In the first ending exposition repeat of the first movement of this piece a soaring new theme is introduced in the oboe and then the violins which later settles down in the development section to feature the strings being supported by a staccato punctuation in the woodwinds. The trumpets in this work are not introduced until the third movement's trio section which is dominated by a static fanfare of the horns and bassoons. In the second movement andante section, the D-minor theme is first introduced by the violas, bassoons and oboes and this somber, procession-like movement is sometimes called the (*) "Pilgrim's March
In the first ending exposition repeat of the first movement of this piece a soaring new theme is introduced in the oboe and then the violins which later settles down in the development section to feature the strings being supported by a staccato punctuation in the woodwinds. The trumpets in this work are not introduced until the third movement's trio section which is dominated by a static fanfare of the horns and bassoons. In the second movement andante section, the D-minor theme is first introduced by the violas, bassoons and oboes and this somber, procession-like movement is sometimes called the (*) "Pilgrim's March". The final movement of this work borrows the ninth of Paganini's Caprices La Chasse and is greatly based on Neapolitan folk dances. Ending with a presto saltarello movement, FTP, identify this A major piece that finishes with a tarantella and comes between its composer's Scottish and Reformation symphonies.
In the first ending exposition repeat of the first movement of this piece a soaring new theme is introduced in the oboe and then the violins which later settles down in the development section to feature the strings being supported by a staccato punctuation in the woodwinds.
Mendelssohn’s Symphony No. {4} in A major, Op. 90 or The {Italian} Symphony