Western Classical Music

Covers; Handel's Messiah, Mozart's Symphony No.40, Movement 1 and Chopin, Prelude No. 15, Op. 28 (The Raindrop Prelude)

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  • Created by: Gemma
  • Created on: 13-03-12 17:59

And the Glory of the Lord

Background etc.

  • Written in 1741
  • A chorus for SATB choirs
  • It is about the birth, life and death of Jesus
  • In the Baroque era
  • Instruments playing are: trumpets, timpani, harsichord continuo, strings, horns, oboes and bassoons.
  • There are four main motifs:

And the Glory of the Lord

Shall be revealed

And all flesh shall see it together

For the Mouth of the Lord hath spoken it.

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And the Glory of the Lord

The Motifs

Motif 1 is syllabic

Motif 2 is melismatic and uses sequences which descend

Motif 3 has the same five-note idea repeated used  

Motif 4 has long notes (pedal points) at mostly the same pitch-emphasises words  

All are introduced simply and then woven into the music so that parts overlap and play in canon and also imitate each other.  

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And the Glory of the Lord

Tonality, texture and tempo

  • A major, modulating to E major and B major- joyful
  • Mainly homophonic but occasionally polyphonic
  • 
  • Written as Allegro so it is quick and lively
  • In 3/4 but feels like 2/4 at times-a hemiola
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Symphony No. 40

Background etc.

  • Written in 1788
  • 
  • Written for:

flutes, oboes, bassoon, clarinets, horns, violins, cellos and double basses

  • Movement 1 is in sonata form
  • 

Exposition-Development-Recapitulation

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Symphony No.40

Exposition                                                                                                                                                   

First Subject:

  • Marked Molto Allegro
  • 
  • In 4/4
  • G minor
  • Piano
  • Question and answer phrasing, four bars each
  • dark intense mood
  • Second four bar phrase ends in a perfect cadence-sounds finished

 



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Symphony No. 40

Exposition:

Bridge/Transition passage:

  • forceful, lots of sforzandos
  • 
  • violins play a descending sequence over low string tremolo
  • Bb major plus chromatic chords for tension

Second Subject:

  • Bb major
  • longer note values
  • more relaxed mood
  • has falling phrases
  • First four bar phrase ends in an imperfect cadence and the second ends in a perfect cadence
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Symphony No.40

Exposition

Codetta:

  • G minor again
  • Fnishes off the exposition by replaying it
  • Imitation between clarinets and bassoons
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Symphony No. 40

Development

  • altered melodies
  • 
  • rapid key changes (modulation)
  • imitation
  • contrapuntal textures
  • Much use of the falling semitone motif.

Contrapuntal means having two or more independant but harmonically related melodic parts playing together.

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Symphony No. 40

Recapitulation

This is basically a repeat of the Exposition although it is slightly different and a bit shorter.

 It begins in the key of G minor and opens with the first subject. The second subject then follows but is now in G minor.

The whole movement ends with a coda where the whole orchestra plays repeated perfect cadences giving it a finished sound.

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Symphony No. 40

Development

  • altered melodies
  • 
  • rapid key changes (modulation)
  • imitation
  • contrapuntal textures
  • Much use of the falling semitone motif.

Contrapuntal means having two or more independant but harmonically related melodic parts playing together.

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Symphony No. 40

Recapitulation

This is basically a repeat of the Exposition although it is slightly different and a bit shorter.

 It begins in the key of G minor and opens with the first subject. The second subject then follows but is now in G minor.

The whole movement ends with a coda where the whole orchestra plays repeated perfect cadences giving it a finished sound.

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The Raindrop Prelude

Background etc.

  • Chopin composed during the romantic period
  • 
  • This prelude was completed in 1839

Basic Structure:

ABA1 Bars 1–27 Bars 28–75 Bars 76–end Major key, long melody heard several times Minor key, new melody heard      mainly in the bass A shorter version of the opening A section

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The Raindrop Prelude

Section A

  • 4/4
  • 
  • Db Major
  • A fully written turn is featured, (or septuplet)
  • Homophonic
  • Repeated A flat quavers begin in this section and are played throughout (raindrops), can be called the pedal note because they play constantly and against changing harmonies.
  • Ends with and imperfect cadence
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The Raindrop Prelude

Section B

  • C# minor- enharmonic modulation because D flat is the same as C#
  • sotto voce- in an undertone
  • raindrop note now in treble clef
  • long melody mostly crotchets and in the bass part
  • Mood is darker
  • Tension created by dissonant harmonies
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The Raindrop Prelude

Section A1

D flat major

septuplet replaced with 10 semi-quavers

Raindrop note stops briefly for the first and only time

Eight-bar coda follows which is monophonic

Final sounding ending with a perfect cadence at a pianissimo dynamic

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