The Development of Fourth Movements
The development of fourth movements in symphonies between 1750 and 1900 shows a
shift from normally light-hearted conclusions to ones of more emotional significance
building on the whole of the symphony. What began as energetic, often playful endings
evolved into movements of grandeur, thematic unity, and, by the Romantic period,
deeply expressive or even programmatic. The fourth movement became a crucial space
for resolution, triumph or power.
In the early Classical period, fourth movements typically served as light-hearted
endings, often in rondo or sonata-rondo form. Stamitz’s Symphony in D major, Op. 3
No. 2, ends with a lively and rhythmic prestissimo movement. It maintains the gallant
style, prioritising charm, balance, and clear phrasing. The movement functions
primarily as a cheerful wrap-up rather than a structural climax. C.P.E. Bach, however,
only wrote a three-movement symphony meaning a fourth movement wasn’t even
included. This draws on more traditional three section works that were prominent
during the baroque period such as sonatas. Therefore, the inclusion of a fourth
movement wasnt yet as guaranteed as it would later be giving it less of a structural
purpose during this time.
Haydn, throughout his symphonic career, expanded the importance and inventiveness
of fourth movement as they normally took on the role of a finale. The fourth and final
movement of Haydn’s Symphony No. 31 ends with a simple set of variations, a common
form of finales showing not much development, but this is followed by an unexpected
final presto using 1st movement material- a feature that would later become more
common. In his 88th symphony which was written away from the Esterhazy but is still
typical to Haydn uses traditional fast semiquavers patterns in the fourth movement and
finale to give it greater drama. In Symphony No. 104, the final fourth movement is a
monothematic sonata-form movement inspired by a Croation folk theme which first
appear in bar 3. Haydn develops it with rhythmic drive and motivic transformation. The
use of a single main idea, varied and manipulated throughout, creates both unity and
gives the piece a sense of life. Haydn’s finales often balance humour, energy, and
intellect, foreshadowing the weightier role this movement would take.
Mozart continued to treat the fourth movement finale with increasing importance. In
Symphony No. 41, the final movement is an extraordinary example of contrapuntal and
thematic complexity. It includes five motifs combined in an intricate fugal coda — a
triumphant blend of classical form and baroque forms. This elevates the finale to the
intellectual and emotional climax of the work, not just its resolution.
The development of fourth movements in symphonies between 1750 and 1900 shows a
shift from normally light-hearted conclusions to ones of more emotional significance
building on the whole of the symphony. What began as energetic, often playful endings
evolved into movements of grandeur, thematic unity, and, by the Romantic period,
deeply expressive or even programmatic. The fourth movement became a crucial space
for resolution, triumph or power.
In the early Classical period, fourth movements typically served as light-hearted
endings, often in rondo or sonata-rondo form. Stamitz’s Symphony in D major, Op. 3
No. 2, ends with a lively and rhythmic prestissimo movement. It maintains the gallant
style, prioritising charm, balance, and clear phrasing. The movement functions
primarily as a cheerful wrap-up rather than a structural climax. C.P.E. Bach, however,
only wrote a three-movement symphony meaning a fourth movement wasn’t even
included. This draws on more traditional three section works that were prominent
during the baroque period such as sonatas. Therefore, the inclusion of a fourth
movement wasnt yet as guaranteed as it would later be giving it less of a structural
purpose during this time.
Haydn, throughout his symphonic career, expanded the importance and inventiveness
of fourth movement as they normally took on the role of a finale. The fourth and final
movement of Haydn’s Symphony No. 31 ends with a simple set of variations, a common
form of finales showing not much development, but this is followed by an unexpected
final presto using 1st movement material- a feature that would later become more
common. In his 88th symphony which was written away from the Esterhazy but is still
typical to Haydn uses traditional fast semiquavers patterns in the fourth movement and
finale to give it greater drama. In Symphony No. 104, the final fourth movement is a
monothematic sonata-form movement inspired by a Croation folk theme which first
appear in bar 3. Haydn develops it with rhythmic drive and motivic transformation. The
use of a single main idea, varied and manipulated throughout, creates both unity and
gives the piece a sense of life. Haydn’s finales often balance humour, energy, and
intellect, foreshadowing the weightier role this movement would take.
Mozart continued to treat the fourth movement finale with increasing importance. In
Symphony No. 41, the final movement is an extraordinary example of contrapuntal and
thematic complexity. It includes five motifs combined in an intricate fugal coda — a
triumphant blend of classical form and baroque forms. This elevates the finale to the
intellectual and emotional climax of the work, not just its resolution.
