2nd movement "A Ball"
The artist find himself in the most varied situations—in the midst of the tumult of a party,
A very good place to start with the study of this music is by learning the themes or melodies. Listen to them, become familiar with them before studying how they're written.
Theme 1
This theme begins on the upbeat, mostly moves by step and features the "sigh motif" which is an appogiatura (lit. "lean"). It appears 4 times in the movement and underscores other material often.
This theme begins on the upbeat, mostly moves by step and features the "sigh motif" which is an appogiatura (lit. "lean"). It appears 4 times in the movement and underscores other material often.
Theme 2
This theme is essentially a descending passage x2. Notice the triplets, 3 notes in the time of 2.
This theme is essentially a descending passage x2. Notice the triplets, 3 notes in the time of 2.
Theme 3
A descending 4 note sequence, consisting of an appogiatura an 3 repeated notes makes up the next theme.
A descending 4 note sequence, consisting of an appogiatura an 3 repeated notes makes up the next theme.
Theme 4 "Idee Fixe"
The fixed idea is the other theme in this movement an it makes up the whole B section. Note all the "naturals" and the Bb in the 3rd bar.That's because it's in the key of F major. The 2nd part, bar 9, is a sequence of the start. This bit is in the key of C major. Notice the C tonic pedal (a repeated or long sustained "Doh" underneath changing harmonies) in the bass part here. It is played by the flute and oboe with strings playing the accopmaniment. Also notice the rising sequence in the 2nd half and the fragments of theme1heard in the background as a counter melody.
The fixed idea is the other theme in this movement an it makes up the whole B section. Note all the "naturals" and the Bb in the 3rd bar.That's because it's in the key of F major. The 2nd part, bar 9, is a sequence of the start. This bit is in the key of C major. Notice the C tonic pedal (a repeated or long sustained "Doh" underneath changing harmonies) in the bass part here. It is played by the flute and oboe with strings playing the accopmaniment. Also notice the rising sequence in the 2nd half and the fragments of theme1heard in the background as a counter melody.
Form
The 2nd movement,“Un Bal” is in Ternary form. Intro-A-B-A-Coda (tail
piece).
The introduction is 36 bars long, very long for an intro.
Section A consists of Themes 1, 2 and 3 followed by a repeat of theme 1.
Section B consists of the fixed idea theme.
It is important to be able to distinguish between the first A section and the 2nd A section.
The coda is usually a short tail piece at the end of a movement. Here however it is as long as a full section and much longer than the short B section. The introduction and coda will require as much attention as the main sections.
The 2nd movement,“Un Bal” is in Ternary form. Intro-A-B-A-Coda (tail
piece).
The introduction is 36 bars long, very long for an intro.
Section A consists of Themes 1, 2 and 3 followed by a repeat of theme 1.
Section B consists of the fixed idea theme.
It is important to be able to distinguish between the first A section and the 2nd A section.
The coda is usually a short tail piece at the end of a movement. Here however it is as long as a full section and much longer than the short B section. The introduction and coda will require as much attention as the main sections.
The introduction starts very quiet (pp), on a dark chord of A minor, and the pitch is generally low. The double bass and then cello parts feature rising broken chords in quavers through constantly changing tonalities, f, f#, g, g# before resolving on a perfect cadence (V-I) in A major at the end of the intro. Notice the harps which also play rising broken chords.
Tremolos feature throughout on the other strings and the rising dynamics (crescendo), pitch and brightening of the tonality are strong features.
Tremolos feature throughout on the other strings and the rising dynamics (crescendo), pitch and brightening of the tonality are strong features.
The first A section starts in A major with strings only on theme 1. The violins play the melody and the lower strings play the simple waltz accompaniment. Note the term, "rall - A tempo". This means, gradually slowing and then resuming the original speed.
The harps join in for theme 2 along with 1 chord on woodwind before a rising staccato scale in parallel 3rds on flutes and clarinets (32" below) brings us to theme 3.
Woodwind and horn play a slightly more prominent role here. The repeat of theme 1 which brings section A to a close is slightly different to the 1st one in that the accompaniment is thicker with harps on the 2nd beat of each bar and woodwind on the 3rd. The term "sans retenir" (without slowing) is used. Also notice where this version of theme 1 goes next, i.e. not on to theme 2, but through a bridge passage to section B.
The texture has been homophonic throughout which becomes richer as more instruments are added.
The harps join in for theme 2 along with 1 chord on woodwind before a rising staccato scale in parallel 3rds on flutes and clarinets (32" below) brings us to theme 3.
Woodwind and horn play a slightly more prominent role here. The repeat of theme 1 which brings section A to a close is slightly different to the 1st one in that the accompaniment is thicker with harps on the 2nd beat of each bar and woodwind on the 3rd. The term "sans retenir" (without slowing) is used. Also notice where this version of theme 1 goes next, i.e. not on to theme 2, but through a bridge passage to section B.
The texture has been homophonic throughout which becomes richer as more instruments are added.
The B section is discussed above under the heading "Theme 4, Idee Fixe"
This is followed by a return to the A section starting as before with theme 1. This time the melody is played by all strings in octaves making the texture again richer. The woodwind play a new rhythmic figure in the accompaniment 2 semis and a quaver which later becomes 6 semiquavers.
The 4 playing of theme 1 is the richest yet as woodwind join in on the melody
The 4 playing of theme 1 is the richest yet as woodwind join in on the melody
The tutti ("all play") coda becomes faster and more dramatic before the idee fixe re-appears on 2 clarinets. Notice the descending scale (horns) of A major x2 before a a perfect cadence in A.