Mozart Jupiter Symphony
Symphony Analysis
Bars 1-16
In this essay I will be writing about the opening first 16 bars of the Mozart Symphony Jupiter (K551), starting off in C major, common time.
[1] The opening bar introduces the first Antecedent idea, consisting of an octave C in all instruments. This is then followed by ascending semiquaver triplet runs, in the strings and woodwind, from G to C which have a decoration-like affect. This is juxtaposed against the timpani and the brass still carry on with octave C’s. This first idea is in a forte dynamic.
[1]
[2] The consequent idea, only involving the strings and no contrabass, starts in bar 3 with the anacrusis from the first violin in bar 2. This second idea contrasts with the first idea shown in bar one with its piano dynamic and homophonic texture. What is uncommon about this bar is that the viola is above the 2nd violin in pitch. This creates warmth to the chord as the notes are very close together and this also emphasises the resolutions in the chord.
[2]
[3]The first 2 beats of bar 3 contains G major 7th chord with a suspended 4th. The last two beats of bar 3 is a C major suspended 9th chord. Throughout these two chords the violoncello and the 2nd violin are moving in 3rds and the 1st violin providing both the melody and the suspensions. The viola is sustaining a pedal note of G which allows the chords flow nicely from one to the other as the note G is a note that all the chords have in common. These two ideas in the first subject make up the periodic phrase.
[3]
[4] The fifth bar imitates the idea shown in bar one except it has been transposed down a forth. The F sharp is misleading making you think that this has modulated into the key of G major however this is just an accidental to make a semitone interval between F sharp and G and to preserve the character of the phrase. In bar 7 the second idea has been brought back however this time
Bars 1-16
In this essay I will be writing about the opening first 16 bars of the Mozart Symphony Jupiter (K551), starting off in C major, common time.
[1] The opening bar introduces the first Antecedent idea, consisting of an octave C in all instruments. This is then followed by ascending semiquaver triplet runs, in the strings and woodwind, from G to C which have a decoration-like affect. This is juxtaposed against the timpani and the brass still carry on with octave C’s. This first idea is in a forte dynamic.
[1]
[2] The consequent idea, only involving the strings and no contrabass, starts in bar 3 with the anacrusis from the first violin in bar 2. This second idea contrasts with the first idea shown in bar one with its piano dynamic and homophonic texture. What is uncommon about this bar is that the viola is above the 2nd violin in pitch. This creates warmth to the chord as the notes are very close together and this also emphasises the resolutions in the chord.
[2]
[3]The first 2 beats of bar 3 contains G major 7th chord with a suspended 4th. The last two beats of bar 3 is a C major suspended 9th chord. Throughout these two chords the violoncello and the 2nd violin are moving in 3rds and the 1st violin providing both the melody and the suspensions. The viola is sustaining a pedal note of G which allows the chords flow nicely from one to the other as the note G is a note that all the chords have in common. These two ideas in the first subject make up the periodic phrase.
[3]
[4] The fifth bar imitates the idea shown in bar one except it has been transposed down a forth. The F sharp is misleading making you think that this has modulated into the key of G major however this is just an accidental to make a semitone interval between F sharp and G and to preserve the character of the phrase. In bar 7 the second idea has been brought back however this time