First Movements
The development of first movements in symphonies between 1750 and 1900 reflects a
progression from concise classical structures to large-scale romantic forms of great
expressive depth. While early first movements often provided energetic openings and
thematic clarity, later composers turned them into the dramatic and structural heart of
the symphony but with a sonata form structure often being a common feature across
the period. Across the period, the first movement increasingly became the space where
ideas of thematic transformation, emotional conflict, and philosophical significance
were explored.
In the mid-18th century, first movements were generally built on binary or early sonata
designs, serving to establish key areas and provide contrast rather than extended
development. Johann Stamitz’s Symphony in D major, Op. 3 No. 2 opens with a lively
Presto that uses clear phrases, typical of the favoured gallant style of the time and
contrasts of dynamics, such as the Mannheim crescendo, which was standard of the
practice taught at the Mannheim school where Stamitz developed this. It uses an old-
fashioned concerto form which bears some early similarities to sonata form; however, it
differs as the development is not that different from the exposition, showing room for
further development in the symphonic genre. C. P. E. Bach, by contrast, brought
expressive unpredictability into his first movements, drawing on Empfindsamer Stil with
sudden shifts of dynamics and unexpected modulations laying the groundwork for
greater emotional variety within the form. Structurally, it is based off an old-fashioned
Ritornello which is similar to a baroque rondo again showing that the stereotypical first
movement sonata form had not yet been developed.
Haydn established the Classical sonata-form first movement as the cornerstone of the
symphony. In symphony No.31 (“Hornsignal”), sonata form had been realtively well
established, allowing for Haydn to already play with it, showing how quickly the forms of
first movements could be developed. He does this by beginning the recapitulation with
new material which undermines the traditional form. His Symphony No.88 similarly
presents this sonata form while also providing melodic development through a noble
hymn like melody in the introduction contrasted by a later Allegro. However, his
development of melodic material in first movements doesn't stop there. Almost every
statement of melody that appears in this first movement derives innovatively from a
previous idea. This shows how first movements could be a great place for melodic
development. In Symphony No. 104 the opening slow introduction leads to a
monothematic Allegro at bar 17, a further example of Haydn’s melodic innovation within
first movements. He further uses sonata form and solidifying it further to cement this
final symphony of his in history at its first performance in London. However, Haydn’s use
The development of first movements in symphonies between 1750 and 1900 reflects a
progression from concise classical structures to large-scale romantic forms of great
expressive depth. While early first movements often provided energetic openings and
thematic clarity, later composers turned them into the dramatic and structural heart of
the symphony but with a sonata form structure often being a common feature across
the period. Across the period, the first movement increasingly became the space where
ideas of thematic transformation, emotional conflict, and philosophical significance
were explored.
In the mid-18th century, first movements were generally built on binary or early sonata
designs, serving to establish key areas and provide contrast rather than extended
development. Johann Stamitz’s Symphony in D major, Op. 3 No. 2 opens with a lively
Presto that uses clear phrases, typical of the favoured gallant style of the time and
contrasts of dynamics, such as the Mannheim crescendo, which was standard of the
practice taught at the Mannheim school where Stamitz developed this. It uses an old-
fashioned concerto form which bears some early similarities to sonata form; however, it
differs as the development is not that different from the exposition, showing room for
further development in the symphonic genre. C. P. E. Bach, by contrast, brought
expressive unpredictability into his first movements, drawing on Empfindsamer Stil with
sudden shifts of dynamics and unexpected modulations laying the groundwork for
greater emotional variety within the form. Structurally, it is based off an old-fashioned
Ritornello which is similar to a baroque rondo again showing that the stereotypical first
movement sonata form had not yet been developed.
Haydn established the Classical sonata-form first movement as the cornerstone of the
symphony. In symphony No.31 (“Hornsignal”), sonata form had been realtively well
established, allowing for Haydn to already play with it, showing how quickly the forms of
first movements could be developed. He does this by beginning the recapitulation with
new material which undermines the traditional form. His Symphony No.88 similarly
presents this sonata form while also providing melodic development through a noble
hymn like melody in the introduction contrasted by a later Allegro. However, his
development of melodic material in first movements doesn't stop there. Almost every
statement of melody that appears in this first movement derives innovatively from a
previous idea. This shows how first movements could be a great place for melodic
development. In Symphony No. 104 the opening slow introduction leads to a
monothematic Allegro at bar 17, a further example of Haydn’s melodic innovation within
first movements. He further uses sonata form and solidifying it further to cement this
final symphony of his in history at its first performance in London. However, Haydn’s use
