2nd Movement
2nd Movement
The mood of the 2nd movement is very different to the first. The main function of this movement is provide contrast between the 1st and 3rd movements.
The main points of contrast are:
Tempo - 2nd movement is adagio (slow)
Tonality is minor. F#m is the relative minor of A major, the main key of the concerto.
Metre is 2. 6/8 time means 2 dotted crotchet beats in each bar.
This movement is based on the Siciliana (a slow dance from Sicily in 6/8)
Form is Ternary ABA. The first movement is in sonata form which is also a type of ternary form but more specific.
The slow tempo affords us great opportunity to listen......and notice some of the features. Normally features wouldn't be referenced in minutes and seconds. It is done here to help the listening while watching the video.
Hear the following.....
Section A
There are 3 themes in section A. The first and third are centred around the piano while the middle theme features woodwind in sequence and imitation.
Solo piano at the start. Dotted rhythm of the 1st theme, appoggiatura at 27"...chromatic passage 35"-40":
broken chords (arpeggios) in melody @ 50 ".....Broken chords in accompaniment (lower strings1'01": Imitation 1'09" Sequences 1'13"... Perfect Cadence 1'38" ...Ornamentation 1'54"- 2'00" broken chord 2'12" Dominant pedal (repeated or sustained note on soh) 2'17"-2'30"
The mood of the 2nd movement is very different to the first. The main function of this movement is provide contrast between the 1st and 3rd movements.
The main points of contrast are:
Tempo - 2nd movement is adagio (slow)
Tonality is minor. F#m is the relative minor of A major, the main key of the concerto.
Metre is 2. 6/8 time means 2 dotted crotchet beats in each bar.
This movement is based on the Siciliana (a slow dance from Sicily in 6/8)
Form is Ternary ABA. The first movement is in sonata form which is also a type of ternary form but more specific.
The slow tempo affords us great opportunity to listen......and notice some of the features. Normally features wouldn't be referenced in minutes and seconds. It is done here to help the listening while watching the video.
Hear the following.....
Section A
There are 3 themes in section A. The first and third are centred around the piano while the middle theme features woodwind in sequence and imitation.
Solo piano at the start. Dotted rhythm of the 1st theme, appoggiatura at 27"...chromatic passage 35"-40":
broken chords (arpeggios) in melody @ 50 ".....Broken chords in accompaniment (lower strings1'01": Imitation 1'09" Sequences 1'13"... Perfect Cadence 1'38" ...Ornamentation 1'54"- 2'00" broken chord 2'12" Dominant pedal (repeated or sustained note on soh) 2'17"-2'30"
Section B 2' 49" Change of tonality to A major in the middle (B) section, broken chords in the accompaniment first on clarinets, then piano L.H. 2'50" - 3'12"
Parallel 3rds and 6ths. 3'30": Staccato throughout the section
descending scales on flute and bassoon in parallel 6ths 3'33" trill @3'47"
Perfect cadence in A 3'52"; Link modulation back to F#m (V-I) 3'53"-4'01"
Return of Section A, extension of theme 1 (different from 1st A section)
Coda 6'37" Pizzicato in double basses
quotes from theme 2
Parallel 3rds and 6ths. 3'30": Staccato throughout the section
descending scales on flute and bassoon in parallel 6ths 3'33" trill @3'47"
Perfect cadence in A 3'52"; Link modulation back to F#m (V-I) 3'53"-4'01"
Return of Section A, extension of theme 1 (different from 1st A section)
Coda 6'37" Pizzicato in double basses
quotes from theme 2