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WITH
2015 SCHOOLS NOTES
MOZART’S LAST SYMPHONIES
RICHARD TOGNETTI
Image: ©Gary Heery Schools Notes: ©Kathleen Beazley
ACO Schools Notes 2015
Mozart’s Last Symphonies
Program Title
Repertoire
YouTube Recording links for repertoire
Mozart’s Last Symphonies
Mozart – Symphony No. 39
Mozart – Symphony No. 40 (not in Teachers Analysis Guide)
Mozart – Symphony No. 41 ’Jupiter’
Mozart – Symphony No. 39:
Recording of third movement
https://www.youtube.com/watch?v=QnFyS3MflIE
Recording of whole symphony following the score
https://www.youtube.com/watch?v=H0x_dCrKd4w
Mozart – Symphony No. 40:
Nicolaus Harncourt conducting the Chamber Orchestra of Europe
https://www.youtube.com/watch?v=2HbMzu1aQW8
Included in this pack
Mozart – Symphony No. 41 ’Jupiter’:
Sir Charles Mackerras conducting Scottish Chamber Orchestra
1st movement: https://www.youtube.com/watch?v=aJyrRuvo2sg
2nd movement: https://www.youtube.com/watch?v=VXBaD2a7K6c
3rd movement: https://www.youtube.com/watch?v=ZR7xDdg9tMU
4th movement: https://www.youtube.com/watch?v=prvBEXbnDR0
Scores
Lesson ideas for before and after the concert
Worksheets
This resource is written in reference to the Draft Australian Curriculum: The Arts, for years 7-8 and 9-10.
Lesson ideas are labelled to identify links to the following areas of the Draft Australian Curriculum: The Arts where
applicable:
(i)
General capabilities
(ii)
Cross-curriculum links and priorities
(iii)
Viewpoints
Use the Australian Curriculum Reference Page on the ACO website for a comprehensive outline of the areas
above.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Programming Themes and Ideas
Mozart was one of the most prolific composers in Western Art Music’s history. His innovation and breadth of talent
are evident throughout his body of work. The ease with which he composed across musical styles (solo works,
chamber works, operas, symphonies, masses) throughout his career is practically unparalleled.
The three symphonies in this program are a clear example of Mozart at his finest. The material in these works
demonstrate not only his lighter side but also Mozart’s sophistication in orchestration and development of musical
ideas. Given that Mozart completed these works in such a short timeframe (9 weeks) whilst still working on other
significant works, it is astounding to see these outstanding pieces of orchestration.
Students will be able to gain a clear grasp of the classical symphonic structure through exploring these works.
Mozart’s clarity in the Sonata Form and the Minuet and Trio Form allow students to understand these structures
whilst still being able to appreciate the inventiveness and playfulness of Mozart’s orchestration style.
See the activities Before/After you see the concert to further explore some of the ideas mentioned above and
their connections to the Draft Australian Curriculum: The Arts
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Teachers’ Analysis Guide
MOZART – SYMPHONY 39 – Third Movement
This movement is in Ternary form with the traditional sections A - B - A.
Each subsection has an internal structure of A – B – A1 as outlined in this guide analysis.
SECTION Musical features/ideas.
A (b1-16)Opening theme – introduced by the violins I+II:
The theme outlines the chords (I, V) ending on the dominant (b¨).
The wind instruments give a very clear accompaniment for the first 8 bars with crotchet chords to reinforce the
harmony.
A – MINUET
B (b17-24) Second theme – violins I+II in unison again:
This theme is very similar to the first theme and the winds are again providing accompaniment, playing crotchet
chords for the first half of the melody.
1
A (b25-44) First theme returns – just as in the opening of the movement.
There is an alteration to the theme which marks the end of this section. Mozart extends the final cadence by
four bars which are included before the last two bars of the original theme (eg: violin I + II):
A (b1-8) First theme – played by the clarinets and flutes.
This is a simple melodic idea at the end of which Mozart puts a small response phrase in the flutes, after the
clarinets introduce this melodic theme.
B – TRIO
The strings are playing a very simple om-pah-pah accompaniment figure underneath this melody.
B (b9-16) Second theme – played by the first violins:
This melody comes in over the top of the last note of theme 1 and then all of the strings take over for this
theme.
There are no wind or brass instruments used in this theme until the last two bars where the french horns play
chords to bring back the first theme.
1
A (b17-24) First theme returns – same as the beginning of the Trio.
A - MINUET
There are only minor alterations with the voicing of the accompanying strings changing a little in this repeat of
the first theme.
This section is a repeat of the opening A section.
The only change here is the omission of the repeats in this section as is the convention for this musical form.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Teachers’ Analysis Guide
MOZART – SYMPHONY 41 – First Movement
This movement is in Sonata-Allegro form with the traditional sections of Exposition, Development and Recapitulation.
SECTION Musical features/ideas.
There are three themes/subjects presented in the exposition –
Theme 1 opens the movement and is played by the strings and winds (b1-8):
EXPOSITION
This opening theme explores the relationship between forte and piano with b1-2;5-6 being f while the strings’
response in b3-4;7-8 is a lighter p dynamic.
This theme also very clearly establishes the key with strong chords played throughout b9-23, where the
cadence resolves to the dominant (V). The first theme is then heard again with some variation/countermelody ideas in the upper winds:
The dotted note idea in this theme is carried throughout the entire movement in various guises while the
short triplet and semiquaver scale ideas are also regular features.
Theme 2 is presented by violin I (b56-62) but seems to have been taken from the bass line first heard in b489:
This theme is more lyrical than the strong key-establishing first theme. The light chromatic movement
through the first three notes followed by the dotted ideas, refers to theme 1, but has its own flavour.
Violin II has a typical broken chord accompaniment figure similar to an Alberti bass to accompany this theme.
The three-repeated-crotchet-motif from this theme is also featured throughout the movement.
(b81-100) There is a dramatic transition section in c minor with the brass playing a fanfare figure while the
strings contribute to the tension by playing in their upper registers with chromatic notes and ornaments such
as grace notes, tremolo and staccato.
Theme 3 is again first presented by violin I (b101-111) and has been taken from his aria entitled “Un baccio di
mano” (K.541). This practice of using material from earlier works was common during this time.
Given that this material came from an existing aria, it is not difficult to conclude that this is the most lyrical of
the three themes in this movement. You can see/hear in this melody that the repeated-notes-motif and a
dotted idea are both present. Lower strings accompany this theme with pizzicato, giving a light texture.
Clear interplay between the winds and strings is again heard in this theme.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
DEVELOPMENT
Teachers’ Analysis Guide
Closing section (b117-120)
These last few bars of the exposition have an extended cadence
that clearly reinforces the opening and the move from the tonic to
the dominant key in preparation for the development section. The
development section opens with a four note transition/modulation
from G to E¨ major. This is achieved simply and elegantly with the
woodwinds playing in octave unison:
Theme 3 is then presented in the new key by Violin I & II.
There is a lovely use of antiphonal playing between the upper strings and the oboes & bassoons as the winds
repeat the final two bars of the theme. This happens multiple times throughout the movement showing
Mozart’s talent at creating these musical relationships between instruments within the orchestra.
There is extensive use of modulation throughout this section as Mozart uses the small rhythmic motifs
mentioned earlier – Dotted rhythms, repeated crotchets, strong chordal moments, use of staccato
articulation, antiphonal playing between strings and winds.
Mozart pops in a red herring of sorts at b161 when the
opening theme returns in F major. This seems to be just a
reference to the theme, allowing more exploration of keys
and motivic material until the final modulation from G major
back to C major (b181-188). A clear descending scale heralds
the opening theme and recapitulation once more.
First theme returns (b189)
The first theme in its original key marks the recapitulation.
The section that originally had the counter-melody is again played but this time it is altered somewhat to
allow the second theme to be presented in the home key (C major) rather than the dominant (G major), as it
was in the exposition. This is in keeping with the structure of a Sonata form recapitulation as the thematic
material is presented for the final time in the home key.
RECAPILTULATION
Second theme returns (b244)
The second theme is presented for the final time in the home key (C major):
There is again interplay between the winds and strings, as Mozart creates interest with each either repeating
phrases or parts of phrases.
Transitional Material (b269-288)
The exposition material is again used to lead into the third theme, but it is altered somewhat to fit in with the
new tonality of this section.
Third theme returns (b289)
The third theme returns in the home key this time with similar textural content to the exposition:
The winds and strings interplay with the melodic material creating some lovely antiphonal moments.
The rest of this piece builds to the finish in typical classical style with repeated phrases, arpeggio ideas,
ascending pitch, leading to strong chordal finish.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Before you see the concert…
The activities below relate to Worksheet 1 – Symphonies 39-41 overviewing suggestions for before and after the
concert experience.
WORKSHEETS:
1 – Symphonies 39-41
GC – LIT, NUM, ICT, CCT, PSC, ICU
CCL – 1, 3, 7
VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10
Worksheet 1 – Symphonies 39-41 initially gives background to the symphonies and gives the main themes from the
works/movements focused on in this resource pack. It also gives an overview of all of the other activities.
The activities below are outlined in Worksheet 1 – Symphonies 39-41 and also include other worksheets that may
assist with suggested activities.
1 – Symphonies 39-41; 2 - Minuet-Trio; 3 - SCORE39-mvt3; 4 - SCORE40-mvt1;
5 - SonataForm-Analysis; 6 - SCORE41-mvt1
GC – LIT, NUM, ICT, CCT, PSC, ICU
CCL – 1, 3, 7
VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10
There are small performance activities for each of the symphonies in this pack:
No.39 – This activity can cater to both beginner students and more able ones. Younger students can learn the
themes from the overview sheet (1 – Symphonies 39-41), while more able students may like the challenge of
playing the Minuet and Trio movement from the SCORE itself (3- SCORE39-mvt3).
PLAY
WORKSHEETS:
No.40 – This opening theme is one of Mozart’s most well-known themes. Once students have an understanding
of the notes, they can go on to explore their own ways of using scale-like ideas or just using seconds to
improvise their own motif.
The second theme is a lovely contrast to the opening theme. Students can clearly see Mozart’s use of
chromaticism here (forward thinking for the classical era).
No.41 – This is a great, rousing theme for students to get stuck into. The triplet idea is good for students to feel
the rhythm that they create themselves rather than just seeing it on the page. The pedal point C in b5-8 of the
opening theme is another great compositional device for them to explore in this theme.
The third theme is a lovely lyrical melody. If students would like to see the original aria’s theme, it can be found
on this YouTube clip – Un bacio di mano
LOOK/LISTEN
All of these examples have particular articulations marked. This would be a good focus to have throughout all of
the activities here as this is a feature of Mozart’s writing.
GC – LIT, NUM, ICT, CCT, PSC, ICU
CCL – 1, 3, 7
VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10
There are listening and/or score reading activities for each of the symphonies in this pack:
No.39 – Most of the movements in this and the other symphonies are in Sonata Form so we have chosen to look
more closely at the Minuet and Trio for this symphony. It is a clear example of the musical form and the
worksheet (2 - Minuet-Trio) guides students through analysis by annotating the themes and sections of the
movement. Students will also need the SCORE to complete the worksheet (3 - SCORE39mvt3).
No. 40 – These two videos are excellent guides to the first movement of the 40th symphony. The first video
guides students through the movement, pointing out the musical themes and their development. The second
video is the same but also asks students to complete some questions as they go through the movement again.
Students can have the SCORE in front of them as they go through the videos if they wish (4 - SCORE40mvt1).
You might like to watch the first video before the concert and then watch the second one AFTER the concert to
assess students’ knowledge.
No.41 – Students will be able to see Mozart’s inventiveness through analysing the first movement of this
symphony. His addition of a third theme plays around with the conventional structure of Sonata Form. The
worksheet (5 – Sonata Form-Analysis and 6 - SCORE41-mvt1) will guide students through the analysis for this
movement.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
…After the concert
The activities below are outlined in the 1 - Symphonies39-41 worksheet and also include other worksheets that may
assist with suggested activities.
WORKSHEETS:
1 - Symphonies39-41; 7 - Ternary-Rondo; 8 - Motif-to-Theme; 9 - Musical-Recycling
GC – LIT, NUM, ICT, CCT, PSC, ICU
CCL – 1, 3, 7 CCP – 3
VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10
CREATE
There are composition/composition research activities for each of the symphonies in this pack. It might be fun
to leave these activities until after the concert experience so that students can come back from the concert and
then launch into these creative activities. If time does not permit though, these can be done before the concert
as well:
No.39 – (7 - Ternary-Rondo) This is a great activity for students. You can scaffold this as much or as little as you
like. It is currently set up with a C Pentatonic scale but if your students are more capable than this, you can
change the key/scale to whatever you like. It might be fun to compose in the same key as Mozart, or you might
choose a key for the A section and then ask students to modulate to the dominant for the B section*.
The Rondo section of the worksheet can be treated as an extension activity- OR - If you go on to look at a Rondo
piece, then you can come back and extend the composition into that musical form. In keeping with the
modulation idea, you might ask students to modulate to the relative or tonic minor for the C section.
There is a worksheet on key signatures in a previous resource pack (Brahms).
No.40 – (8 - Motif-to-Theme) Motifs and themes can sometimes be a daunting thing for students to come up
with. This activity looks in detail at how motifs and themes can be conceived and then developed. This would be
a great lead-in activity for a composition task for older students. Younger students may wish to do this in pairs
or groups – although it is at times also very beneficial for students to do creative tasks on their own.
No.41 – (9 - Musical-Recycling) It isn’t often that you can link a concept like recycling to classical music. There
are loads of examples where composers/artists have ‘recycled’ their own or others material to create new
music. This activity asks students to research classical and modern examples of when and how this has been
done.
The debate about copyright and using other’s material without permission would be an excellent class
discussion linked to this activity. You may want to have a formal debate about current piracy or copyright laws
and their effectiveness in this new digital age.
REVIEW
WORKSHEETS: 10 - ConcertReview
GC – LIT, ICT, CCT, ICU
CCL – 1, 3, 4, 11
VP – 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 12, 13
This worksheet will give students the opportunity to reflect on the experience of seeing these three magnificent
works being performed together (an experience Mozart unfortunately never had the chance to have).
Further exploration
MINUET & TRIO COMPARISON:
You might like to do a comparison of the third movement in each of the symphonies. Although the structure is the
same in each, how does Mozart treat the thematic material throughout each movement?
Symphony 39 3rd movement - https://www.youtube.com/watch?v=QnFyS3MflIE
Symphony 40 3rd movement - https://www.youtube.com/watch?v=NjR2_BQAHTs
Symphony 41 3rd movement - https://www.youtube.com/watch?v=vhwxt2rw4WE
RECYLCING MASH-UP:
Students could have a go at creating their own mash-up using musical ideas from other artists. To make the task
more challenging you might like to suggest that one of the musical ideas has to come from a classical composer (any
era).
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Worksheet 1 – Symphonies 39, 40 and 41
Symphonies 39, 40 & 41
These symphonies were to be Mozart’s last. He completed all three symphonies within a
nine week period in 1788. At this time Mozart was experiencing financial hardship due to a
lucrative job falling through and resigning from another in order to focus on his opera Don
Giovanni. Despite these pressures, the three symphonies written in just over two months,
are arguably the best of his career according to music scholars and his contemporaries of the
time1.
PLAY
LOOK/LISTEN
No.39 – Learn the themes from the third
movement Minuet and Trio. Be particular
about learning not just the notes but also the
articulation that Mozart asks for. See how
much this adds to the overall effect of the
music.
No.39 – The Minuet and Trio is a typical third
movement of a symphony from the classical
era. Complete the Minuet and Trio
worksheet to gain a better understanding of
its structure.
No.40 – The first movement of this
symphony is very famous and a clear
demonstration of Sonata Form. Watch the
original analysis clip and then see if you can
complete the test analysis with questions
throughout to quiz your knowledge.
1 - Original Analysis2 2 – Test Analysis
No.40 – Learn the opening theme to the 1st
movement. It’s so simple and yet so effective.
Now try the second theme. How different are
they from each other?
No.41 – Now learn the opening theme to the
triumphant symphony in C. Notice that the
triplets give a lot of energy to this theme.
What effect does the repeated C give to the
last 4 bars of the theme?
Now try the very lyrical third theme. Mozart
has particular articulation marked here. Don’t
forget to include these details in your
performance.
No.41 – The first movement of this
symphony is unique in that it has three
themes
presented
instead
of
the
conventional two. Complete the Sonata
Form Analysis worksheet to explore how
Mozart uses these three themes in the
movement.
CREATE
No.39 – Now that you understand the structure of the Minuet and Trio, have a go at creating your own.
Complete the guided composition worksheet to compose your own Minuet and Trio. You may even want to
extend it into a Rondo composition.
No. 40 – Mozart was very clever in the way that he utilised his musical themes. Complete the Motif to
Theme worksheet to create your own motif and then a theme.
No.41 – Recycling material is something that many composers have done. Mozart often did this with his own
work but many used musical ideas from other people. Complete the Musical Recycling worksheet to explore
how ideas have been reused by various artists throughout the ages.
1
2
© 2011 John P. Varineau
YouTube clips from Dennis Greenwood: https://www.youtube.com/user/MusicTeacherInc/videos
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley
Worksheet 1 – Symphonies 39, 40 and 41
Musical Themes
Outlined below are some of the musical themes used in the symphonies. These are the themes from the movements
focused on in this resource pack.
Musical themes from Symphony 39 - 3rd movement:
Minuet themes – played by the violins in the Minuet section
1
2
Two Trio themes – The first played by the clarinets and flutes in duet followed by a second for the violins
Musical themes from Symphony 40 - 1st movement:
Theme 1 – introduced by violin I
Theme 2 – shared by the string and winds
Musical themes from Symphony 41 - 1st movement:
Theme 1 – introduced by the strings and winds
Theme 2 – first heard in the violins
Theme 3 – taken from a previous aria
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley
Worksheet 2 – Minuet – Trio
The Minuet & Trio
The Minuet (menuet) was originally a French dance. The Minuet and Trio is a common form used in four movement
compositions. It turns up often as the third movement of symphonies and string quartets, and has also been used
extensively in the piano works of Mozart and Beethoven, among others. Just like in Sonata Form, there are certain
rules that need to be adhered to in this musical form. The placement of the minuet and trio as the third movement
in larger works means that it's easily recognisable too, which helps listeners make sense of the music more readily.
Minuet and Trio Structure:
The Minuet came first, and the Trio was added later. Minuets were initially written to be danced to. They are in a
triple meter - . When the dance craze died out, composers continued to write pieces using the minuet style,
expanding and modifying it to keep up with changing times.
By the time of J.S. Bach (1685 – 1750) the minuet became a musical form in its own right. The trio element evolved
as a technique to make the minuet last longer and is simply another minuet stuck in the middle. Composers helped
audiences identify the trio by scoring it for three instruments only - and that's where the name "trio" comes from. As
time progressed composers often deviated away from this convention.
The basic structure of a Minuet/Trio is:
A
B
A
Minuet
Trio
Minuet
CHALLENGE 1–
NB - You will need a copy of the score for this activity (3 - SCORE39-mvt3).
Marking out the three main sections:
Using the YouTube recording and the score of the Minuet and Trio to help you, mark out on the score where the
three main sections begin for this movement. Are there any clues already on the score to help you?
Delving Deeper Into the Structure:
The minuet at the beginning and at the end are essentially the same. You'll notice that the Minuet and Trio is a
three-part structure. That's important, because each one of the three parts also contains three parts. So, the original
minuet (A) follows the ABA1 format, as does the trio (B) and the concluding minuet (A again).
Here is what the structure looks like with these details added:
A
B
Minuet
ABA
1
A
Trio
CDC
Minuet
1
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
A B A1
Worksheet 2 – Minuet – Trio
CHALLENGE 2–
Adding in some detail:
Add in the next level of detail to each of the sections on the score. You might like to highlight the parts with different
colours so that they stand out more. There are a few musical clues in the violin parts to help you.
Repetition in Each Section:
Minuet and Trio form uses repetition extensively. This is partly due to the fact that the composers want to familiarise
their listeners with the music as quickly as possible and partly due to the conventions of the genre. It is possible for
modern performers to play the pieces without repeating sections - it all depends on how strictly they want to adhere
to the composer's wishes.
NB: - There is one important EXCEPTION to notice regarding repeats. When you go back to play the minuet after the
trio NONE of the repeats are performed. This is why there are NO repeat signs in the final Minuet.
Here is the structure outlined again with the conventional repeats added:
A
B
A
Minuet
Trio
Minuet
[[:A:][: B A1:]]
[[:C:][: D C1:]]
A B A1
Double check that Mozart’s Minuet and Trio has these markings at the beginning and end of each section.
Getting Variety into a Minuet and Trio:
With so much repetition you may be wondering how composers keep listeners from getting bored. One way that
they can achieve this is by changing the endings of sections. These subtle changes are enough to add variety to the
music, throwing in a small twist that takes listeners by surprise or makes them take notice.
Another trick they employ is changing the music within a section. So, for example, in the opening minuet which has
an A B A structure, a composer might choose to alter the final A-section and give it a unique ending, helping to make
it stand out. Or they might indicate that the section be played at a different dynamic on the second playing. The
composer may also vary the instrumentation for repeats. Small changes like this can have a tremendous impact.
Key changes can also provide relief. Typically the trio is in a different key from the minuet, for example the relative
minor or the dominant. This has two benefits for the listener:
1.
It provides a new tonal centre, something fresh for the ear
2.
When the original tune returns it brings a sense of familiarity and recognition
CHALLENGE 3–
Finding the variety/changes throughout the piece:
Go through the score for the Minuet and Trio from Mozart’s 39th symphony and identify any/all of the following
changes that occur in the movement. Highlight and annotate them on the score:
Big changes in dynamic level (f to p)
Altered endings to sections
Changes to articulation in parts
Melodic instruments changing roles
Key changes within or between sections
Multiple instruments playing one melody
Summary:
The most important thing to remember about the Minuet and Trio is that everything is in three's. Here's a quick
summary to help bring it all together:
 There are three basic sections in total – A (minuet) B (trio) A (minuet) form, also called Ternary Form (three
parts)
 Each of the basic sections - Minuet, Trio, Minuet - has its own ABA1 structure AND is in triple meter 
 A Minuet and Trio is usually the third movement of a Sonata, Concerto, Symphony or String Quartet.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
WORKSHEET 3 SCORE 39 Movement 3
Australian Chamebr Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Bealzey
WORKSHEET 3 SCORE 39 Movement 3
Australian Chamebr Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Bealzey
WORKSHEET 3 SCORE 39 Movement 3
Australian Chamebr Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Bealzey
WORKSHEET 3 SCORE 39 Movement 3
Australian Chamebr Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Bealzey
WORKSHEET 3 SCORE 39 Movement 3
Australian Chamebr Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Bealzey
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 4 SCORE 40 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
Worksheet 5 – Sonata Form Analysis
Mozart, Symphony No.41 – 1st Movement
Sonata Form Analysis
Sonata Form (also called "sonata-allegro form") is a musical form within a single movement generally based on
the exploration of two main themes (although this movement uniquely has three). Sonata form is the structure
used in most multi-movement works since the Classical period. When it was established as a standard form it was
then used in many types of works including concertos, symphonies and overtures. This important musical form
has three broad sections that mainly focus on two tonal centres throughout:
Exposition (Tonal Opposition)
First Theme  Transition (modulation)  Second Theme (new key)  *Transition (modulation) 
Third Theme (new key)  Closing Section/Codetta
1
The key centers (and associated themes) are introduced:
Theme 1 is in the 'home" key;
Theme 2 is in a different key (Dominant; Tonic Major/Minor or Submediant).
*Theme 3 is in a different AGAIN (in this case – E¨ major)
Development (Escalation of tension)
Material from first two themes is developed in this section
2
The material passes rapidly through many distant keys, and may be fragmented/ reworked in a variety
of ways.
Instability of tonal centre.
Returns to the home key by the end.
Recapitulation (Tonal Resolution)
First Theme  Transition (modulation)  Second Theme (home key)  Closing Section/Coda
3
Theme 1 in home key.
Transition modulates again but returns to home key before….
Theme 2 is also in the home key.
CHALLENGE Complete the table on the next page that outlines the first movement structure of Mozart’ Symphony No.40 – 1st
mvt. There are some guide questions in each section. Use the following resources to help you:
1. The information in this worksheet
2. The score of the first movement – (6 - SCORE41-mvt1)
3. A recording of a performance of the first movement - https://www.youtube.com/watch?v=RtEHu6baUDg
HINT: - Remember to always refer to the Concepts of Music (CoM) when describing what is happening in each
section.
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Development:
Exposition:
Worksheet 5 – Sonata Form Analysis
Themes:
1 - Orchestra b1
2 – Violin 1 b56
3 – Violin 1 b101
What key are each of
the themes in?
Describe each theme.
(CoM)
Any other notable
details? (CoM)
What material from
the themes is being
developed? How?
(Key changes, rhythmic
changes, sequences,
harmonic alterations,
ornamentation, etc).
How does the
composer get back to
the tonic key?
(Cadences)
Any other notable
details? (CoM)
Recapitulation:
Identify the original
themes?
(include bar numbers)
What has happened to
the keys of the 2nd &
3rd themes?
Any other notable
details? (CoM)
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 6 - SCORE 41 Movement 1
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley 2014
WORKSHEET 7 - Ternary Rondo Form
Ternary Form/Rondo Form Composition
Use these notes to compose your melodies. Make sure each section ends with the note C:
C
D
E
G
A
TERNARY FORM: (A B A)
Remember Section A is always the same!
A
OSTINATO (using 2, 4 or 8 bars)
Melody
B
OSTINATO (using 2, 4 or 8 bars)
Melody
A
Re-write from your original A section
EXT - If you’d like to extend your composition into a Rondo then you simply have to add 2 more sections:
RONDO FORM: (A B A C A)
C
A
OSTINATO (using 2, 4 or 8 bars)
Melody
Re-write from your original A section
Now that you’ve planned it all out, write it onto the staves below so that you can get
someone else to perform it or you!
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
WORKSHEET 7 - Ternary Rondo Form
Australian Chamber Orchestra 2015 Schools' Notes
Mozart's Last Symphonies
Notes (c) Kathleen Beazley
Worksheet 8 – Motif to Theme
What’s the motif?
One of the best ways to make your music memorable is to have an idea that people can catch onto…something that
they can remember. This catchy tune or idea can have a number of labels including –
Motif
Musical idea
Musical Cell
Riff
A composer will them often develop a motif to create one of the following –
Theme
Subject
Hook
These are then the tunes we remember and associate with well-known songs or composers.
Some examples of famous motifs/riffs/themes:
th
Beethoven’s 5 Symphony opening:
Deep Purple’s Smoke on the Water riff:
st
Mozart’s Symphony 40 – 1 mvt theme:
How to write a motif:
In order to compose a motif, all you need to do is find an interesting idea that you can repeat and develop
throughout your piece. Looking at the examples above, all of these ideas have a few things in common:
1. A small idea
2. Repeated elements
3. Simple
th
st
Let’s look at Mozart’s theme from the 40 Symphony (1 mvt):
1. Small idea –
Mozart uses a
stepping idea with
notes next to each
other and a
descending scale for
his theme
(a)
2. Repeated elements – There are a few repeated elements in this theme:
(a) – Pairs of quavers on notes next to each other
(b) – Repetition of the first beats of notation
(c) – An anacrusis to begin both musical phrases
(b) (c)
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
3. Simple – The simplicity of this theme
comes from Mozart only using 2
elements in his motif:
1- Step movement (notes next to each
other).
2- Simple rhythmic idea throughout
Worksheet 8 – Motif to Theme
CHALLENGE 1–
Making your own motif:
Using the table below to help you with some ideas, create THREE motifs that you might use to build into a
theme/riff.
PITCH
DURATION
TONE COLOUR
DYNAMICS & EXPRESSIVE
TECHNIQUES
Range of notes
Tonality (major, minor)
Intervals
Repeated pitches
Meter/Time signature
Note values to use
Rhythm patterns
Anacrusis
What instrument/s performing media to use
How loud/soft to play
Articulation
NOTES:
Notate your ideas below. Remember to annotate your ideas with details so you can remember them at a later date
and develop them further:
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Worksheet 8 – Motif to Theme
Completed motifs:
Write out your completed motifs here –
1
2
3
Developing a theme from a motif:
When developing your motif into a theme there are other considerations to take into account:
STRUCTURE
PITCH
TEXTURE
How long is the theme/riff?
How many phrases in the theme/riff?
Changing the order of the motif notes – forwards/backwards/ inverted
Changing the rhythm ratios – doubling or halving note values
Changing the tonality – major to minor (or vice versa)
Combinations of layers of instruments
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Worksheet 8 – Motif to Theme
CHALLENGE 2–
Develop you theme:
Choose one of the motifs that you created above and develop it in THREE different ways. Annotate next to each
version how you have developed/changed the motif to create your theme.
Completed theme:
Now that you have explored all of these different ideas, bring them together to create your complete theme. Write
out your completed theme here:
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Worksheet 9 – Musical Recycling
REARRANGE
REWORK
RENOTATE – Musical Recycling1
Here is an interesting article from WQXR-FM for Earth Day from 2010:
“Who was the most ‘green’ composer? Verdi? OK, a good suggestion, but not where I’m going. My vote would be
Vivaldi. It has been said that Vivaldi didn’t write a thousand pieces...he wrote the same piece a thousand times. As
Earth Day approaches, our minds are turning to those who were great at RECYCLING. You might call it stealing,
borrowing, appropriating, arranging, an accident or (you who are more generous) might call it the use of homage,
but we like recycling.
Copland, Dvorak and countless others recycled folk tunes.
Brahms, Haydn, Mahler and Stephen Sondheim, amongst others, recycled the Dies Irae from the 13th Century.
Elvis recycled ‘O Sole Mio’ into “It’s Now or Never”.
Pop Singer Eric Carmen recycled Rachmaninoff’s 2nd Piano Concerto for the melody for “All By Myself”.
Borodin’s Polovetsian Dances were recycled into “Stranger in Paradise” in the Broadway musical Kismet.
John Williams [and Andrew Lloyd-Webber] recycle everybody.
2
And Gershwin recycled himself.”
Recycling occurs throughout musical history. Mozart has used a musical theme in the first movement of Symphony 41 that he
had earlier used in an aria – “Un bacio di mano”:
In this day and age when recycling is a constant topic of discussion, it might be fun to explore how recycling of ideas occurs in
music.
CHALLENGE 1–
Find some examples:
Find three examples where CLASSICAL MUSIC has been reused/repurposed/recycled in a piece of modern music. Add in a
description and a link to a recording if you can.
Original piece and composer:
New piece/composer/purpose:
1
2
3
CHALLENGE 2–
Sampling/Remixing/Mash-ups:
Find an example of each of these MODERN techniques for recycling musical ideas. Don’t forget to add in a description and a link
to a recording for each.
Original song/s and composer/s:
New piece/composer/purpose:
Description of changes made:
Sampling
Remixing
Mash-up
1
2
All hyperlinks to articles are from Wikipedia and recordings are from YouTube.
http://www.wqxr.org/#!/story/35789-recycling-classical-music-earth-day/
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014
Worksheet 10 – Concert Review
Concert Review
Details of the concert
Date
Artists/Performers
Featured Repertoire
Venue
What were your impressions about the venue and set-up of the musicians for this concert?
Name an instrument/performing media that particularly interested you in this performance.
What was it that drew your attention to this instrument during the concert?
What was the role/s of this instrument throughout the concert?
Which piece of music most interested you in this concert program?
In as much musical detail as you can, describe what made this piece so interesting for you.
Which piece of music least interested you in this concert program?
In as much musical detail as you can, describe what made this piece uninteresting for you.
Having heard some of the repertoire on recordings before attending the concert, how did you find the experience
of hearing the piece live?
If you had to write a tweet or Facebook post about your overall impressions of the concert WHAT WOULD IT BE?
You can even send your post to the ACO (email [email protected]) for us to include on our Twitter and Facebook pages!
Australian Chamber Orchestra 2015 Schools’ Notes
Mozart’s Last Symphonies
Notes © Kathleen Beazley 2014