Movements are divisions of larger pieces of music into sections, usually (but not always) marked by a pause in the performance. Works
are that most often described as having movements are symphonies, concerti,
sonatas and chamber pieces such as trios and quartets. However, it is also
possible to use the term for the separate elements of suites, masses, sets of
variations, and various kinds of program music. The divisions of operas and
ballets are normally described as acts and scenes, thus reflecting their
relationship with the theatre rather than the concert hall.
Independence
Movements are frequently seen as having a
degree of independence from the work to which they belong. Classical music
radio stations, such as the UK’s commercial station Classic FM, play separate
movements more often than full symphonies, etc, and many listeners are often
unaware of how they relate to the complete work. There are indeed some
movements that are so famous in their own right that they have virtually left
home – examples include Widor’s Toccata, which is actually the final movement
of his Symphony for Organ No. 5, and the brilliant scherzo by Henry Litolff
that is the 2nd movement of his Concerto Symphonique No. 4. In both
cases, the vast majority of music listeners have not heard a single note, other
than these movements, that was written by the composers in question.
First movement sonata form
It is not easy to generalise, but the
standard symphonic (etc) first movement follows what is known as sonata form. That
is, it has three sections, namely exposition, development and recapitulation. In
other words, the theme or themes are presented at the outset, they are
developed in various ways, and repeated in some form or other at the end. However,
that statement is a huge over-simplification! For example, many movements
include material at the beginning or end that falls outside this pattern,
generally referred to as introductions and codas, and transitional passages
that link the various parts together. There is also no rule that states that
all the themes must be introduced at the beginning, or indeed how many themes
there should be.
Another aspect of sonata form is the use of
key structures within the movement. It is typical for the first and second
themes to be in different keys, with changes from major to minor, or vice
versa, modulated via a transitional passage. It is also common for the
development to start in the same key as the exposition ended, and for the
recapitulation to return to the keys used at the start of the exposition. However,
great composers are adept at bending the rules to achieve their effects, and it
is their originality in these and other matters that makes them great.
Second movements
Whereas first movements are usually fairly
brisk in pace (allegro), second movements are often much slower (adagio or
andante), and sonata form is not expected. Second movements are commonly
referred to as slow movements, although this is a relative term. A good slow
movement can indeed be “moving” and emotional, sometimes comprising a single
long tune that develops more from subtle key changes than from the introduction
of secondary themes. There is no rule that states that a second or subsequent
movement must relate directly to the opening movement, but often this is the
case.
Third movements
Symphonic structure has changed over the
centuries, such that from the 18th century it became common practice
for symphonies, sonatas and quartets (etc) to comprise four movements, whereas
concerti only had three. The “extra” third movement was typically a minuet and
trio or a scherzo. A minuet is basically a dance in triple time, and a trio has
a simple three-part structure of two contrasting sections with the third part
being a repetition of the first. The
word “scherzo” literally means “joke”, and is generally a relatively playful
and light-hearted section, in the nature of a fast minuet.
Final movements
Final movements are the opportunity for the
composer to pull everything together and build towards a climax that will
inspire the audience to break into loud and prolonged applause. That at least
has been the pattern since the Romantic era, and there is plenty of choice for
the concert planner who wants to end the evening on a high. Sonata form is
common for final movements, as are long and complex codas that allow the
performers a final flourish. In concerti, the soloist can give it their all to
earn their bouquet!
Cadenzas
One special feature of movements in
concerti is the cadenza. This is a passage in which the soloist (or soloists in
double concerti, etc) plays on their own with the orchestra silent and the
conductor at rest. In earlier times, it was usual for the soloist to improvise
at these points, and this often gave rise to problems when they would soar off
on flights of fancy of their own, sometimes having great difficulty in returning
to where they started from. This practice has faded since the Classical period
ended, with most cadenzas being written by the composer, although the soloist
still has the opportunity to show his/her individualism in how they interpret
the tempo of the piece, etc. It is noticeable that some modern performers have
re-invented the improvised cadenza in performances of works by, for example,
Vivaldi. Nigel Kennedy’s highly acclaimed interpretation of The Four Seasons is
a case in point.
As stated above, it is not easy to be
hard-and-fast when describing what movements look and sound like. There are so
many variations on the theme that generalisations are bound to accompanied by
hosts of exceptions!
© John Welford
