Structure
Structural approaches to the symphony developed significantly between 1750 and
1900, moving from relatively simple three-movement works to large-scale, multi-
movement forms with freer approaches to sonata and programmatic structures. These
changes reflected shifts in style from classical balance to romantic expression, as well
as the growing scale of the orchestra and concert culture.
Early classical symphonies, such as Stamitz’s Symphony in D major Op. 3 No. 2,
typically used three movements in fast–slow–fast sequence, the first movement used
old fashioned concerto from with some similarities to sonata form showing how
traditional styles were starting to emerge during this period that would carry on through
its entirety. C. P. E. Bach also experimented with contrasting ideas within single
movements such as in his symphony in E minor, though without the depth of later
practice, the first movement is an old-fashioned Ritornello with sudden changes and
contrasts of texture and tonality.
By the later eighteenth century, four-movement structures had become standard, with
the addition of a minuet and trio. Haydn exemplifies this in his 31st Symphony with the
third movement including a clear triple time pulse where rhythmic patterns to reflect
the courtly dance. This leads into a theme and variations finale in the fourth movement,
expanding the possibilities of the symphonic genre. His 88th symphony carries this idea
forward but interestingly uses two movements with sonata form, showing how this
structural pattern was becoming more popular. The first movement naturally takes on
sonata form but the second also takes it on in miniature during the slow movement
showing an experimental form of structure. Haydn’s Symphony No. 104 exemplifies
traditional classical balance: the first movement is a monothematic sonata form with a
slow introduction; the second a theme and variations; the third a minuet and trio in
rounded binary; and the finale another sonata form incorporating folk-like themes. As
Haydn’s last symphony is showed the pinacol of what a classical symphony should be-
balanced and clean, not like the drama and confusion of later romantic works.
Mozart combines different elements with structure to portray his desires within the
symphony. His 40th symphony combines tonality with structure to portray sadness yet
desperation. In begins unusually in a minor key of G, a bit similar to what was seen
earlier with CPE Bach. The Allegro tempo of the first movement adds to this agitation.
However, Mozart does cleverly break up this intense emotion with the contrasting
second movement in Eb major to bring a moment of calm amongst the outer minor key
movements. An interesting note on strucutre in terms of Mozart is that he composed his
final three symphonies during the same summer of 1788, including this one, and
Nikoloas Harnocourt argues that they could be seen as one unified work as, for instance
Structural approaches to the symphony developed significantly between 1750 and
1900, moving from relatively simple three-movement works to large-scale, multi-
movement forms with freer approaches to sonata and programmatic structures. These
changes reflected shifts in style from classical balance to romantic expression, as well
as the growing scale of the orchestra and concert culture.
Early classical symphonies, such as Stamitz’s Symphony in D major Op. 3 No. 2,
typically used three movements in fast–slow–fast sequence, the first movement used
old fashioned concerto from with some similarities to sonata form showing how
traditional styles were starting to emerge during this period that would carry on through
its entirety. C. P. E. Bach also experimented with contrasting ideas within single
movements such as in his symphony in E minor, though without the depth of later
practice, the first movement is an old-fashioned Ritornello with sudden changes and
contrasts of texture and tonality.
By the later eighteenth century, four-movement structures had become standard, with
the addition of a minuet and trio. Haydn exemplifies this in his 31st Symphony with the
third movement including a clear triple time pulse where rhythmic patterns to reflect
the courtly dance. This leads into a theme and variations finale in the fourth movement,
expanding the possibilities of the symphonic genre. His 88th symphony carries this idea
forward but interestingly uses two movements with sonata form, showing how this
structural pattern was becoming more popular. The first movement naturally takes on
sonata form but the second also takes it on in miniature during the slow movement
showing an experimental form of structure. Haydn’s Symphony No. 104 exemplifies
traditional classical balance: the first movement is a monothematic sonata form with a
slow introduction; the second a theme and variations; the third a minuet and trio in
rounded binary; and the finale another sonata form incorporating folk-like themes. As
Haydn’s last symphony is showed the pinacol of what a classical symphony should be-
balanced and clean, not like the drama and confusion of later romantic works.
Mozart combines different elements with structure to portray his desires within the
symphony. His 40th symphony combines tonality with structure to portray sadness yet
desperation. In begins unusually in a minor key of G, a bit similar to what was seen
earlier with CPE Bach. The Allegro tempo of the first movement adds to this agitation.
However, Mozart does cleverly break up this intense emotion with the contrasting
second movement in Eb major to bring a moment of calm amongst the outer minor key
movements. An interesting note on strucutre in terms of Mozart is that he composed his
final three symphonies during the same summer of 1788, including this one, and
Nikoloas Harnocourt argues that they could be seen as one unified work as, for instance
