Discuss the development of second movements in the
symphonic genre between 1750 -1900
The development of second movements in symphonies between 1750 and 1900
demonstrates increasing diversity. What began as graceful slow movements offering a
sense of relief after the first movement, evolved into a movement of its own function
showing more emotion and character and lending itself to romantic programatisicm.
The second movement became a flexible and creative space where composers could
show their expressive freedom and break the boundaries established at the start of the
period.
In the early Classical period, second movements typically offered a moment of
relaxation following the energetic first movements. Johann Stamitz’s Symphony in D
major, Op. 3 No. 2, developed under the Mannheim court, features a second movement
in a simple rounded binary form, with graceful melodies, balanced phrases, and clear
harmonic progressions to reflect the gallant style of elegance over complexity. C.P.E.
Bach, however, showed much greater emotional depth in his second movements. In his
Symphony in E minor, the second movement in ternary form features unexpected
dynamics and chromaticism to embody the empfindsamer Stil or “sensitive style” C.P.E
Bach was inclined to for bringing drama through contrast and expression. This use of
expression would influence later composers to have more emotional exploration in their
second movements, perhaps foreshadowing later developments in the Romantic
period.
Haydn’s early symphonies generally follow the tradition of gentle slow movements,
often in ternary or theme and variation form. However, even in works such as his
symphony No. 31 “Hornsignal”, he begins to incorporate orchestral colour and
instrumental dialogues, for instance through melodic lines alternating between solo
violin and horns to give a theatrical element. As his style matured and he composed
away from the Esterhazy palace, Haydn’s slow movements became more inventive. His
symphony No.88 is considered to be a “perfect” example of this late style, however, the
Largo second movement is rather experimental by classical convention. It adopts a
sonata form in miniature, more common to the first movements of symphonies,
showing how even the most prolific composers of the time were starting to treat second
movements as more of a creative space. In symphony No. 104 in D major the second
movement uses harmonic tension, for example during the extended reprisal of phrase A
between bars 98 and 113 to show how second movements could be used for intensity
building purposes. Here Haydn implements an abundance of chromatic features
including Neapolitan six chords and upper chromatic auxiliary notes resulting in a
symphonic genre between 1750 -1900
The development of second movements in symphonies between 1750 and 1900
demonstrates increasing diversity. What began as graceful slow movements offering a
sense of relief after the first movement, evolved into a movement of its own function
showing more emotion and character and lending itself to romantic programatisicm.
The second movement became a flexible and creative space where composers could
show their expressive freedom and break the boundaries established at the start of the
period.
In the early Classical period, second movements typically offered a moment of
relaxation following the energetic first movements. Johann Stamitz’s Symphony in D
major, Op. 3 No. 2, developed under the Mannheim court, features a second movement
in a simple rounded binary form, with graceful melodies, balanced phrases, and clear
harmonic progressions to reflect the gallant style of elegance over complexity. C.P.E.
Bach, however, showed much greater emotional depth in his second movements. In his
Symphony in E minor, the second movement in ternary form features unexpected
dynamics and chromaticism to embody the empfindsamer Stil or “sensitive style” C.P.E
Bach was inclined to for bringing drama through contrast and expression. This use of
expression would influence later composers to have more emotional exploration in their
second movements, perhaps foreshadowing later developments in the Romantic
period.
Haydn’s early symphonies generally follow the tradition of gentle slow movements,
often in ternary or theme and variation form. However, even in works such as his
symphony No. 31 “Hornsignal”, he begins to incorporate orchestral colour and
instrumental dialogues, for instance through melodic lines alternating between solo
violin and horns to give a theatrical element. As his style matured and he composed
away from the Esterhazy palace, Haydn’s slow movements became more inventive. His
symphony No.88 is considered to be a “perfect” example of this late style, however, the
Largo second movement is rather experimental by classical convention. It adopts a
sonata form in miniature, more common to the first movements of symphonies,
showing how even the most prolific composers of the time were starting to treat second
movements as more of a creative space. In symphony No. 104 in D major the second
movement uses harmonic tension, for example during the extended reprisal of phrase A
between bars 98 and 113 to show how second movements could be used for intensity
building purposes. Here Haydn implements an abundance of chromatic features
including Neapolitan six chords and upper chromatic auxiliary notes resulting in a
