Answer all questions in Parts 1 and 2 of the assignment.
Part 1: Haydn
To confirm your understanding of the structure of the symphony as standardized by Haydn, complete the following questions, which analyze Haydn’s Symphony no. 88 (NAWM 119).
In the exposition of the first movement of Haydn’s Symphony no. 88 (NAWM 119a), how are the following sections distinguished from one another? Mention these and other features you find significant: harmonic stability or instability, key (when stable), use of chromaticism, phrasing (clearly articulated or continuous and overlapping), dynamics, orchestration, and melodic content.
a. First theme area
c. Second theme area
d. Closing theme
The recapitulation repeats material from the exposition but with some changes. What is different in the recapitulation in comparison to the exposition?
What happens in the development in terms of harmony and key? How are orchestration and dynamics used in the development? What ideas from the exposition are used in the development, where do they appear, and how are they changed from the exposition?
Chart the form of the slow movement of Haydn’s Symphony no. 88 (NAWM 119b), and give the key of each section.
Chart the form of the third movement (NAWM 119c). How does this relate to binary form? How is dance style evident in this movement?
Part 2: Mozart
To confirm your understanding of some of the other formal developments during the Classic period, complete the following questions, which explore representative works by Mozart.
1. What is the form of the first movement of Mozart’s Piano Sonata in F Major, K. 332 (NAWM 121)? Chart the form and harmonic plan, indicating the major themes, sections, and points of articulation with measure numbers.
2. Also for the Piano Sonata in F Major, list the diverse musical styles used in the first movement. What associations outside music does each of these styles carry? How do the changes of style relate to the movement’s form? How do they highlight the harmonic plan of the movement? Why do you think Mozart chose to use so many different styles? How does knowing what those styles refer to affect your own understanding of Mozart’s piano sonata?
3. In the first movement of Mozart’s Piano Concerto in A Major (NAWM 122), which segments of the opening orchestral ritornello return later in the work, and where does each return? How is each segment varied on its return?
4. Compare Mozart’s melodic style, as exemplified by the first movement of the Piano Concerto in A Major and the first movement of the Piano Sonata in F Major with Haydn’s melodic style in Symphony no. 88. What do they have in common? How are they different?
5. In a Classic period concerto, what is a cadenza? Where does it fall in the form, and how is it prepared harmonically?
6. What instrumentation does Mozart use in his Symphony no. 41 (NAWM 123)? What role do the woodwinds and brass play in the texture?
7. What is the form of the finale of Mozart’s Symphony no. 41? Provide a large-scale diagram that gives measure numbers for the main parts of the form as well as the harmonic areas. Also indicate the measure numbers where Mozart includes fugato, stretto, or imitation in each of the main parts of the form.
8. In what ways are Leporello’s opening aria in Don Giovanni (NAWM 124) similar to Uberto’s aria from Pergolesi’s La serva padrona (NAWM 107)? Why is this musical style appropriate for Leporello?
9. In what ways does Donna Anna’s singing style resemble the style of opera seria? Why is this musical style appropriate for her character?
10. How does Mozart use music to convey information about the actions and feelings of Don Giovanni and the Commendatore?
**In the citations within the body of your narratives, include page numbers as well, especially from the materials that I had attached which is from the book “Norton Anthology of Western Music” 7 edition. Volume Two – Classic to Romantic.J. Peter Burkholder, Claude V. Palisca.**