analysis of the final movement
topic:
Achtaktige period with two phrases of four bars, which until the last minim
are consistent. The half-sentences can be further divided into two groups of bars, of which the first run
descending, the second in ascending order.
head motive * of this topic (2 ¯ and ¯ b3) is very important
implementation:
The D. of the set contains only 74 bars = half of the richly structured initial
Conclusion:
The term sonata form here means little more would this sentence as "Rondo" to
call, even if it has greater depth than the usual Rondo
T 1 - 118: exposure
T. 3 - 10: theme, Croatian melody "Oh Jelena"
T. 19-28: tutti contrast
bar 29 - 34: pedal point d
T. 31-32: * head motif of the theme quart added to d''starting (violin I)
T. 33-34: * head motif in violin II, 1 octave lower is in Violin I counterpointed
T. 35 et seq: * head motif of the theme appears in the lower parts
T. 44-53. Interlude. Double dominant E major is attached
T. 54: A major sound retarding the beat between the mold members (10 +1 +10)
T. 55-64. Theme in dominant position with flute and violin II I
T. 63-64: Period 2 bars of the theme is un extended
T. 65-68: Eighth group in Violin I
T. 69-72: Eighth group walks in and becomes a lower voice ostinato
T. 73-80: pedal point on E, d''Hochtton investigated the dominant relaxation to A
T. 81-83: cadence with fallacy. A is expected to play D
T. 84-91 (period of 2 X 4 bars)
T. 92-98: Sforzato section, moving bass
T. 99-101. In the "piano" fading border cadence (A: IV-IV)
T. 102-107: diminution of the issues head (T. 3-4). Episode 2-1-quarter-eighth
T. 108, 109-121: Continuing the theme
T. 116:? Coda ends after 4 X 2 bars
T. 119-192: Implementation
T. 119-122: Codamotiv combined with issues head
T. 123-125: Head subject blends into the lower parts
T. 129 ff: the use of the non-thematic interlude of T. 65
T. 129-154: 19-bar episode of the exp is fixed at 26 bars stretched
137-138 T.: transfer cycles modulate to B minor
T. 139-140: This element is repeated in bars 141-143 143-148
T.: In Terzintervallen descending limbs (Hm)
T. 149 -154: Eighth chain dissolves, woodwinds take over character
T. 155-165: Section 44 et seq corresponds T. (rhyhtmisch)
T. 173: vocal tissue
T. 175: vocal tissue in the lower voice
T. 187: issue lies in fallacy turn ®
T. 192-193: fallacy
T. 193-286: Reprise
T. 195-202: ornamented main idea of T. 11-18
T. 203 ff: tutti sections
T. 210 ff: tutti sections varies
T. 221-227: topic in its original location
T. 228-239: continue as T. 40-51
T. 240-246: Using the theme in the dominant is skipped eighth chain
T. 247-254: imitative counterpoint theme Viol I + II, flute counterpoint ,8-term
T. 255-264: Second half of the 8-period
T. 262-264: pianissimo cadence is inserted through two cycles delayed
T. 265-286 "term corresponds to the T. 102 ff
T : 276-286: concertante Trio (Fl., Ob), is setting the stage for the tutti
T. 287-334: Coda
T. 287-292: Remembering the Durchfühtung, T. 143 ff
T. 293-300: unison reminiscent of bar 40 ff and 228 ff
Reprise T. T. 297: Rückung to G major surprisingly
T. 301-308: confirmation of D major, T.
309-318: 331-331 T.
main idea: Last question
T. 333-334: Last Verification
Literature:
Schlager, Karl-Heinz, Wilhelm
Fink Verlag
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