The Classical era symphony was an elaborate piece for orchestra consisting of four movements in contrasting moods and tempos: fast-slow-dance-fast movement scheme. Symphonies were scored for an ensemble of bowed strings (violin, viola, cello and double bass) and woodwinds, brass and, sometimes, timpani. Because orchestras play symphonies, the orchestra is also called a symphony orchestra. Indeed, the terms orchestra and symphony orchestra are interchangeable, albeit symphony orchestra implies a large orchestra.
Sarah Harrop as a Muse | Angelica Kauffman, 1741-1807 | The high born often sat for portraits with musical instruments and, in this case, as Erato, muse of lyre playing and poetry. | Princeton University Art Museum
Sonata Form
Classical music is organized along a time-line. Listeners perceive musical form by remembering repeated ideas and recognizing appearances of new or contrasting material. Thus, a sense of form is created through repetition, variation and contrast of musical ideas. When repetition, variation and contrast are organized in a specific pattern, we call the pattern of organization musical form. Musical forms are like a frame or template composers pour their ideas into.
The most important musical forms during the Classical era were sonata form, theme and variation, minuet and trio and rondo form. These forms were used in Classical and Romantic symphonies, chamber music and sonatas. We'll examine each of these forms as we work through the literature of the Classical era. Of these four forms, the sonata form is the most significant in the development of the symphony. Within a typical symphony, one or more movements are built on the sonata form, a specific type of A B A formal structure:
Exposition (A)
First theme in tonic key
Bridge and modulation to new key
Second theme in new key
Codetta and cadence in key of 2nd theme
Repeat of Exposition (repeat may be optional)
Development
(B)
development of themes and motives
modulations to new keys
transition to recapitulation
Recapitulation (A)
First theme in tonic key
Transition
Second theme in tonic key
Coda (ending section) in tonic key
Some movements in sonata form may also have a slow introduction, enhancing drama and contrast. The sonata form is also used for other instrumental works such as chamber music and sonatas for solo instruments such as piano.
Watch this video to learn more about the sonata form:
Wolfgang Amadeus Mozart | Barbara Kraft, 1764–1825 | Wikimedia Commons
Wolfgang Amadeus Mozart (1756–91), a member of the First Viennese School, epitomizes classical music in his purity of form and melody. Mozart wrote forty-one symphonies and employed the sonata form in all of them. The first movement of his Symphony No. 40 in G Minor, K.550, is both a masterwork and a textbook example of the sonata form. Composed in 1788 during a six-week period along with symphonies 39 and 41, Symphony No. 40 is one of Mozart’s last three symphonies. Mozart died before hearing or conducting them.
During Mozart's time the symphony was considered extravagant entertainment, presented to a paying public in large concert halls. However, the atmosphere was often more like a jazz club with seating at tables and service of food and drink.
Symphony No. 40 in G Minor, K.550
Symphony No. 40 has four movements in a typical fast-slow-dance-fast format. Listen to the first movement, the Molto allegro. The first and second themes are introduced straight away in the exposition. Listen to the themes first so you can recognize them in the development and recapitulation:
First Theme from Symphony No. 40
Second Theme from Symphony No. 40
Following the first theme, an energetic bridge connects to a lyrical second theme played by the strings and woodwinds in B-flat major:
After a flashy codetta (ending) and cadence, the exposition is repeated. The development ensues with the first theme modulating and fragmenting into small motives. At the height of the drama, frenzied melodies duel in call and response between instruments. As development winds down, the first theme is reduced to a three-note motive before the recapitulation. After the recapitulation, the coda bless us with a final statement of the theme before the final cadence.
Symphony No. 40 in G Minor, K.550: I. Molto Allegro (0:00-7:50) | Wolfgang Amadeus Mozart | Continue past 7:50 to enjoy the other three movements: 2. Andante (7:58); 3. Menuetto (18:05); 4. Allegro assai (22:00).
