There are 2 subjects which are repeated and developed.
· Repeated frantic melody
Answered by stepwise descending melody
· First section is repeated again but down a step (Sequence)
· Chromatic scale is used with descending semitones
The mood of this subject is more melancholy and calmer because of sighing motifs and chromatic scale
First subject: quiet, apart from loud cadential section in middle. (bar 16 -->)
Second subject: starts quietly but builds in volume towards end.
Closing section: contrasts of loud and soft dynamics.
Development: begins and ends quietly with loud section in the middle.
Recapitulation: same as exposition however the loud transition section is longer.
The piece also contains crescendos and some accents
Molto allegro (very fast)
Repeated quaver, quaver , crotchet pattern
Upbeats in the 1st subject - anacrusis
Metre (Time Signature)
- 4/4 – simple quadruple time
- No changes in metre
- 8 bar regular phrasing
Structure (Part 1)
· Exposition (G Minor) then modulates to relative Major: B flat major for the transition, second subject and closing codetta.
o 1st subject- Tonic
o Bridge- Modulating
o 2nd subject- related
Structure (Part 2)
· Development- based on first subject and modulates widely exploring different related keys using the circle of fifths.
· Recapitulation-Repeats material from the exposition but with a longer transition to enable entire section to be centred on the tonic key. Coda is longer to reinforce home key. The second subject doesn’t modulate but stays in home key.
o 1st subject – Tonic
o Bridge- No modulation
o 2nd subject –Tonic
Work is in G minor.
1st subject: G minor
2nd subject: B flat major ( relative major)
Exposition: Mozart modulated to relative major-B flat Major at the end of the 1st subject.(B flat major until end of exposition)
Development: Quickly modulates to F # Minor at the start. Chromatic passage leads to rapid modulations through circle of 5ths, until a passage of dominant preparation signals the return of the first subject in G minor.
Exposition: Mozart adapts the music of the exposition to stay close to the tonic key until the end of the movement.
All modulations are defined by frequent imperfect and perfect cadences and dominant pedals.
Harmony and Instrumentation
Piece is Diatonic but has many modulations to different keys.Diminished 7th bar 63; Chromatic 2nd subject
The original work was scored without the newly invented clarinets.
He was modest in his instrumentation needing only:
· 7 woodwind players (1 flute, 2 clarinets, 2 oboes, 2 bassoons)
· two horns(B flat and G)
· 2 violins
Frequent use of melody with accompaniment.
Development section has an important counterpoint section- contrapuntal section.
Octave doubling of melodies is often used (violins 1-16); the start of the second subject is divided in dialogue between woodwind and violins.
Melody dominated homophony