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Ben Hoyt February 13, 2012

Mozart 41, Mvmt 3 analysis

! In measures 60 - 87 of of the third movement of Mozarts 41st symphony, the trio of the movement is played. The instrumentation of the movement consists of a ute, oboe, bassoon, horn, trombone, timpani, two violin sections, a viola section, and a cello/ bass section. The movement is in C Major, and is in 3/4 time. ! The trio begins with a homophonic dotted half note played in the ute, bassoon,

and horn. The notes in each part outline a G Major chord, the tonic of the key. Between measures 60 and 61 there is an authentic cadence, where the same instruments slur into a quarter note in measure 61 outlining a C Major chord. The oboe and rst violins then have a monophonic descending scale in octaves, beginning on the third beat of measure 61 and ending at the end of measure 63. The second violins, violas, and cello/ bass play two quarter notes at the end of measure 62, leading into the dominant chord in the next measure, 63. Measures 64 - 67 are identical to measures 60 - 63, except for the last measure, which stays in the tonic, C Major. Measures 60 - 67 repeat. ! In measure 68, the ute and rst violins play a monophonic ascending scale in

dotted half notes for eight measures. The rst two measures consist of a half step difference in pitches, while each successive pair of measures contain a higher note followed by a stepwise lower note. This continues until measure 74, in which an F# note is played, descending in the next measure to an E note. The lower strings and second violins play a polyphonic rhythm with the trombone and timpani, in which quarter notes are played on the rst and third beat of the measure, and eighth notes are played on the

second beat. The horn and timpani play a quarter note on the rst beat of the measure, followed by a quarter rest, and two eighth notes on the third beat of each measure. This pattern continues for eight measures. The eighth measure contains only quarter notes, leading into the last four measures of the phrase. In these four measures, the First violins continue the chromatic ascent between each pair of measures, while the second violins and violas play quarter notes on the second and third beat of the measure, and the cell/bass play quarters on the rst beat of each measure. ! The next eight measures are nearly identical to the rst eight of the trio. The only

differences are that in measure 84, the B --> C movement is an octave higher in the ute part, and the ute has an arpeggiated, almost ornamental G7 chord in measure 86, leading to the tonic in measure 87. After measures 68 - 87 are repeated, the movement returns to the beginning.