First movement
Features of theme 1
Structured in 2 4-bar sections
Begins on soh
broken chord in bar 2
Sequence a 3rd above, in bar 6
Staccato scale passage
4 chromatic notes
Structured in 2 4-bar sections
Begins on soh
broken chord in bar 2
Sequence a 3rd above, in bar 6
Staccato scale passage
4 chromatic notes
Features of theme 2
This theme is never played by the piano
Based on a 6 note motif featuring repeated notes and an appogiatura (lit. "lean")
Sequences up a 4th
Semiquavers are developments of the main idea
ends on a perfect cadence in the key of E (dominant)
This theme is never played by the piano
Based on a 6 note motif featuring repeated notes and an appogiatura (lit. "lean")
Sequences up a 4th
Semiquavers are developments of the main idea
ends on a perfect cadence in the key of E (dominant)
Features of theme 3
Slightly more lyrical theme (2nd subject)
again features appogiaturas, repeated notes, scales passages, chromatics and sequences
Slightly more lyrical theme (2nd subject)
again features appogiaturas, repeated notes, scales passages, chromatics and sequences
Features of theme 4
Dotted rhythm and jump of a 4th
Dotted rhythm and jump of a 4th
Features of theme 5
In the key of E major, the dominant. Note the key signature doesn't change, D sharps are used instead.
Long note rhythm with tied notes and dotted rhythm
Begins on the 3rd beat of the bar.
Also note chord V7 (B7) in the 2nd and 3rd bars and chord IV (A) in the 4th bar, as well as the trill near the end.
In the key of E major, the dominant. Note the key signature doesn't change, D sharps are used instead.
Long note rhythm with tied notes and dotted rhythm
Begins on the 3rd beat of the bar.
Also note chord V7 (B7) in the 2nd and 3rd bars and chord IV (A) in the 4th bar, as well as the trill near the end.
2nd movement
There are 4 themes in the 2nd movement. The 1st 3 make up section A while the 4th theme makes up section B. It's in ternary form, ABA.
Features of theme 1
Scale passages and broken chords with some wide leaps of a 6th and 7th.
Note the chord of F# minor in bar 1 and G major in bar 10 and the E# (sharpened 7th) in bar 4.
Also note the dotted rhythm, demi semi quavers and syncopation.
Solo piano, R.H. melody, L.H. block chords in accompaniment.
Good example of an imperfect cadence at bar 4. Perfect cadence at bar 12.
Features of theme 1
Scale passages and broken chords with some wide leaps of a 6th and 7th.
Note the chord of F# minor in bar 1 and G major in bar 10 and the E# (sharpened 7th) in bar 4.
Also note the dotted rhythm, demi semi quavers and syncopation.
Solo piano, R.H. melody, L.H. block chords in accompaniment.
Good example of an imperfect cadence at bar 4. Perfect cadence at bar 12.
Theme 2
This theme features sequences, imitation (polyphonic) and syncopation. Also note the featured instruments clarinet,flute and violins, imitated by bassoon (Bass clef). The texture becomes richer towards the end as more instruments join in.
The rhythm is mainly even notes.
This theme features sequences, imitation (polyphonic) and syncopation. Also note the featured instruments clarinet,flute and violins, imitated by bassoon (Bass clef). The texture becomes richer towards the end as more instruments join in.
The rhythm is mainly even notes.
Theme 3
The first 5 notes (demisemiquavers) is an ornamentation ("turn") of the main note C# and is one of the main features of the section. Other melodic features include the chromatic scale passages, repeated notes and broken chords in the last few bars.
The dotted rhythm is the main rhythmic feature.
Solo piano for the first 5 bars (R.H. melody, L.H. accompaniment in block chords)
Strings join in at bar 6
The first 5 notes (demisemiquavers) is an ornamentation ("turn") of the main note C# and is one of the main features of the section. Other melodic features include the chromatic scale passages, repeated notes and broken chords in the last few bars.
The dotted rhythm is the main rhythmic feature.
Solo piano for the first 5 bars (R.H. melody, L.H. accompaniment in block chords)
Strings join in at bar 6
Theme 4
This theme, which the B section is built around is in A major, the relative major of F# minor.
The "turn" from the 3rd theme is present again as are the scale passages and repeated notes.
Other main features include the parallel 3rds between the flute and clarinet and later bassoon, and the broken chord accompaniment on clarinet featuring triplets (3 notes in the time of 2). Listen out also for staccato descending scales, a perfect cadence in A major just before a modulation back to F#m
This theme, which the B section is built around is in A major, the relative major of F# minor.
The "turn" from the 3rd theme is present again as are the scale passages and repeated notes.
Other main features include the parallel 3rds between the flute and clarinet and later bassoon, and the broken chord accompaniment on clarinet featuring triplets (3 notes in the time of 2). Listen out also for staccato descending scales, a perfect cadence in A major just before a modulation back to F#m
3rd movement
The 3rd movement is in A major again and 2/2 time at a very fast tempo. The form is not as clear as the other 2 movements. It's a mixture of Sonata form and Rondo form (ABACADA etc)
This is the first half of theme A, featuring a jump of a 5th and an octave followed by scale passages.
Observe the alberti bass accompaniment on the piano at the start. Also notice the terraced dynamics(sudden contrast in dynamics on repeats), a feature of this era.
This is the first half of theme A, featuring a jump of a 5th and an octave followed by scale passages.
Observe the alberti bass accompaniment on the piano at the start. Also notice the terraced dynamics(sudden contrast in dynamics on repeats), a feature of this era.
The 2nd half is based on a simple rising sequence which is imitated a half a bar later by lower strings. Also notice the dialogue between the different instrumental groups, strings to woodwind x2
Note; repetitions or simple sequences are likely "dictation" questions
Note; repetitions or simple sequences are likely "dictation" questions
Theme B is introduced again as solo piano, no alberti bass at the start this time. Again there's ornamentation and scale passages. Notice the parallel 3rds on clarinets on the repeat. The excerpt begins several bars before the theme begins as there's an excellent example of a perfect cadence.
The next theme is in the dominant minor, Em. (The dominant key is E major, the expected modulation.) Played by woodwind first, it is repeated in an ornamented (developed) way by piano. Again notice alberti bass.
The key here is E major. As expected, he has modulated to the dominant. The consistent D#s means that there are 4 sharps at this point in the work. Yet again, a rising sequence is the feature of this theme.
Descending scale passages with rising arpeggios (broken chords) feature here. This time the key is F#m, the relative minor of A major. The regular E#s are the sharpened 7th in the key of F#m.
This theme is in the key of D major. At this point there 2 sharps in the piece
