Symphony No. 4
MENDELSSOHN
Movement 1
EXPOSITION (BARS 1-209) Transition (Bars 66-92)
First Subject Section (Bars 1-65) O
This transition begins with an exciting antiphonal
passage, using an oscillating quaver motif as strings
alternate with the rest of the orchestra
&
↳
↳
Horns herald S1, which is an effervescent + acrobatic ↳
The idea is treated sequentially, passing through B
theme, characterised by the oscillating opening major minor (bar 70) + D major (bar 72)
3rd ↳
As the repeated quaver motion settles inviolins, ideas
With a forte chord (pizz. In strings), the first
4
from S1 are heard in the cellos, supported with
movement starts at a pace, progressing with elongated reminders of figure 'x' in oboes + clarinets
memorable short motivic patterns, including arpeggio 4
A return to S1 fanfare motif (figure 'x' in violins in
ideas bar 82 bring a series of smooth phrases, which
O
It is fast, in A major, with a lilting rhythmic character emphasise a subtle harmonic play with major + minor
in 8 time + the accompanying quavers in woodwind + modes, bringing a tonicisation of B major (bar 86),
horns support the Mediterranean flavour suggested in which is dominant preparation for the key of the
the title, sweeping the violin theme along next section
O
The texture at the start of the movement is
homophonic, dominated by the melodic idea + the
accompaniment Second Subject Section (Bars 93-187)
O
The answering melodic phrase in bar 11 descends in
motion with quite a distinctive little couplet idea + the
O
The section begins in the key of E major, though this
tonicisation of E major at bar 17 brings additional shifts to E minor by bar 96
harmonic colour
O
This theme maintains the overall spirit, but achieving a
g
Bar 23 calmness that certainly feels like a welcome contrast
There is a brief moment of hesitation, before flutes,
↳
after the eventful opening subject matter
oboes + horns enter with the fanfare-like motif
O
The first idea is heard piano, with 2 motifs that seem
(figure 'x') of S1 inexorably linked
The wind instruments do not take the material
↳
↳
The motif in clarinets + bassoons, against the
beyond this + after a few repeats, the theme is taken staccato quavers of the violins + violas, with lower
back by violins (arco) + played again, but with the strings punctuating the texture with a quiet rising
ending changed (reminiscent of the little couplet arpeggio
figure)
O
S2a
The texture is busy + the conversational passagework
↳
here feels modulatory
↳
Detached chords in woodwind + brass punctuate this ↳
harmony, above scalic movement in the strings
This leads to 4 bars on the dominant 7th chord,
↳
preparing to resolve to the tonic of A
O
Bars 51 -66
↳
This begins with a repeat of bars 2-10, with additional
timps + enhanced scoring
-
The graceful subject matter is extended over many
The answering phrase has been condensed, although it
↳
bars in all, but not before a second idea is introduced
includes similar harmonic working + the phrase in bar 110, again played by clarinets and bassoons
again concludes in A major
, Symphony No. 4
MENDELSSOHN
Movement 1
Second Subject Section (Bars 93-187) Codetta (Bars 187-209)
(Continued) O
This first time bar is important as this codetta theme
S2b
O
only appears here in this format
↳
It contains fragments of S1 + S2, initially heard in
↳
clarinets + bassoons (in 3rds) + solo oboe, above the
tonic pedal in horns + with lower srings outlining the
bass notes of the perfect cadence in E pizzicato at bar
This idea is still in E major + is probably the more
-
190-191
prominent of the 2 themes ↳
The emphasis on the cadence is reinforced + extended
Clarinets + bassoons hold on to the thematic
-
at 194, as S1 monopolises the melodic content + the
material (which is clearly still based on the first flute + bassoon change the pedal to that of the
subject), until it is transferred to flutes + oboes in dominant (B)
bar 124 ↳
At bar 199, the theme is heard p above a pedal note
This is heard above gentle quaver dialogue in
*
back on E which proves to be, in the first instance +
violins, continued until it is cut off in bar 132 the first time bar, 10 bars of dominant preparation
At that point the full orchestra joins in (pp at
>
-
for the repeat of the exposition section + a return to
first) with an initial reference to the melodic the home key of A major (which actually arrives in the
motif from bar 17, heard above a pedal note of A last bar of the codetta)
for 8 bars O
The second time bar remains on the chord of E major,
The texture reduces to just strings
-
before launching immediately into the development
Note that the V6 chord resolves onto an A major
&
section
chord in bar 141 with a reminder of S1, followed by
the tonicisation of F# minor in bar 143 before
returning to E major
Development (bars 210-368)
The oboes play a legato phrase using similar rhythms
-
First Development Section (Bars 210-284)
+ the section which follows includes imitative O
The thematic material of S2a begins its development at
material with hints of the motifs from S1, a bar 210, prefixed as before with the distinctive quaver
descending stepwise motif + the arpeggaic idea patterning of figure 'y' + is manipulated through
This musical sentence concludes quietly, with the
&
modulation, both contrapuntally + sequentially
dotted crotchet motif fading away O
The rising woodwind phrases are now heard against
This is a sparse texture with just 2 string lines
>
-
staccato triplets in violin 1 + the music moves through
as the cello echoes the descending line of violin 1
O
A minor (bar 217) + D minor (bar 220) + the texture
O
Bar 158 reduces eventually to a single line, fading away again
↳
A pp solo clarinet reminds us again of S1 with staccato quavers in violins 1, before the next
Augmented, gradually to be joined by the rest of the
-
surprise
orchestra O
Bar 225
↳
Note the low pedal G# for first violins + cellos here ↳
A new melody is introduced
It is 7 bars, not quite the lowest note for the A dance-like 'capricious' motif that never develops
-
-
instrument beyond the initial four bars
&
At bar 171, S1 is repeated with renewed vigour played ↳
S3
tutti + ff
↳
This ends with a perfect cadence in E major (bar -
182-183), followed by 4 bars on the chord of E major,
with figure 'x' from S1 in the violins above a
descending arpeggio movement in low strings O
Bar 229
↳
S3 begins on an E major chord, first inversion played
by violins only
This acts as a dominant to A minor, bar 230 in root
-
position (perfect cadence + tonicisation of that
key)
MENDELSSOHN
Movement 1
EXPOSITION (BARS 1-209) Transition (Bars 66-92)
First Subject Section (Bars 1-65) O
This transition begins with an exciting antiphonal
passage, using an oscillating quaver motif as strings
alternate with the rest of the orchestra
&
↳
↳
Horns herald S1, which is an effervescent + acrobatic ↳
The idea is treated sequentially, passing through B
theme, characterised by the oscillating opening major minor (bar 70) + D major (bar 72)
3rd ↳
As the repeated quaver motion settles inviolins, ideas
With a forte chord (pizz. In strings), the first
4
from S1 are heard in the cellos, supported with
movement starts at a pace, progressing with elongated reminders of figure 'x' in oboes + clarinets
memorable short motivic patterns, including arpeggio 4
A return to S1 fanfare motif (figure 'x' in violins in
ideas bar 82 bring a series of smooth phrases, which
O
It is fast, in A major, with a lilting rhythmic character emphasise a subtle harmonic play with major + minor
in 8 time + the accompanying quavers in woodwind + modes, bringing a tonicisation of B major (bar 86),
horns support the Mediterranean flavour suggested in which is dominant preparation for the key of the
the title, sweeping the violin theme along next section
O
The texture at the start of the movement is
homophonic, dominated by the melodic idea + the
accompaniment Second Subject Section (Bars 93-187)
O
The answering melodic phrase in bar 11 descends in
motion with quite a distinctive little couplet idea + the
O
The section begins in the key of E major, though this
tonicisation of E major at bar 17 brings additional shifts to E minor by bar 96
harmonic colour
O
This theme maintains the overall spirit, but achieving a
g
Bar 23 calmness that certainly feels like a welcome contrast
There is a brief moment of hesitation, before flutes,
↳
after the eventful opening subject matter
oboes + horns enter with the fanfare-like motif
O
The first idea is heard piano, with 2 motifs that seem
(figure 'x') of S1 inexorably linked
The wind instruments do not take the material
↳
↳
The motif in clarinets + bassoons, against the
beyond this + after a few repeats, the theme is taken staccato quavers of the violins + violas, with lower
back by violins (arco) + played again, but with the strings punctuating the texture with a quiet rising
ending changed (reminiscent of the little couplet arpeggio
figure)
O
S2a
The texture is busy + the conversational passagework
↳
here feels modulatory
↳
Detached chords in woodwind + brass punctuate this ↳
harmony, above scalic movement in the strings
This leads to 4 bars on the dominant 7th chord,
↳
preparing to resolve to the tonic of A
O
Bars 51 -66
↳
This begins with a repeat of bars 2-10, with additional
timps + enhanced scoring
-
The graceful subject matter is extended over many
The answering phrase has been condensed, although it
↳
bars in all, but not before a second idea is introduced
includes similar harmonic working + the phrase in bar 110, again played by clarinets and bassoons
again concludes in A major
, Symphony No. 4
MENDELSSOHN
Movement 1
Second Subject Section (Bars 93-187) Codetta (Bars 187-209)
(Continued) O
This first time bar is important as this codetta theme
S2b
O
only appears here in this format
↳
It contains fragments of S1 + S2, initially heard in
↳
clarinets + bassoons (in 3rds) + solo oboe, above the
tonic pedal in horns + with lower srings outlining the
bass notes of the perfect cadence in E pizzicato at bar
This idea is still in E major + is probably the more
-
190-191
prominent of the 2 themes ↳
The emphasis on the cadence is reinforced + extended
Clarinets + bassoons hold on to the thematic
-
at 194, as S1 monopolises the melodic content + the
material (which is clearly still based on the first flute + bassoon change the pedal to that of the
subject), until it is transferred to flutes + oboes in dominant (B)
bar 124 ↳
At bar 199, the theme is heard p above a pedal note
This is heard above gentle quaver dialogue in
*
back on E which proves to be, in the first instance +
violins, continued until it is cut off in bar 132 the first time bar, 10 bars of dominant preparation
At that point the full orchestra joins in (pp at
>
-
for the repeat of the exposition section + a return to
first) with an initial reference to the melodic the home key of A major (which actually arrives in the
motif from bar 17, heard above a pedal note of A last bar of the codetta)
for 8 bars O
The second time bar remains on the chord of E major,
The texture reduces to just strings
-
before launching immediately into the development
Note that the V6 chord resolves onto an A major
&
section
chord in bar 141 with a reminder of S1, followed by
the tonicisation of F# minor in bar 143 before
returning to E major
Development (bars 210-368)
The oboes play a legato phrase using similar rhythms
-
First Development Section (Bars 210-284)
+ the section which follows includes imitative O
The thematic material of S2a begins its development at
material with hints of the motifs from S1, a bar 210, prefixed as before with the distinctive quaver
descending stepwise motif + the arpeggaic idea patterning of figure 'y' + is manipulated through
This musical sentence concludes quietly, with the
&
modulation, both contrapuntally + sequentially
dotted crotchet motif fading away O
The rising woodwind phrases are now heard against
This is a sparse texture with just 2 string lines
>
-
staccato triplets in violin 1 + the music moves through
as the cello echoes the descending line of violin 1
O
A minor (bar 217) + D minor (bar 220) + the texture
O
Bar 158 reduces eventually to a single line, fading away again
↳
A pp solo clarinet reminds us again of S1 with staccato quavers in violins 1, before the next
Augmented, gradually to be joined by the rest of the
-
surprise
orchestra O
Bar 225
↳
Note the low pedal G# for first violins + cellos here ↳
A new melody is introduced
It is 7 bars, not quite the lowest note for the A dance-like 'capricious' motif that never develops
-
-
instrument beyond the initial four bars
&
At bar 171, S1 is repeated with renewed vigour played ↳
S3
tutti + ff
↳
This ends with a perfect cadence in E major (bar -
182-183), followed by 4 bars on the chord of E major,
with figure 'x' from S1 in the violins above a
descending arpeggio movement in low strings O
Bar 229
↳
S3 begins on an E major chord, first inversion played
by violins only
This acts as a dominant to A minor, bar 230 in root
-
position (perfect cadence + tonicisation of that
key)
