As always one should take caution when donating to a charity, but I don’t think there’s much to worry about with this one. While there are a number of developers and software companies I haven’t heard of, there are plenty of reputable and well-established ones to match. Delicious Monster and PostBox, Inc. are just a few examples.

The sale is for one day only, January 20th 2010. If you’ve been on the fence about one of the pieces of software being offered, consider buying it and supporting a worthy cause.

What was the last concert you attended? If you haven’t gone, why not? Do you like classical music to begin with? Leave a note in the comments.

Do you (or have you) play an instrument? For how long? When did you start? When did you stop? What do you like/dislike about playing (besides practicing)?

I was a section percussionist from about fourth grade until the end of my senior year in college. I miss playing, and hope to continue some day if I can find the right situation.

Answer in the comments!

That being said, I had been thinking about setting up a store page for a while, just so everything I cover is in one place.  A link has been added at the top of the sidebar to your left, or you can visit here.  When M365 continues I’ll be sure to add the recordings to the store.

Once again, thanks for your support!

IV. Allegro- Prestissimo

Rondo form

The rondo theme is heard immediately in the first violin, a melody consisting of an alternating descent and ascent ended with 5 notes repeated on the same pitch. The second phrase is based off of 3-note ascents and is ended with the main motive from the first phrase.

At 0:32 the first contrasting episode begins. Where the rondo is pointed and almost jabbing, the first episode flows. A rising line in the viola and violin is mirrored by a descent. An alternating ascent in the viola is echoed by the violin before the first phrase is repeated.

The rondo returns at 1:17. Very similar to the original statement, the repeat of the theme has some extra embellishment in both the concluding bars of the first phrase as well as in the second phrase proper.

The next contrasting episode starts with slurred ascents at 1:45 that rise through the quartet before a cheery violin descent ends the phrase. The ascents continue and compress, still finished by the violin.

Another statement of the rondo begins at 2:10 in the viola and has the phrase finished by the violin. The second phrase has subtle changes in the trailing 3-note motive that follows immediately after the first 3-note ascent and ritards slightly before a repeat of the first phrase. A transitory passage (2:40) is heard full of echoed two-note figures between the viola and violin along with the slurred ascents heard from the second contrasting episode.

A third contrasting episode begins at 2:47, which is really just a variation of the first contrasting episode at 0:32. In the second phrase the second violin begins a rapid accompaniment to the high violin melody. Rondo motives begin to descend and ascend (3:05), answered in various instruments and modulating several times before leading directly into the rondo proper at 3:30.

The rondo statement is stated one last time, but without repeats. The coda begins at 3:42 with rondo motives accelerating rapidly in the violin. A rising violin is answered on the offbeats by the quartet. Rondo motives in the lower voices are answered by repeated notes in the violins (4:00), which in turn ascend. Slurred ascents are sequenced downward before three tuttis end the quartet.

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If you are interested in listening to a recording, the Juilliard String Quartet’s 1964 recordings on Sony come highly recommended, and are what I used to write this summary. You can buy this recording from Amazon by clicking on the image below. While this is not available in the iTunes Music Store, the Emerson String Quartet’s 1997 release on Deutsche Grammophone is also highly recommended.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

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III. Menuetto e Trio

Ternary form

A lurching ascent in the upper voices sequences upwards before repeating the phrase. A smoother ascent is followed by a slow trill. Beethoven has switched the distribution of the offbeat accents; in the first phrase they are in the ascent, in the second they are in the latter part of the line. At 0:34 the first rising motive returns, followed this time by a more dramatic extension. The second phrase is similarly repeated and extended before a last repeat of the first phrase. A brief transition featuring tutti two-note descents ends the first section.

The trio (1:24) switches key to major and begins with repeated notes followed by a descent. This motive is played in a dialogue between the violin and cello over a repeating tremolo line. The violin ascends to a high A-flat before a cadential descent. The trio theme repeats at 1:45. After another repetition, quiet, hesitant chords lead back to the minuet at 2:37.

The phrases of the minuet are repeated without repetition, and an abbreviated version of the transition ends the movement.

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If you are interested in listening to a recording, the Juilliard String Quartet’s 1964 recordings on Sony come highly recommended, and are what I used to write this summary. You can buy this recording from Amazon by clicking on the image below. While this is not available in the iTunes Music Store, the Emerson String Quartet’s 1997 release on Deutsche Grammophone is also highly recommended.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, theme, violin, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, Beethoven, C Minor, Symphony No. 5, quartet, minuet, trio, rondo, opus 18, scherzo, ternary, trio, gypsy

The scherzo begins with a fugue-like passage with the initial theme presented by the violin. Repeated, ascending notes are followed by a long descent before a turn motive finishes the phrase. As the other voices join in, they combine on a lazy descent (0:20). Leaps in the violin are answered in the cello over lightly bouncing accompaniment from the viola and countermelody in the second violin. Staccato rising and falling motives followed by a leap end the initial section at 0:39.

The next section begins with repeated notes in the cello that ascend through the quartet. The first violin plays a series of trills followed by descents before a compact rising and falling motive is played by the second violin (0:52). This motive spreads and repeats throughout the quartet before two-note ascents provide momentary relief. The same motives are then sequenced downward in the first violin before another set of two-note ascents. Three-note motives in the first violin over rising and falling accompaniment soon pass to the viola and cello (1:24) before an alternating figure and four chords bring the opening “A” section to its conclusion.

The middle section begins with a minor version of the initial theme before the cello (1:58) boldly states another fugue theme very similar to the first. This theme is passed through the quartet before the first violin extends it. Straight, tutti figures (2:23) soon turn into a dialogue between the lower voices and the rest of the quartet. 3-note figures begin to repeat throughout the various instruments before a marvelous polyphonic section begins at 3:07, combining the fugue themes from the sections heard thus far. Leaps in the violin are again followed by trills (3:34) and answered by rising and falling figures in the cello.

At 4:04 another passage containing the compact rising/falling from the second part of the opening section of the Scherzo begins in the first violin. A brief cadence leads to rising and falling accompaniment under repeated three-note motives in dialogue between the violin and cello (4:34). Heavy three-note figures end the third section of the Scherzo and begin the coda.

Wistful three-note figures sequence upwards before descending. The violin repeats the opening fugue theme before a three-pitch ascent in eighth notes descends and is repeated by the cello. A series of alternating eighth notes crescendos before the movement ends on two soft chords.

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If you are interested in listening to a recording, the Juilliard String Quartet’s 1964 recordings on Sony come highly recommended, and are what I used to write this summary. You can buy this recording from Amazon by clicking on the image below. While this is not available in the iTunes Music Store, the Emerson String Quartet’s 1997 release on Deutsche Grammophone is also highly recommended.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, theme, violin, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, Beethoven, C Minor, Symphony No. 5, quartet, minuet, trio, rondo, opus 18, scherzo, ternary, trio, gypsy

Set in the dark, stormy key of C Minor (one which he would come back to famously for his Symphony No. 5, op. 67), the first movement is unusual in that the first and second themes are nearly identical independent of key. Eschewing the traditional slow movement, we instead get a fugue-based scherzo followed by a more “traditional” Minuet and trio. The final movement is a fast, gypsy-tinted rondo.

I. Allegro ma non tanto

Sonata form

Theme one begins immediately in the home key of C Minor in the first violin over rhythmic accompaniment from the rest of the quartet. Intervals sequence upward before descending into a transition consisting of tutti chords (0:20). Phrase two of theme one follows, a slightly more lyric rising and falling line that really doesn’t do anything to comfort. Alternating ascents and descents characterize the transition that begins at 0:41 over a walking bass line from the cello.

Modulating to E-flat major, theme two is almost a carbon copy of theme one (0:55) and is first introduced in the viola with violin flourishes. Theme two is repeated by the upper voices. Rapid turn motives sequence upwards in the violins, emphasized with tutti chords on the downbeat. A rapidly ascending scale (1:49) leads to staccato ascents and descents answered by tutti chords. The exposition repeats beginning at 2:09 with theme one (theme two repeats at 3:04).

At about a minute and a half long, the fourth quartet has a surprisingly short development (for Beethoven). It begins at 4:18 with a more urgent theme one in the violin that passes to the baritone voice of the cello with pleas from the violin above (4:36). Theme one motives pass between the violin and cello before a forceful transition at 5:06. Theme two follows in the viola with violin decoration, but the bright mood soon turns dark as theme two modulates to minor in the first violin. Low string tremolos (5:43) rise steadily under dancing violin intervals, ending the development.

Theme one is recapitulated at 5:56 with a different underlying rhythm. After the (slightly extended) transition theme two is played, now in the parallel key of C Major (6:36). The second violin and viola repeat theme two under trill-based figures in the first violin and over a cello countermelody. Theme two’s subsequent phrases are repeated faithfully before the transition to the coda (7:37).

The coda (7:52) begins with upward-sequencing theme one motives in the violin that rise to a climax before descending and ending the movement on three tutti chords.

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If you are interested in listening to a recording, the Juilliard String Quartet’s 1964 recordings on Sony come highly recommended, and are what I used to write this summary. You can buy this recording from Amazon by clicking on the image below. While this is not available in the iTunes Music Store, the Emerson String Quartet’s 1997 release on Deutsche Grammophone is also highly recommended.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, theme, violin, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, Beethoven, C Minor, Symphony No. 5, quartet, minuet, trio, rondo, opus 18, scherzo, ternary, trio, gypsy

IV. Allegro vivacissimo- Allegro maestoso

Sonata form

A powerful descending fifth reveals a march-like rhythm in the brass, quickly pierced by descending strings in a dotted rhythm (theme one). The theme repeats in the winds, growing into the transition (0:37). The transition is characterized by two-note chromatically descending steps and sounds chaotic before the trumpets cut through the haze at 0:55 with a loud fanfare over rapid rising and falling strings.

Theme two appears at 1:08, a furtive, quiet wind theme over tremolo strings. After the first phrase the orchestra, lead by the trumpets, enters with a descending line in major. The winds answer with the first phrase before the trumpets return. Restrained, upward-sequencing three note turn motives end the exposition.

Theme one returns at the beginning of the development (1:53) with rapid alternation between the strings and winds. Theme-one based string descents under a trumpet note rise again before a transitory passage (2:17) with tutti theme one ascents and a rising bass line. The opening phrase of theme one is passed between the winds and strings before a fluttering wind choir begins the development of the transition theme at 3:06.

The transition’s development starts with a faithful statement followed by immediate modulation by the strings. A long bassoon and flute descent (3:16) is heard over increasingly agitated low strings as the two-note descents sound in the clarinet and oboe. Transition motives gather strength and pass to the strings and brass (3:35), building into a tutti theme two (3:51).

Theme two does not last long, as theme one returns at 4:04 in an almost squawking wind section and answered by forceful strings to begin the recapitulation. Theme one returns in earnest at 4:11, followed by theme two at 4:37. The pace slows as the brief recapitulation ends and the orchestra gathers its breath for the blistering coda.

The tempo starts to accelerate again at 4:59 with theme one motives in the strings and winds. Theme one with playful little wind runs (5:08) builds into the transition (5:21) over another powerfully rising bass line. The tumultuous battle music continues with a repeating bass line and massive two-note figures everywhere in the orchestra.

As the music quiets, the flutes, horns, and trombones play a fanfare-like motive (6:09) and the strings begin a quiet tremolo. This is the same type of background that Johannes Brahms used in the fourth movement of his Symphony No. 1 in C Minor. The clarinets quietly intones theme two, repeated by the bassoon. They begin to repeat a series of arpeggios before the strings descend at 6:56.

An entirely new theme against a timpani roll rises after a long pause at 7:15. In stark contrast to the tense and dramatic material presented earlier in the movement, this section symbolizes the triumph of light over dark in the tradition of Beethoven’s 5th and later Brahms’ 1st. Slow and majestic, the theme seems to describe a royal procession or celebration. Trumpet countermelody decorates the main theme in its second repetition at 8:03. Low brass statements are answered by faster trumpet and timpani figures at 8:45. This section is repeated with the strings before the opening motive is reprised and repeated (9:19). The symphony ends on tutti descent and a series of cadential chords.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1979 recording with the Israel Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. You can also buy this recording from the iTunes Music Store by clicking on the button below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

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Double variation form

A slow, lyric string introduction with pizzicato notes is answered by the horns. A pizzicato descent and and soft rising and falling string line is joined by the winds before theme one makes its first appearance at 0:39.

Theme one is lyric and calm, flowing amidst soft pizzicatos and occasional wind chords. A rising and falling string line (1:58) signals the transition to the second theme of the movement.

Theme two (2:22) contrasts sharply to theme one (as one might expect!). Where theme one is lyric and almost sings of contentment, theme two is pointed and solemn with its brass chorale and marshal color. The winds continue the theme before the orchestra crescendos to a series of tutti theme two motives over timpani rolls (2:57). A solemn horn call is interrupted by the flute at 3:38, returning us to theme one.

The second variation of theme two is very faithful to the initial statement, but is extended by the winds and strings.

At 4:25 the horns begin to play theme two motives along with pulsing low strings. A timid high string response is accompanied by rising and falling pizzicatos before nervous tremolos resolve to full-blown theme two at 4:54 in the entire orchestra. Motives sequence upwards in the strings and clarinet before a cello line returns us to theme one at 5:32.

The cello statement of theme one is deep and majestic, accompanied as it is with wind and string countermelodies. The deeper voice of the cello imbues the theme with more impetus than it had in previous statements. The transition (6:35) signals the return of theme two.

The third and final statement of theme two begins quietly in the trumpet, timpani, and winds (6:58). It rises powerfully in its second phrase to encompass the full orchestra; a final push for supremacy. A very bleak trumpet call leads back to theme one (8:18).

The last statement of theme one is richer than any other variation we’ve heard so far and is played in the entire string and wind sections. The absence of the pizzicatos and soft timpani rolls add depth. After the familiar phrases we’re treated to an extension of the theme with upward-sequencing motives (9:02) in the strings which soon descend, repeat, and finally resolve to the transitional ascents and descents in the flute and violins at 9:42. The transition is extended by a short string line.

At 10:14 the coda begins with a short theme one-based passage in the winds over pizzicato strings. The timpani sounds softly far in the distance as a series of gradually fading orchestral descents lead to a warm cadential chord.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1979 recording with the Israel Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. You can also buy this recording from the iTunes Music Store by clicking on the button below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, orchestra, horn, theme, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, bass, Mendelssohn, Scotland, Brahms, Schumann, Symphony No. 3, A Minor, Bernstein, Israel Philharmonic

Sonata/ternary hybrid

The second movement is a bit difficult to get a handle on structurally. Two themes are presented in what is clearly a first section, but the middle section is very developmental. There’s no recapitulation, and the coda introduces its own theme before ending on theme one motives.

A short introduction of open intervals introduces the primary characters in the scherzo movement which features the winds. A joyful and bubbly scherzo theme is heard in the clarinet over tremolo strings with occasional pizzicatos. After a series of cadential ascents the oboe joins as the string accompaniment gathers steam. After another series of cadential ascents the full orchestra plays theme one (0:43) complete with the timpani. A quiet string descent (0:59) leads to theme two, consisting of staccato string descents. Wind ascents and descents decorate theme two in its second phrase. Dotted wind descents sequence upwards (1:21) as two-note string figures are answered by puttering horns.

The middle section of the movement begins with a bold statement of theme one in the low strings. Motives from the opening theme sequence upwards before landing in the oboe (1:49), where they are answered by octaves in the strings and winds. These octaves continue in the winds over theme one-based rises and falls in the strings. Theme two descents in the strings (2:13) are passed to the clarinet, oboe, flute, and horn before a flute statement of theme one (2:35). The strings answer forcefully and soon begin to repeat theme one motives over pulsing horns and a growing timpani roll. They ascend to a chaotic dialogue of octave intervals before a tutti, major version of theme two. Cadential descents repeat in the full orchestra, ending the development (3:09) in a brass fanfare.

The coda begins with a new, dotted theme that appears in the winds over hushed strings at 3:24. Theme one motives in the clarinet and bassoon are heard under rising flute lines (3:34) before they start to repeat and ascend in the strings over a pastoral-sounding horn call and a gentle string descent. The movement ends on three quiet pizzicatos.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1979 recording with the Israel Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. You can also buy this recording from the iTunes Music Store by clicking on the button below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, orchestra, horn, theme, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, bass, Mendelssohn, Scotland, Brahms, Schumann, Symphony No. 3, A Minor, Bernstein, Israel Philharmonic

The poetic and romantic nature of the symphony was not lost on his contemporaries. Robert Schumann reviewed the work and assumed it was actually his “Italian” symphony (designated No. 4) based on its character. It is clear that Schumann took much away from his study of Mendelssohn. The first movement does have the traditional two-theme structure of sonata form, but theme two is a very minor player. Both the second and third movements digress from the textbook classical forms, while the final movement apotheosis (Like Beethoven’s 5th and 9th) would serve as a model for the late 19th century composer Johannes Brahms.

I. Andante con moto- Allegro un poco agitato

Sonata form

The symphony begins with hushed, dark chords in the horns and strings. Legato ascents in the strings over a deep bass line are joined by the winds in the repetition of the first phrase (0:35).

At 1:09 the violins play a lamenting melody that rises and falls, joined at the end of the line by the winds. They repeat the passage with slight variation, again answered by the winds. A dialogue between the fleeting string figures and soft but full chords in the orchestra begins at 1:42. After a brief orchestral ascent, a trill followed by a descent is heard in the strings over a steady bass and rising arpeggios in the low strings and winds (2:01). Another orchestral ascent leads to a repeat of the same section, followed by a tutti version of the ascending motive-based theme, climaxing at 2:44. The violins hold a high F before slowly descending (2:52). The beginning of the introduction is repeated with a more active string accompaniment as the violins continue their melodic line. Quiet string ascents are answered with two-note wind figures (3:46) before the flutes sustain a high E, ending the long introduction.

Theme one begins at 4:08 and is a slightly modified and sped up rendition of the material heard in the introduction. The winds’ version of theme one rapidly gains momentum (4:43) as the strings crescendo and play a series of slow trills followed by ascents. Downward-sequencing triplet figures in the orchestra (5:04) characterize a stormy transitional section that resolves to quiet theme one motives in the strings playing under a simple clarinet melody (5:34). Theme one motives pass to the bassoon as the flute plays overhead. Rising tremolos (6:08) lead to another stormy transition, resolving to theme two at 6:38.

Theme two is first heard in the violins and clarinets. Compared to the expressive content of theme one heard thus far, theme two is rather pedestrian, consisting of two ascents and then two downward-reaching “turn” figures. The second phrase consists of a series of string and wind descents, and it decrescendos into bleak string and wind chords at 7:08. This is the end of the exposition, relegating theme two to more or less an afterthought.

The development (7:14) starts with downward-reaching theme one motives in the strings amidst murmuring wind chords. Dotted string rhythms and wind chords build, ended by a loud tutti at 7:52 and giving way to solo horn notes. The low strings adopt this steady rhythm as more theme one motives sound in the low strings and winds. Another loud tutti gives way to a trumpet appearance before the section repeats. Theme one motives become more urgent as tremolos begin to gain prominence, building into a series of descending string arpeggios. Theme two (8:51) provides a momentary respite from the tumultuous storm that is developing on both sides. Fragments of theme one return in the cellos (9:11) and then appearing in various combinations in the strings, winds, and horns.

The clarinet (9:36) introduces theme one in almost its original form before the strings take over. The flute finishes the section, immediately clouded by dark low strings (10:08) underneath the wind lines playing meekly above. Tremolo ascents in the violins at 10:31 lead to another stormy transition, followed again by theme two. Theme two motives are repeated and slow down, resolving to sustained string chords. At 11:34 theme one motives begin to repeat in the low strings and gradually pick up speed. A series of powerful, swelling figures in the strings and timpani further add to the stormy nature of the movement (12:06) and repeat after a brief transition. Loud chords are followed by rapid descents along with intense rhythmic drive from the timpani as the development comes to a close with a long wind descent (12:55).

Material from the introduction returns at 13:06, ending the movement calmly (if not apprehensively) as it began on a pair of quiet pizzicatos.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1979 recording with the Israel Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. You can also buy this recording from the iTunes Music Store by clicking on the button below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, orchestra, horn, theme, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, bass, Mendelssohn, Scotland, Brahms, Schumann, Symphony No. 3, A Minor, Bernstein, Israel Philharmonic

IV. Allegro animato e grazioso

Sonata form

The fourth movement begins with a grand orchestral ascent, which also serves as the introduction. Instead of a broad, sweeping theme to match, what we get instead is a dainty, fragile theme in the violins repeated by the winds. A heavy figure from the brass and timpani at 0:37 sends the strings and winds scurrying. An oboe melody modulates the key to, eliciting a minor version of the opening ascent from the low strings. This phrase is repeated before the violins play theme one (in minor) at 1:08. Out of this rather tense harmonic environment, theme two bursts forth at 1:17 in the orchestra as a syncopated rising and falling line. The main motive is repeated softly by the clarinet and extended by the oboe before the theme is repeated. Horn ascents and accompanying strings finish the phrase and lead to a repeat of the exposition.

After the exposition repeats the development begins at 3:34 with two note descents from the clarinet answered by string tremolos. Theme two is played by the flutes twice; first in major and then in minor after another round of the clarinet and strings. A horn fanfare is followed by restrained, rising theme two motives in the strings over a quietly rising brass line. Theme-two based oboe ascents (4:22) lead to a grand pause at 4:49. The horns play a series of ascents as a flute begins to dance above, leading to the recapitulation of theme one at 5:21.

The violins play theme one more or less as it was originally stated at 5:34. A loud tutti at 6:03 clears the way for the oboe melody from the exposition (this time played first by the clarinet) which again modulates the key and leads to the minor rendition of theme one (6:21). Theme two returns at 6:30 with the clarinet statement at 6:38. The recapitulation ends with the orchestral statement and cadence at 7:01.

Tremolos in the low strings are played in between dotted figures in the winds and brass. Two-note figures alternate between the brass and strings. Theme two motives in the winds play against crescendoing string tremolos before a brass line ends the section. At 7:20 string ascents are punctuated by brass and timpani chords before more two-note descents converse. Against another set of string tremolos the trombone plays a series of three-note descents (7:28) leading to repeating string octaves and theme two motives in the brass and winds. The symphony ends with a proud descending string line and three cadential chords.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1997 recording with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

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Modified ternary form

A heavy, decidedly non-elegant dance with the sort of sarcasm that would do Beethoven proud opens the Scherzo. The first theme is actually the trombone chorale from the previous movement speeded up, and is based on upward-sequencing descents. The opening phrase repeats before a lazily flowing clarinet melody with string decoration repeats in the flutes. The opening dance returns at 1:10.

The trio begins at 1:24 and is an extended dialogue between the strings and winds. The rhythm is reminiscent of theme one from the first movement. Taken by itself, the trio seems to lurch through its bars before the second phrase at 1:47 introduces some measure of cohesiveness with wind descents following the syncopated rhythm. The trio further references the first movement at 2:03 with its rhythm being passed through the orchestra from the low voices to the high voices. Trumpets rise in a triumphant fanfare-like figure before immediately receding. The strings and winds continue their conversation over a drunken-sounding series of cello tremolos at 2:17. String descents return as the various phrases of the trio are repeated.

The first theme returns briefly at 2:56. After the first phrase, quick ascending scales from the strings contrast sharply with the carefree melody in the winds. The first phrase is repeated once again, and much to our surprise, Schumann then embarks on a second trio.

Trio number two (3:38) begins with a series of ascending string scales with lively accompaniment in the winds. String descents lead to oboe ascents over steadily playing strings. The horn then plays ascents (4:03) with the closing descents in the strings. This phrase is repeated, resolving in a lively series of syncopated brass chords (4:32).

The scherzo theme returns for the last time, first as it was originally played, and then in calm variation by the winds (4:52). At 5:13, material from the first trio returns as the winds and horn are answered by the strings. A long wind and string descent with quiet timpani continues to the final movement.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1997 recording with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

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Rondo form

The slow movement opens with a lyric, expressive melody based off of the fanfare from the first movement in the strings. Rich and full, occasional flourishes in the strings and winds decorate the melody as it continues on its course. The first statement of the melody lasts almost one and a half minutes, transitioning into the first contrasting episode beginning at 1:27.

A cello descent and crescendoing brass chords lead into a somewhat lonely and melancholy “turn” figure played slowly in the oboe, answered by tutti strings. The strings repeat the turn before a reassuring wind descent leads into a repeat of the section (2:04).

The rondo theme returns in the cello at 2:31, accompanied by twinkling pizzicato notes in the strings and similarly soft notes in the flutes.

At 3:22 the second contrasting episode begins with rolling cello accompaniment underneath sharp wind figures. The cellos begin a steady rhythmic figure that drives the section (3:33) as the winds and upper strings continue their dialogue-like section before joining the cellos. The orchestra crescendos before a slow descent (4:02) lands on slowly pulsing chords.

The rondo returns for the final time beginning at 4:34, this time in the winds with a dancing string accompaniment.

After the transitory cello descent and trill (5:59) the coda begins with rondo theme motives in the strings. Wind descents followed by tutti chords lead to flute notes answered by pulsing brass. At 7:03 a trombone choir plays a chorale, answered with chant-like fifths from the winds over warm string chords.

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If you are interested in listening to a recording, I recommend Leonard Bernstein’s 1997 recording with the Vienna Philharmonic on Deutsche Grammophone. You can buy this recording from Amazon by clicking on the image below. Alternatively, you can purchase this recording from the iTunes Music Store often at a reduced price by following the link below.

This article is part of the Music 365 series. To find out more about this project, please visit the project homepage. If you enjoyed this summary or otherwise found it helpful, consider Stumbling it using the button below.

Technorati Tags: Music 365, orchestra, horn, theme, clarinet, flute, violin, bassoon, timpani, trumpet, trombone, motive, melody, harmony, tremolo, chord, rhythm, sonata, exposition, introduction, recapitulation, coda, cadence, listening guide, arpeggio, scale, cello, viola, bass, schumann, B flat Major, Neue Zeitschrift, Clara Wieck, Mendelssohn, Leipzig, Spring symphony, symphony