Melody and thematic material
The treatment of melody and thematic material in symphonic music between 1750 and
1900 reflects a gradual shift from simplicity and balance in the Classical period to
expansion, motivic unity, and programmatic expression in the Romantic era. Themes
became increasingly central to symphonic identity, moving from clear and functional
tunes to highly expressive, nationalistic, and even cyclically unified material.
In the mid-18th century, melodies were generally clear and symmetrical, fitting the
ideals of the Classical style and especially the gallant style of elegance. Stamitz,
associated with the Mannheim school, typically used short, balanced phrases often
built simply diatonic and triadic such as a three-note idea at the start of the third
movement in his symphonies, such as the Symphony in D major, Op. 3 No. 2. By
contrast, C. P. E. Bach introduced a more emotionally charged approach to melody in
his empfindsamer Stil (sensitive style), as in his Symphony in E minor. His thematic
material is chromatic, anticipating the greater emotional expressivity of the later
Classical and Romantic periods. It also reappears in different keys throughout the
symphony which is a very novel feature that will be seen in the likes of Berlioz- showing
how thematic innovation was already advanced.
Haydn was central to the development of thematic writing. In early works such as
Symphony No. 31 (‘Hornsignal’), themes are already imaginative: the first movement’s
main subject prominently features horns, creating a bold, hunting-style melody. This
shows Haydn’s early interest in thematic colour and originality, even within a relatively
straightforward Classical framework. In Symphony No. 88, almost every statement
derives from a previous idea- showing a slight link to what C.P.E Bach was trying out This
is showing an early development of Haydn’s iconic use of monothematisism which
began to break out as he moved away from the Esterhazy. By the time of Symphony No.
104 in D major, Haydn’s thematic style is highly mature. The Allegro theme is completely
monothematic, appearing in both tonic and dominant, showing how economy of
melodic material can generate structural unity. Folk-like qualities in the themes of
movement 4 such as in bars 3-7, also suggest Haydn’s awareness of popular idioms
through stealing a popular Croation folk melody. His thematic writing demonstrates
clarity, inventiveness, and adaptability, laying the groundwork for Mozart and
Beethoven.
Mozart brought lyricism and contrast to thematic writing. In his final two symphonies
which were written in quick succession in the summer of 1788 along with his 39 th
particularly show this melodic maturity. In symphony NO. 40 in G minor at the beginning
of the first movement he constructs short melodic ideas to give an overall lyrical effect
The treatment of melody and thematic material in symphonic music between 1750 and
1900 reflects a gradual shift from simplicity and balance in the Classical period to
expansion, motivic unity, and programmatic expression in the Romantic era. Themes
became increasingly central to symphonic identity, moving from clear and functional
tunes to highly expressive, nationalistic, and even cyclically unified material.
In the mid-18th century, melodies were generally clear and symmetrical, fitting the
ideals of the Classical style and especially the gallant style of elegance. Stamitz,
associated with the Mannheim school, typically used short, balanced phrases often
built simply diatonic and triadic such as a three-note idea at the start of the third
movement in his symphonies, such as the Symphony in D major, Op. 3 No. 2. By
contrast, C. P. E. Bach introduced a more emotionally charged approach to melody in
his empfindsamer Stil (sensitive style), as in his Symphony in E minor. His thematic
material is chromatic, anticipating the greater emotional expressivity of the later
Classical and Romantic periods. It also reappears in different keys throughout the
symphony which is a very novel feature that will be seen in the likes of Berlioz- showing
how thematic innovation was already advanced.
Haydn was central to the development of thematic writing. In early works such as
Symphony No. 31 (‘Hornsignal’), themes are already imaginative: the first movement’s
main subject prominently features horns, creating a bold, hunting-style melody. This
shows Haydn’s early interest in thematic colour and originality, even within a relatively
straightforward Classical framework. In Symphony No. 88, almost every statement
derives from a previous idea- showing a slight link to what C.P.E Bach was trying out This
is showing an early development of Haydn’s iconic use of monothematisism which
began to break out as he moved away from the Esterhazy. By the time of Symphony No.
104 in D major, Haydn’s thematic style is highly mature. The Allegro theme is completely
monothematic, appearing in both tonic and dominant, showing how economy of
melodic material can generate structural unity. Folk-like qualities in the themes of
movement 4 such as in bars 3-7, also suggest Haydn’s awareness of popular idioms
through stealing a popular Croation folk melody. His thematic writing demonstrates
clarity, inventiveness, and adaptability, laying the groundwork for Mozart and
Beethoven.
Mozart brought lyricism and contrast to thematic writing. In his final two symphonies
which were written in quick succession in the summer of 1788 along with his 39 th
particularly show this melodic maturity. In symphony NO. 40 in G minor at the beginning
of the first movement he constructs short melodic ideas to give an overall lyrical effect
