development of orchestra

• 1. Early Classical

  Stamitz Op.3 no.2

  • continuo keyboard, trumpet and timpani, m2 oboe melody

  Haydn no.2 in C

  • sinfonia a 8 Galant style(smaller than Stamitz), string led harmony, continuo bass with bassoon doubling

  Mozart no.25

  • trio only woodwind and brass (more independence and melodic horn lines), no more continuo

  Haydn no.31 Hornsignal in D

  • 4 horns, fanfare, thematic writing, less continuo, flute and oboe melodies <- funded by Esterhazy family
• 2. Haydn 104

  • woodwind quartet mimick strings
  • woodwind lead themes in development
  • m2 bassoon and flute solo with string accompanying <- not imitating anymore
  • upper woodwind pedals
• 3. Beethoven

  no.5

  • add 3 trombones and contrabassoon
  • make first appearance in finale with piccolo to increase impact

  no.6

  • flutes and upperwoodwind imitate birds in m2
  • m4 storm - low string imitate thunder and woodwind imitate lightning <- use instruments for sound not traditional roles
• 4. Mendelssohn, Italian

  • timpani used lots more in m1 main theme
  • brass fanfares - trombone and trumpet
  • s2 clarinet and bassoon quartet theme (s1 fragments) over antiphonal strings
  • m2 oboe and viol open theme
  • m2 melody taken by bassoon over low strings pianissimo initially
  • m2 end with double bass solo pizz.
• 5. Late Romantic

  Berlioz, Symphonie Fantastique

  • very large orchestra
  • m4 March to the Scaffold
  • timpani tremolo + cello + double bass split into 4
  • m5 Witches Sabbath
  • opens violins and violas split into 8 on high tremolo <- other-worldly
  • high Eb clarinet distorted idee fixe, very dissonant

  Dvorak, New World

  • m2 cor anglais solo - soulful, reminiscent of spirituals
  • large orchestra, typical of time period