NCEA Level 3 Music AS91422 Excellence Exemplar PDF

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The Italian Symphony (Symphony No in A major, Op) is an orchestral work commissioned by the London Philharmonic Society in 1831 and composed by German Romantic (1820-1900) composer Felix Mendelssohn (1809-1847) in 1833. Mendelssohn’s wealthy background enabled him to tour Europe. This ended up being...

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NCEA Level 3 Music AS91422: Analyse a substantial music work The Italian Symphony (Symphony No.4 in A major, Op.90) is an orchestral work commissioned by the London Philharmonic Society in 1831 and composed by German Romantic (1820-1900) composer Felix Mendelssohn (1809-1847) in 1833. Mendelssohn’s wealthy background enabled him to tour Europe. This ended up being an inspiration behind this work: Mendelssohn’s positive experiences in Italy contributed greatly to the mood/style of this symphony—he wrote to his sister, Fanny Mendelssohn: “It (symphony) will be the jolliest piece…” Along with his Italy tour, other influences on Mendelssohn’s music include Mozart, Beethoven and particularly, Bach. The symphony is around 27 minutes long and scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, 2 timpani and strings—a relatively small orchestra for the time. The start of movement one (sonata form) immediately shows the influences that Mendelssohn’s time in Italy had on this work. The key of A major (reinforced by tuning of transposing instruments in A instead of Bb, as was common), tempo allegro vivace , dance-like compound duple time signature, and dynamic forte a  re used to set the vibrant mood—reflecting the “extreme joy” he felt while in Italy. Quick quaver figures in the woodwinds provide momentum that contribute towards this energetic feel by sweeping along the violins’ main melody (1st subject: b1-b66) (comprised of short, arpeggiatic motifs —

fragmentation for later development). Absence of lower strings (darker sound) in b2-b9, along with the 1st subject being played in the higher registers of violins (bright sound), adds to the sense of light-heartedness. Not only is this vibrant mood a clear reference to his happy experiences in Italy, but his choice of making the violins play in unison octaves, which was quite unusual of the era, also indicate influence from Italian Opera. Motifs from the 1st subject are passed through different orchestral instruments in this section (b24-40:woodwind, b51-63:higher strings), allowing cohesion and exploration of timbral qualities. The transition section (b66-110) begins with an antiphonal passage (possible influence from Bach with antiphony being more characteristic of Baroque music, especially Bach’s): oscillating quavers are played alternatingly between woodwinds and strings (b66-73). The opening motif* r eturns in the trumpets (b66-73, rhythmically variated), cellos/double basses (b74-80), and violins (b82-90). Interest is sustained through different articulation markings, with

NCEA Level 3 Music AS91422: Analyse a substantial music work multiple changes from staccato to slurs in woodwinds and strings. Material is passed through multiple different keys: B minor (b70), D major (b72), B major (b86), E major (b91), and E minor (b97)—the last three serving as preparation for the key of the second subject (dominant, tonic, tonic minor). The second subject (b110-b158) in E major (dominant) is introduced by the bassoons and clarinets (p)  and is passed to flutes and oboes (b124-131). The parallel thirds texture—often found in Italian opera duets— again shows deliberate “Italian” compositional style.  ccompaniment (homophony) that is comprised of undulating The strings provide pp a

arpeggios. Combined with the woodwind melody, this ‘mellower’ section has a certain lyrical flow—evoking a tranquil, beautiful image, reminiscent of Italy’s landscape and also reflecting Mendelssohn’s style as a “lyrical” composer. In the codetta section (b159-210), parts of the 2 subjects, particularly the 1st, are brought back. For example, in b171, the whole orchestra (tutti) enthusiastically reinstates 1st subject motif* in forte.  From bar 199, the lower strings hold an E pedal—dominant preparation for repetition of the exposition. In the development section (b210-368: split into s1, new theme, s2), melodic material from the exposition (particularly first subject) is ‘developed’ through use of compositional devices. Throughout the section, Mendelssohn moves through various distantly related keys, such as D minor (b220), C major (b242), and F# major (b325). A more noticeable aspect is that Mendelssohn goes against rules by introducing a new theme in b225. It is introduced by first violins, then seconds (b233), and finally lower strings (b237), creating a fugato section.

NCEA Level 3 Music AS91422: Analyse a substantial music work Tension is created through this contrapuntal texture, along with a dramatic crescendo from pp t o ff  and layering of 1st subject motif* (woodwinds/brass) over the new theme. A tutti climax in ff i s reached at b297 (section 2); following this, there seems to be a ‘struggle’ between the new theme and first subject (interaction of key motifs effective in creating balance and cohesion). The first subject ultimately takes over, with a descending sequence  his, (b327-332) marking the reduction of dynamics and of instruments to primarily strings. T along with a pp  oboe solo (b356) playing an augmented version of 1st subject motif* ,gradual crescendo and rising chromatic line in the lower strings, anticipates the recapitulation section. The recapitulation section (b369-510) is in A major (home key), ‘recapping’ material from the exposition. The first subject is reinstated by the violins (b369)—very similar to the one in the exposition. However, interest is sustained through harmonic differences at b387 (equivalent of b23) where a surprising interrupted cadence occurs (V⁷-vi). In b405, the violas and cellos reinstate the second subject—woodwind and strings have swapped roles. There is a reduction of instruments, creating lighter texture; however, placement of cellos above the violas in pitch (also in ‘mf’  instead of previous ‘p’) m  akes this passage richer than before (exposition). In b456, the new theme is recapped by woodwinds. Antiphonal writing in b498 appears once again between the woodwinds playing the first subject and the strings playing the new theme. The coda (‘end-piece’:b510-586) is cleverly constructed as it weaves together key melodic material—effective reminders that create a sense of balance and completion. The movement ends with a final perfect cadence across b581-582, followed by 7 reiterations of the tonic chord, reinforcing the joyful key of A major.

The second movement is in double binary form (A-B-A1-B1-Coda). It begins with an introduction in which instruments play in solemn unison. A religious processional that Mendelssohn saw in Italy is thought to have inspired this movement. This can be seen across the music, starting with tempo andante con moto , which means ‘at a walking pace with movement’, and key of D minor. In section A (b3-b44), lower strings play a staccato walking bass-line, reflecting processional’s rhythmic steps, while the oboe, bassoon, and violas (in octave unison) play a hymn-like tune above it.

The melody contains a bit of modal flavour as C# (minor key: raised 7th) has been moved down to a C. In section B (b45-56), a contrasting contrapuntal idea is introduced in the clarinets. This section is harmonically more interesting than the previous, with chromaticism in the viola and lower strings (b52-57) and instability (brief modulations to B minor, A major and D major).

NCEA Level 3 Music AS91422: Analyse a substantial music work The third movement is a classical minuet and trio. The return to A major marks the return to a cheerful mood. It begins with violins playing a running quaver introduction before a graceful theme A is introduced by violin I (b2). Combined with undulating chordal accompaniment in lower strings, this again exhibits Mendelssohn’s lyricism (similar to

delicate sounds found in Midsummer Night’s Dream ) . The trumpets are not used at all—their sound being too metallic for this section. However, the trumpets, horns and bassoons are used for the “fanfare” material of the contrasting trio section (b76-124) (in E major (dominant)). This is answered by violins/flutes with an ascending dance-like phrase (imitation: b79-86) and then by all strings playing a 3-bar phrase (b92-108). Lastly, the minuet is repeated, beginning with a contrapuntal section (material from intro used) in the strings. Towards the end (b202), material from the two sections are woven together before an extremely soft finish in pp , contrasting greatly to the fourth movement. The fourth movement (sonata form) is in A minor—unusual for a symphony’s final movement. Titled Saltarello, a type of Southern Italian dance upon which the first subject is based, it reflects Mendelssohn’s experience of wild Italian dancing.

It has a tempo marking of presto  and “explodes” in forte , especially following the lyrical/soft finish of the third movement. Along with use of triplets in simple quadruple and polyrhythms (e.g. b23), the tempo marking and extreme dynamics (fp, pp, sf, ff)  create an energetic/hectic feel. The second subject (E minor) is based on the tarantella, another Italian dance, and is introduced by upper strings in b53.

The lower strings and woodwinds accompany by playing the notes of Em/M9 chord (lower strings), G staccato pedal note (trumpet), and a descending chromatic line (oboe/clarinets), creating colour in this less dramatic and thinner section. Material is developed and recapped in the development (b121-156) and recapitulation (b156-264). Apart from effectively reflecting his experiences in Italy, the Italian Symphony  also communicates Mendelssohn’s musical style—the lyricism and tendency towards contrapuntal/ polyphonic textures (influence of Bach). Although Mendelssohn was generally less adventurous than his Romantic contemporaries, displayed by his adherence to classical symphonic form, use of double woodwind orchestra, and ‘conventional’ use of harmony, he

NCEA Level 3 Music AS91422: Analyse a substantial music work was freer than most Classical composers. Mendelssohn broke many traditional ‘rules’: introducing a new theme in the development, moving through many unrelated keys, and having the last movement in a minor key. The woodwinds can also be seen playing important roles: providing momentum & colour, introducing the main subject, and conversing with strings to create Mendelssohn’s signature polyphonic/contrapuntal textures. This instrumentation reflects the increasing importance and development of woodwinds during the romantic era. There is clear emphasis on lyricism and expression of Mendelssohn’s emotions during Italy tour, along with heavier dependence on dynamics to create dramatic/effective moments. Despite conforming to some classical conventions, these features show that Mendelssohn still composed a charming/successful early romantic era masterpiece by incorporating his joyful experiences in Italy and his taste/passion for music through artful manipulation of musical elements....