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 tr
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