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Analysis:
First Movement:
The opening movement is in sonata form and can be sumarised
as follows:
-Introduction (bb.1-4)
-Exposition: First Subject (bb.5-12); Bridge (bb.13-16); Second Subject
(bb.17-28); Codetta (bb.29-36)
-Development: (bb.37-52)
-Recapitulation: First Subject (bb.57-64); Bridge (bb.65-68); Second
Subject (bb.69-76)
-Coda (bb.77-87)
The introduction introduces two important motif
(A and B) and a chord sequence (C) that features throughout the movement.
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The
flute enters in bar 5 presenting the first subject which
is based around a dotted rhythm and variations
on motif A. This is accompanied by a descending scale in dotted
rhythm (motif
D) and variations on motifs A and B (bb.5-7) before
an augmented and abbreviated version of C appears (piano b.8).
In bars 9-12 the first subject is developed by the flute with
variation of motifs A and B. The left hand of the piano part
in bars 9-10 employs motif C whilst the right hand develops
the first two notes of B
in a rising sequence. At bar 11, the piano varies motif
D before a variation of C closes the 1st subject (b.12). |
The bridge
passage (13-16) is based around the motifs A, B, and D. This
performance
of D is intrinsically linked with the chord sequence (C) but
inverted (descending
instead of rising). The material from the bridge becomes
very significant in the development and the coda to the movement.
Bars 14-16 develops previous material (shown right) leading
into the second subject.
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Subject
2 is introduced by the flute in bar 17. It contrasts sub1
by being disjunct and
less rhythmically stable. The piano initially plays a running
quaver figure before launching into a variation on C in the
left hand (19-20) and the abbreviated B in rising sequence
as previously seen in bar 10. As the flute begins variations
on Sub2, the piano alternates between motif D (bars 21, and
25) and thematic material from the bridge (based on A1 and
B1). In bars 25-28 the flute joins the piano in developing
the bridge material (A1 and B1). Sub2 draws to a close
(28) with the left hand of the piano employing an inverted
C. The codetta (29-35) borrows material from the introduction
and Sub1. At 29 the piano enters with a transposed version
of bar 2 whilst the flute lags a bar behind playing material
from bar 1. As expected,, motifs A, B and C are employed
in the same order. The codetta concludes with an abbreviated
Sub1.
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The
development section (37-52) fuses motifs and themes together.
An example
of this can be seen right (b37) when the flute is developing
the bridge theme (A1 & B1) whilst the piano employs a variation
on D (LH) and develops the rhythm of the Sub2 and the bridge
theme (A1 & B1). The piano continues to employ the rhythm
from subject 2 (38-44) whilst the flute explores the bridge
theme.
In bars 43-48 the movement builds to a climax with the
piano playing a rising sequence based on D and the
general
dynamics
increasing. Sub1 makes an appearance in the piano (bb45-48)
closely shadowed by the flute in canon. The climax is reached
in bar 49 when the flute plays the dotted motif from Sub1 in
a high register and the piano plays an inverted D fortissimo.
The development concludes with hints of A1 and B1. The recapitulation
(53-76) follows the same design as the exposition. The bridge
passage sidesteps at the last moment in order to modulate
so that Sub2 is in a related tonal center to Sub1. The coda
(77-87) begins with the piano employing D with the flute exploring
the bridge theme. A brief hint of the dotted element of Sub1
is followed by silence. The tempo gradually returns as an
idea from 27-28 is presented. The movement closes with themes
from the introduction mixed with snippets of the bridge theme.
Motifs A B C and D are employed in almost their original
form as the movement draws to a close.
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