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Patronage and Commission, Movement 3 - Coggle Diagram
Patronage and Commission
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Royal courts, aristocrats and emerging public concert societies commissioned
Haydn - Wrote over 100 symphonies, many for the Esterházy court, and the London Symphonies were specifically commissioned for public concerts in England
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Commissions gave composers the funding, ensembles, and audiences to push the symphony's boundaries from simple forms to grand statements
Dvořák - His "New World Symphony" was commissioned by the New York Philharmonic while he was in the U.S.
Brahms - Symphony No.1-long-awaited and supported by publishers and concert societies
Tchaikovsky - Many of his works (including his 6th Symphony) were supported by patrons like Nadezhda von Meck
National institutions, wealthy individuals, and city orchestras. Public concerts grew in popularity, so symphonies were often commissioned for specific premieres
Commissioning allowed symphonic music to evolve into a storytelling medium - often tied to national identity, emotion and innovation
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– Helped transition from Baroque to Classical with emotional, expressive orchestral music
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– Developed orchestral techniques (e.g., Mannheim crescendo)
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Commissions gave composers financial support to experiment with form. Helped evolve the symphony from background entertainment to a centerpiece. Court orchestras and small public venues created a demand for original instrumental music
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Movement 3
Beethoven
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The third movements in Beethoven’s early symphonies (e.g., Symphony No. 1 and Symphony No. 2) were still Minuet and Trio forms, typical of the Classical style.
In Symphony No. 1, for example, the third movement is a Minuet with a trio, very much in line with the tradition set by Mozart and Haydn. This was expected from commissions made by aristocratic patrons for formal court concerts.
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Symphony No. 3 marks a huge shift in Beethoven's style, and in the third movement, there’s a dramatic departure from the traditional Minuet and Trio.
Instead of a Minuet, Beethoven wrote a Scherzo (a more lively, energetic movement), which was more dramatic and robust than a typical Minuet.
The Scherzo was a significant innovation for Beethoven and would become a trademark feature in later symphonies (e.g., Symphony No. 5, No. 6, No. 9).
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Beethoven’s third movement in Eroica showcased his willingness to break away from established norms, making the symphony more dynamic and expressive, reflecting a shift toward the Romantic style.
Later Symphonies (No. 5, No. 6, No. 7, No. 9)
Scherzo and Trio continued to be Beethoven’s preferred form for the third movement in his later symphonies, replacing the Minuet and Trio.
In Symphony No. 5, the third movement is a Scherzo filled with rhythmic intensity, contrasting with the first movement’s tension and the second movement’s lyrical theme. This shift was largely influenced by Beethoven's desire to add more emotion and drama to the symphonic form.
Beethoven’s Symphony No. 6 "Pastoral" uses a Scherzo that evokes nature, adding a folksy and light-hearted character compared to the more heroic or dramatic symphonies.
Symphony No. 9 features a third movement that’s an Adagio molto e cantabile (slow, lyrical), which demonstrates Beethoven’s ability to balance intense drama and deep emotional expression. The fourth movement transitions into the famous "Ode to Joy".
Mozart
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Minuets and Trios were common in Mozart’s early symphonies, composed for the Salzburg court (e.g., Symphony No. 25).
These were elegant, dance-like, and in keeping with the tastes of the aristocratic patrons and court settings.
The third movement was often a straightforward, classical Minuet with a contrasting Trio.
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As Mozart transitioned into writing for larger, public concert audiences, his third movements grew more expressive and complex.
Symphony No. 38 "Prague" features a grand Minuet that demonstrates Mozart’s interest in larger formal structures and dynamic contrasts. This was commissioned for the Prague audience, which demanded a more engaging, dramatic experience.
Symphony No. 40 features a Minuet with darker tonalities, highlighting Mozart’s ability to infuse emotional depth into traditional forms.
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In his final symphonies, especially Symphony No. 41 "Jupiter", Mozart took the Minuet form to a whole new level. The third movement here is virtuosic and displays extreme contrapuntal complexity.
These symphonies were often written for public performances, but with an increased focus on expressive depth that matched the growing public concert culture.
Romantic - Mendelssohn
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Mendelssohn’s early symphonies were more in line with Classical traditions, particularly in their third movements.
For example, Symphony No. 1 (written when Mendelssohn was 15) contains a third movement that is a Minuet. It follows the standard 3-movement form of Classical symphonies, with elegance and balance.
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The third movement of Mendelssohn’s Symphony No. 3 "Scottish" is a slow and dramatic movement. It’s a melancholic and atmospheric piece, drawing inspiration from the Scottish landscape Mendelssohn experienced during his travels.
This movement departs from the typical dance forms of earlier symphonies, showing Mendelssohn’s ability to incorporate nationalistic elements and evoke powerful emotions through his third movement.
Why It Matters: The third movement of "Scottish" has depth and richness, breaking away from more predictable, dance-like forms. It reflects the Romantic trend towards using music to express personal experiences and nature.
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In Symphony No. 4 "Italian", the third movement is a Minuet but with a twist. Instead of a traditional, courtly Minuet, Mendelssohn incorporates a more energetic and spirited character that matches the Italian spirit he was trying to capture.
This movement is in 3/4 time, but it is filled with bright and buoyant rhythms, showcasing Mendelssohn’s ability to blend Classical forms with his own lively, Romantic style.
Why It Matters: The third movement of "Italian" was inspired by Mendelssohn’s travels in Italy and reflects the vibrant energy of the culture. It shows how Mendelssohn adapted the classical Minuet to his Romantic style, creating music that was both elegant and vividly expressive.
Berlioz
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Throughout his career, Berlioz was not tied to a court like Mozart or Beethoven. Instead, he relied heavily on patronage from aristocrats, as well as support from musical societies in France.
For example, his Symphonie Fantastique (1830) was self-commissioned in a way. It was funded and supported by Berlioz himself through his own personal connections, as well as by the French musical community, which appreciated his innovative approach.
- Paris Conservatory and Performances in Paris
Symphonie Fantastique and his Rome Symphony were created under the influence of Paris’s burgeoning public concert scene, as Berlioz was heavily involved with the Paris Conservatory and composed for public performances.
Later in his career, Berlioz composed symphonies like the "Harold in Italy" (1834), which were designed for public concert audiences in mind, often commissioned or premiered by the French musical elite or conductors like Frédéric Chopin and Joseph Joachin.
- The French State and Public Concerts
The French state and its musical institutions also played a role in funding Berlioz’s major works. His "Requiem" (1837) and later works were supported by these institutions.
As public concert halls grew in popularity, Berlioz was commissioned for grand, orchestral works by French societies seeking new, daring music.
Stamitz
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In Stamitz’s symphonies, the third movement was often a Minuet and Trio, following the traditional 3-movement structure used in many early symphonies of the time.
These Minuets were light, courtly dances in triple metre, with a contrasting Trio section before returning to the Minuet.
The Mannheim orchestra was known for its dynamic contrasts (e.g., the Mannheim crescendo), which Stamitz utilized to give these movements a more exciting and dramatic flair than the more standard, sedate Minuets of earlier periods.
Haydn
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For courts: Traditional, elegant, and decorous
For public concerts: Bolder, humorous, more structurally adventurous
This reflects a shift in musical patronage: from private courts to public concert halls — shaping not just what was written, but how it was experienced
OVERVIEW - Minuet and Trio typically - (ABA form)
Later replaced by a Scherzo in Beethoven's symphonies
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