first theme comes in to play, the second theme, what devices Beethoven uses in his development.. etc..
Oh, and what recording did you buy? Who's you conductor? Please don't say it's Karajan... That guy butchers the poor symphonies.
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Mar 27 2007, 4:21 AM
How does he interpret the music? I might check it out but if it's anything like Karajan..
Linear Mode
