The Development of Final Movements
The development of final movements in symphonies between 1750 and 1900 shows a
shift from light-hearted conclusions to ones of more emotional significance. What
began as energetic, often playful endings evolved into movements of grandeur,
thematic unity, and, by the Romantic period, deeply expressive or even programmatic.
The finale became a crucial space for resolution, triumph or power.
In the early Classical period, final movements typically served as light-hearted endings,
often in rondo or sonata-rondo form. Stamitz’s Symphony in D major, Op. 3 No. 2, ends
with a lively and rhythmic prestissimo movement. It maintains the gallant style,
prioritising charm, balance, and clear phrasing. The movement functions primarily as a
cheerful wrap-up rather than a structural climax. C.P.E. Bach, however, introduced
greater emotional depth, even in his final movements. His Symphony in E minor ends on
the third movement full of Empfindsamer Stil characteristics: sudden dynamic
contrasts, expressive chromaticism, and rhythmic instability however the B section is in
a lighter major key. While still concise and formally structured, it shows how the finale
could both use and move beyond light-heartedness toward more emotionally complex
material — anticipating the more dramatic conclusions of the Romantic era.
Haydn, throughout his symphonic career, expanded the importance and inventiveness
of finales. The final movement of Haydn’s Symphony No. 31 ends with a simple set of
variations, a common form of finales showing not much development, but this is
followed by an unexpected final presto using 1st movement material- a feature that
would later become more common. In his 88th symphony which was written away from
the Esterhazy but is still typical to Haydn through the use of fast semiquavers patterns.
In Symphony No. 104, the final movement is a monothematic sonata-form movement
inspired by a Croation folk theme which first appear in bar 3. Haydn develops it with
rhythmic drive and motivic transformation. The use of a single main idea, varied and
manipulated throughout, creates both unity and gives the piece a sense of life. Haydn’s
finales often balance humour, energy, and intellect, foreshadowing the weightier role
this movement would take.
Mozart continued to treat the finale with increasing importance. In Symphony No. 41,
the final movement is an extraordinary example of contrapuntal and thematic
complexity. It includes five motifs combined in an intricate fugal coda — a triumphant
blend of classical form and baroque forms. This elevates the finale to the intellectual
and emotional climax of the work, not just its resolution.
Beethoven radically redefined the finale’s function, turning it into the symphony’s
emotional and almost philosophical conclusion. His Symphony No. 3 (Eroica) ends with
The development of final movements in symphonies between 1750 and 1900 shows a
shift from light-hearted conclusions to ones of more emotional significance. What
began as energetic, often playful endings evolved into movements of grandeur,
thematic unity, and, by the Romantic period, deeply expressive or even programmatic.
The finale became a crucial space for resolution, triumph or power.
In the early Classical period, final movements typically served as light-hearted endings,
often in rondo or sonata-rondo form. Stamitz’s Symphony in D major, Op. 3 No. 2, ends
with a lively and rhythmic prestissimo movement. It maintains the gallant style,
prioritising charm, balance, and clear phrasing. The movement functions primarily as a
cheerful wrap-up rather than a structural climax. C.P.E. Bach, however, introduced
greater emotional depth, even in his final movements. His Symphony in E minor ends on
the third movement full of Empfindsamer Stil characteristics: sudden dynamic
contrasts, expressive chromaticism, and rhythmic instability however the B section is in
a lighter major key. While still concise and formally structured, it shows how the finale
could both use and move beyond light-heartedness toward more emotionally complex
material — anticipating the more dramatic conclusions of the Romantic era.
Haydn, throughout his symphonic career, expanded the importance and inventiveness
of finales. The final movement of Haydn’s Symphony No. 31 ends with a simple set of
variations, a common form of finales showing not much development, but this is
followed by an unexpected final presto using 1st movement material- a feature that
would later become more common. In his 88th symphony which was written away from
the Esterhazy but is still typical to Haydn through the use of fast semiquavers patterns.
In Symphony No. 104, the final movement is a monothematic sonata-form movement
inspired by a Croation folk theme which first appear in bar 3. Haydn develops it with
rhythmic drive and motivic transformation. The use of a single main idea, varied and
manipulated throughout, creates both unity and gives the piece a sense of life. Haydn’s
finales often balance humour, energy, and intellect, foreshadowing the weightier role
this movement would take.
Mozart continued to treat the finale with increasing importance. In Symphony No. 41,
the final movement is an extraordinary example of contrapuntal and thematic
complexity. It includes five motifs combined in an intricate fugal coda — a triumphant
blend of classical form and baroque forms. This elevates the finale to the intellectual
and emotional climax of the work, not just its resolution.
Beethoven radically redefined the finale’s function, turning it into the symphony’s
emotional and almost philosophical conclusion. His Symphony No. 3 (Eroica) ends with
