Analysis and Background of Mozart’s Sonata no.

16 in C Major

This analysis is from the esthetic standpoint rather than the purely
structural, the interpretative, rather than the mechanical.

Without going into the historical or evolutionary aspect of the subject, it

may be well to state in the beginning the difference between the terms
Sonata and Sonata-form, since this seems not to be generally
understood by music students like me.

A Sonata is a compositions consisting of a number of movements, the

principal movement being in the Sonata-form, and all the movements
being in related keys. Exclusive of the movement in Sonata-form, the
remaining movements may be in various forms. Usually the first
movement is the Sonata-form, the second or slow movement is the
Lyric form; the third movement, if there be one more, is the Minuet; and
the last movement is the Rondo.

A Sonata-form, briefly speaking, is a single movement elaborately

developed from two short and contrasting themes. The movement
under discussion in this article is a well-constructed Sonata-form,
admirably suited to our present purposes and furnishing material for the
study of the esthetic principles of Unity, Variety, and Proportion.
To begin with, we have a movement 4/4 time, key of C major. The First,
or Principle, Theme compromises the first four measures. It is
constructed from two motives of two measures each, almost identical
in rhythm, but contrasting in the melodic motion of the intervals:

We find Unity in rhythm, Variety in melody, and Proportion in the

number of measures used.

Before discussing the manner in which this theme is accompanied, and

the idiomatic Passage Work used throughout the piece, it may be well
to state that the instruments for which composers of the time of Haydn
and Mozart wrote were far inferior to our modern pianofortes on
sonority, beauty of tone, and sustaining power: hence in the analysis
and interpretation of this and similar works these differences must be
continually held in mind.

Reassembling the dispersion of the accompaniment gives, together

with the notes of the theme, a very simple four-part harmony;
The Tonic, Dominant, and Subdominant chords only are made use of.
The form of dispersion here for the accompaniment is known as the
“Alberti bass.” It is met with in the works of all classical composers, and
is still in use to a limited event. It was doubtless devised to make up in
part for the lack of tone-sustaining power in the older instruments, by
causing all the members of the chord to be heard in close proximity.
Unity is gained by adhering the same method of figuration throughout.
The only excuse for the use of the “Alberti” bass in this day is its
simplicity and ease execution.

The Principle theme of four measures is followed by a passage eight

measures in length, known variously as a Bridge, Transition, or
Connecting-Group. The chief function of the Bridge is to form a
connecting modulation between two themes. The older composers
believed in administering their thematic materials in homeopathic
doses; that is to say, the themes are always surrounded with “passage,”
or “bridge,” work and other filling-out devices, the idea evidently being
the various appearances and reappearances of the themes should
prove all the more striking by reason of contrast with these
surroundings, and their general effect greatly enhanced thereby.

Nowadays it is possible that we have run to the other extreme and that
the undiluted wealth of thematic material furnished in our shorter and
more condensed forms may often prove too strong for our music
digestion.

The harmonic structure of the Bridge is very simple, modulating to the

key of the Dominant ( G major ):
The sequence of scale passages in the right hand is merely an
ornamentation of the harmonic structure, musical embroidery, as it
were, and should be so interpreted, the individual sixteenths not being
viewed as melody notes:

We have now arrived at the Second Theme, which consists of a single

motive, played twice over:

This theme displays more motion, in contrast to the principal theme, but
the harmonic structure is even more simple, the “Albert” bass being
discarded:

The sustained D (Dominant of G) will be noted; also the effect of the

passing note, B, in the third measure of the example.
The Second Theme is followed by a harmonic sequence of four
measures leading to the Climax, which takes place at the end of the
following four measures. Here is the harmonic scheme of the sequence:

This is very effectively and brilliantly dispersed in alternation between

the hands. The next two measures consist of a dispersion of the first
inversion of the Supertonic chord leading to the climax, a Perfect
Cadence in G major. The long trill over the Dominant in this cadence is
another instance of a device frequently employed by classic
composers to make up for the lack of tone-sustaining power of the
instrument; all such trills may be understood as sustained tones.

The two measures preceding the double bar form a Coda. This closes
the first portion of the Sonata-form; it is generally known as the
Exposition.

After the double bar begins the Development, or Working-out section.

This portion is usually made up of fragments of the material previously
set forth in the Exposition. In this case the Development begins with the
motive of the Coda, altered to the parallel minor;

After a two-measure sequence of scale passages, evidently suggested

by the first Bridge, the Coda motive reappears in D minor. An additional
six-measure sequence of scales (more filling out or padding) leads to a
cadence in F major, closing the Development and introducing a Return
of the first theme. This Development is so simple in this case as to
suggest the Sonatina rather than the Sonata.

The return of the First Theme in any other key than the Tonic is rather
exceptional, but is justified by the additional contrast gained from a
change in Tonality. The return of the First Theme is followed by a
repetition of four measures of the first Bridge; in the next four measures
this bridge work is inverted, the scale passages being transferred to the
left hand. The Bridge is then completed as before by a Modulation to G
major. This is followed by a return of the Second Theme, this time in C
major, the Tonic.
The Sequence, Climax, Cadence, and Coda following the second in
the Exposition all reappear transferred to the Tonic, and complete the
Sonata-form. Simple as it is, there is abundant material in this
movement for long and profitable study.

Analysis and background of Haydn’s Surprise

Symphony
You've heard of surprise birthday parties. You may have even heard of
surprise proposals. But a surprise symphony? How do you pull that off?

Well, just ask Franz Joseph Haydn (1732-1809), an 18th century Austrian
composer. Haydn was one of the most influential musicians of his day,
a leader in the Classical era of Western music who defined the string
quartet, and is regarded as the founder of the modern symphony.

In 1791, however, one of these symphonies would catch the audience

so off-guard that they nicknamed it the Surprise Symphony. Technically
entitled Symphony No. 94 in G Major, it revealed Haydn's wit, sense of
humor, and creativity. Not everyone today associates these ideas with
Classical music, but in Haydn's case, they're instrumental in
understanding his work. Surprised?
 Franz Joseph Haydn
The story of the Surprise Symphony starts with the death of Haydn's
great patron, the Austrian prince Nikolaus Esterházy, in 1790. While
Haydn's music had been spread across Europe (and even to the
Americas in the hands of music aficionado Thomas Jefferson), Haydn
himself hadn't left Austria in decades. His music was already popular in
England, so a new patron appeared after the death of Esterházy and
asked Haydn to come to London for two seasons. An agreement was
stuck where Haydn would live in London and compose a total of six
symphonies to be performed there.

Symphony No. 94 in G Major was one of these symphonies, which

debuted in London on March 23rd of 1791. As the crowd quickly found
out, it was full of surprises, showcasing Haydn's wit and ability to play
with audiences' expectations.
The total work is broken into four movements, a symphonic structure of
Haydn's that was still relatively new at the time. The first movement was
written in the wrong key, according to the traditions associated with
the 4-movement symphony, thus setting up one surprise from the
beginning. The first and third movements have a lively feel that was
more associated with outdoor concerts than with concert halls. This
was especially true of the third movement, a minuet, which was
basically the predecessor of the waltz. The second movement contrasts
these with a gentler and softer tone, while the fourth escalates it,
racing toward its conclusion with a march-like beat.

Overall, Symphony No. 94 in G Major is about 23 minutes of expectation

subversion, interplay between tempos and sections of the orchestra,
and some very demanding technical sections that reveal Haydn's
confidence in the London orchestra. It was one of the works that
helped Haydn's 4-movement symphony become the standard that
would define orchestral music for generations.

Symphony No. 94 is lively, fun, and full of quirks, but not much more so
than any other of Haydn's works. So, why was this one nicknamed the
Surprise Symphony? That name actually refers to a single moment in
the second movement. In this movement, the pace is gradual,
peaceful, and tranquil. The melodies are passive and unencumbered,
listing lazily along when out of nowhere BAM! The audience is hit with a
jarring and loud chord that crescendos without warning. Surprise!
 Analysis and Background of Beethoven’s
Symphony no. 5
The Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was
written between 1804–1808. It is one of the best-known compositions in
classical music, and one of the most frequently played symphonies.[1]
First performed in Vienna's Theater an der Wien in 1808, the work
achieved its prodigious reputation soon afterward. E. T. A. Hoffmann
described the symphony as "one of the most important works of the
time". As is typical of symphonies in the classical period, Beethoven's
Fifth Symphony is in four movements.

The first movement of Beethoven’s famous 5th symphony opens with a

striking first four notes. These first four chords are ominous and leave the
listener unsure of what to expect next. Instead of carrying on in this dark
tone, Beethoven switches to a lighter, sounding tune, although not
quite bright or happy. In this passage, Beethoven uses spiccato to give
the music a lighter, airier tune that builds up to the repetition of the
famous clause that started the music, although slightly altered to be a
little less grand-sounding. The next phrase includes what sounds like a
call and response between the upper strings and the winds, building in
anticipation until the climax of the first theme, ending in a solo from the
horns. From here there is a short transition into the second theme. The
second theme, if placed side by side with the first theme, might feel
very out of character. Unlike Mozart’s music where there is a natural
flow from the first theme to the second, Beethoven’s compositions
require bridges between the first and second themes to tie them
together. This mini-development helps connect the main ideas of the
themes better in the listener’s mind. The second is much more upbeat
and straightforward, but it does not lose the grandeur and regality that
the first theme manages to convey. The first and second theme repeat,
further conveying the juxtaposing ominousness of the first theme with
the upbeat gaiety of the second theme.

The first movement of Beethoven’s 5th symphony starts off with four
world-famous notes played by the lower strings and clarinets: GGGF,
played short-short-short LONG. The famous refrain is then repeated a
step lower. These four notes leave the listener with a sense of dread
and anticipation for the music to come. The notes are filled with
suspense, but the suspenseful theme is not necessarily carried on for the
rest of the movement. Suddenly, the strings move into a piano,
developing the opening motif. A long crescendo and loud chords lead
back to the opening motif, this time played by the full orchestra,
followed by the same sudden pianissimo. There is a crescendo and
ascension, giving the music a lighter, airier tone which is juxtaposed
with the timpani drums. Suddenly there is a stop in the music, and the
horns have their call motif, which acts as a transition to the second
theme of the sonata allegro.

The second theme of Beethoven’s 5th starts out very differently than
the first theme. Unlike the suspenseful, dense, heavy opening to the first
theme, the second theme opens gently. It is played first by the lower
strings and then they are joined by the upper strings. This time the tone
is more jubilant and happy. It employs flutes, piccolo, and the upper
strings to reinforce the difference between the tones of the first and
second themes instead of relying on the lower strings, brass, and
timpani. Towards the end of the second theme the woodwinds and
horns have a rapid descent, preparing the listener’s ears and minds for
the repetition of the Exposition, a quick jump back to the somberness of
the first theme.

In Beethoven’s first movement, unlike the music of Mozart and other

composers, there is a transition between the first and second themes.
Because the ideas and flavors of the two themes are so different, a
transition is used to prepare the listener for the tones to come. Even
though the switch in tones is not necessarily logical, the transition does
help bridge the two ideas.

Next, Beethoven moves onto the development. The development

opens with a horn motif in a fortissimo, followed by the low strings, then
high chords from woodwinds and brass, still held in a strong fortissimo.
Suddenly, there is another horn call, this time accompanied by the full
orchestra and a couple key changes, the tonic and dominant keys
“battling it out.” The opening motif is repeated one last time, and the
Recapitulation begins.

The first theme, transition, and second theme are played once again to
remind the listener of the ideas explored in the opening portion of the
sonata allegro. The Recapitulation is followed closely by the coda,
which is very short. Towards the beginning of the coda there are short,
forceful, repeated chords with long pauses to give the phrase a
dramatic air. The horn-call is again repeated by the lower strings and
bassoons along with a new violin melody in the tonic key. A short
descending pattern in the violins leads to a completely new theme
that seems to be leading up, something that the listener now more
closely relates to the second theme in the Exposition and
Recapitulation.

Once again, the fast, loud, opening motif of four notes is repeated by
the full orchestra and the movement ends in a forceful fortissimo.

The format of the second movement is themes and variations, but it

differs from most theme/variation movements by classical composers
because, unlike those that have one theme and many variations, the
second movement of Beethoven’s 5th symphony has two themes each
with their own variations. The first theme starts out in the Tonic key (A
flat major). The theme is first played out by the lower strings, but the
melody is later picked up by the woodwinds. The melody continues
with a call and response type alternation between the woodwinds and
the strings. The second theme is first carried out by the clarinets, and is
also in the tonic key (still A flat major). Suddenly, the clarinet theme is
taken over by the violins, and the music crescendos as it transitions to a
brass fanfare and a key change. The violins take back over the theme,
but continue it as a pianissimo, signaling an end to the second theme.
The first variation is a variation on the first theme, written in the tonic.
The melody is played by the violas and cellos, reinforced by longer nots
by the clarinets. The first variation contains many notes from Theme
One. The second variation is a variation on the second theme, and is
more active. This variation (1B) is also played on the clarinet, but
accompanied by fanfare from the brass section. This variation has
many sustained chords, and spiccato chords from the lower strings,
and the variation ends in a cadence. The third variation is 2A, back to
a variation on the first theme. This variation has the smooth rhythm of
the first variation, but is played twice as fast. This variation, played
predominantly by the woodwinds, is embellished by the violins, and
later by the lower basses. The variation is ended by rising scales. The
third variation is 3A, a third variation on the first theme. In this variation,
however; the melody is played by the full orchestra, concluded with
rising scales and call/responses between the violins and flutes.

The coda comes at a faster tempo, and is started by a single bassoon

and one oboe, who play a passage based on the opening of the
movement. The tempo slows to the original tempo, the flute and strings
join, and the last section of the first theme is played yet again by the
violins. There is a cadence in tonic, and the intensity of the movement
builds to a full cadence played by the full orchestra to end the coda.

The third movement is played in the scherzo and trio formation. This is
the same format as a minuet and a trio, but a scherzo is generally
much faster and more vigorous than a minute. The opening of the
scherzo begins hesitantly, but builds to a blasting horn section which is
repeated later by the full orchestra. The short-short-short-LONG rhythm
of the first movement is repeated at the end of the scherzo.

The trio begins with the first section, a quick melody of unaccompanied
cellos and bases. The second section of the trio has a few “false starts”
where the orchestra begins to build, but never reaches the climax of
the phrase. Finally, the full orchestra leaps into the melody with a forte
and a melody carried by the woodwinds.

Next, the scherzo returns with the original minor medley. The themes are
carried out by the bassoons and cellos, and is embellished by pizzicato
strings. There is powerful horn segment and more pizzicato strings. There
is a cadence, and then the short-short-short-LONG returns for the end
of the scherzo. Finally, there is a short transition to the last movement,
marked by a long, low, ominous string note and timpani drums.

The fourth and final movement is the epic conclusion of Beethoven’s

5th symphony. The last movement, like the first, is in C major and sonata
form. In this movement, however; Beethoven introduces four themes,
but the overall tone changes to one that is bright, cheery, and leaves
the listener with a resounding feeling of optimism. The first theme is
march-like and is played by the entire orchestra, but the trumpets and
brass are exceptionally prominent. This theme is in the tonic, C major.
The second melody or transitional theme is also forceful, played in a
fortissimo, and is also brought in by the horns. The third theme is light
and played by the upper strings, the violins. This theme is played in the
dominant key, G major. This theme is exposed with the short-short-short-
LONG that is known around the world. The fourth and final theme is
presented by the strings and woodwinds, and immediately repeated
by the full orchestra at a forte, with repeating chords and ascending
crescendo to a fortissimo. The whole exposition is repeated and the
development begins.

The development utilizes the triplets that are played in the third theme
with slowly ascending scales on the flute. Next, the short-short-short-
LONG is played one more time by the strings, but in a pianissimo,
transitioning to the recapitulation.

The recapitulation repeats themes 1, 2, 3, and 4, which lead to the

coda. The coda further develops the third theme, and then variates
into theme two. There is a series of piccolo scales followed by a return
of the strings and an accelerando until the repetition of theme four by
the violins. The full orchestra gradually joins in and then the first theme is
once again repeated by the full orchestra in a fortissimo at a much
higher tempo. The full orchestra until the grand finale, the whole
orchestra playing a concert C in a forceful fortissimo.
FRANZ JOSEPH HAYDN
(1732-1809)
AMADEUS WOLFGANG
MOZART
(1756-1791)
LUDWIG VAN BEETHOVEN
(1770-1827)