Discuss the development of third movements in the symphonic
genre between 1750-1900
The development of third movements in symphonies between 1750 and 1900
demonstrates a shift from courtly dances to a more expressive form. What began as a
minuet or dance-like interlude grew into a powerful formal and emotional tool,
particularly as composers moved away from classical standards into romantic liberty.
The third movement became a space for exciting rhythmic ideas, dramatic contrast,
and national expression.
In the early Classical period, third movements were typically Minuet and Trio forms —
elegant, moderate-tempo dances that provided contrast within the four-movement
structure. Stamitz’s Symphony in D major, Op. 3 No. 2, includes a third movement in a
straightforward minuet and trio form, with predictable phrasing, diatonic harmonies,
and balanced structures typical of the gallant style established through the Mannheim
court. C.P.E Bach’s symphony in E minor however is in a simple rounded binary form,
however it is still in ¾ giving the impression of a courtly dance. However, it does lend
itself to more expression, partly because as this is only a three-movement symphony
this is also the final movement.
As the style evolved, composers like Haydn began to experiment with this form.
Originally, when he was still under the influence of the Esterhazy court, Haydn did
maintain classical clarity, for example in his symphony No.31. This is a Menuet with a
simple clear triple time pulse showing how this type of dance movement was still
popular amongst the aristocracy. However, as Haydn branched out more in the public
domain his third movements began to show more of his wit and inventiveness. In
Symphony No. 94 in G major “The Surprise”, the minuet is traditionally courtly but
rhythmically emphatic, with unexpected dynamics. The trio contrasts this with a lyrical
and flowing oboe melody over pizzicato strings, offering a moment of calm. Haydn uses
these contrasts not only to balance the movement structurally but also to amuse or
surprise the listener — part of his broader interest in engaging audiences through
variation. In Symphony No. 104, the Minuet and Trio retains a triple metre and ternary
form, but its character is more robust and dynamic. The rhythmic drive, strong accents,
and orchestral texture suggest that the dance origins are becoming more symphonic
and grander. The end of the trio also suggests greater harmonic interest through the
interesting use of augmented chords (bar 97 for example) to modulate back before the
reprise of the Minuet. Haydn’s use of third movements shows that as a composer was
allowed more creative freedom they could show more of their personality- particularly
in the fun and quirky third movements.
genre between 1750-1900
The development of third movements in symphonies between 1750 and 1900
demonstrates a shift from courtly dances to a more expressive form. What began as a
minuet or dance-like interlude grew into a powerful formal and emotional tool,
particularly as composers moved away from classical standards into romantic liberty.
The third movement became a space for exciting rhythmic ideas, dramatic contrast,
and national expression.
In the early Classical period, third movements were typically Minuet and Trio forms —
elegant, moderate-tempo dances that provided contrast within the four-movement
structure. Stamitz’s Symphony in D major, Op. 3 No. 2, includes a third movement in a
straightforward minuet and trio form, with predictable phrasing, diatonic harmonies,
and balanced structures typical of the gallant style established through the Mannheim
court. C.P.E Bach’s symphony in E minor however is in a simple rounded binary form,
however it is still in ¾ giving the impression of a courtly dance. However, it does lend
itself to more expression, partly because as this is only a three-movement symphony
this is also the final movement.
As the style evolved, composers like Haydn began to experiment with this form.
Originally, when he was still under the influence of the Esterhazy court, Haydn did
maintain classical clarity, for example in his symphony No.31. This is a Menuet with a
simple clear triple time pulse showing how this type of dance movement was still
popular amongst the aristocracy. However, as Haydn branched out more in the public
domain his third movements began to show more of his wit and inventiveness. In
Symphony No. 94 in G major “The Surprise”, the minuet is traditionally courtly but
rhythmically emphatic, with unexpected dynamics. The trio contrasts this with a lyrical
and flowing oboe melody over pizzicato strings, offering a moment of calm. Haydn uses
these contrasts not only to balance the movement structurally but also to amuse or
surprise the listener — part of his broader interest in engaging audiences through
variation. In Symphony No. 104, the Minuet and Trio retains a triple metre and ternary
form, but its character is more robust and dynamic. The rhythmic drive, strong accents,
and orchestral texture suggest that the dance origins are becoming more symphonic
and grander. The end of the trio also suggests greater harmonic interest through the
interesting use of augmented chords (bar 97 for example) to modulate back before the
reprise of the Minuet. Haydn’s use of third movements shows that as a composer was
allowed more creative freedom they could show more of their personality- particularly
in the fun and quirky third movements.
