Mozart: 1st Movement from Symphony No. 40 in G minor (1788, classical)

Texture:

Homophonic
Homorhythmic – dynamics used to build texture but based on number of instruments playing. No expressive crescendos or diminuendos
1st subject (piece written in sonata form): rich, thick
2nd subject: thinner, quieter than 1st
Development has reduced texture because it’s based on original melody of exposition

Diatonic, in G minor
Exposition: modulation in bridge passage to relative major, Bb, perfect cadence
Many instances of chord
Development section: transposing to different keys, all dominants: Em, Am, Dm, Gm, C, F, Bb
Recapitulation entirely in original key (Gm), no modulation, unlike in the exposition
Chromatic harmony in second subject (bars 64 – 72)
Dominant pedals used to increase tension

Classical orchestra: strings, woodwind, French horns. No trumpets/percussion
1 horn in Bb, 1 horn in G – horns don’t have valves so different keys allow for tonic and dominant notes of tonic and relative minor keys to be played
Instruments double in octaves to thicken texture
Themes mainly shared between strings and upper woodwind

Exposition:
First subject (bars 1 – 20): repetition of first 3 notes, sequencing (bars 1-4)
Bridge passage (bars 20 – 44): repetition of first subject but modulates to relative major (Bb), sequencing in violins (bars 30 – 33)
Second subject (bars 44 – 72): one bar sequences to extend the theme, descending semitones to give graceful sadness to mood
Development (bars 101 – 164): based on opening melody of exposition, scalic, more chromaticRecapitulation (bars 164 – 299): same melody as exposition, bass counter melody in basoons, violas and cellos (bar 191 – 197)