by Peter Scott

Created on: November 20, 2010

By 'movement' we refer to an independent section within an overall piece, typically a symphony or sonata written by an eighteenth- or nineteenth-century composer. To understand the term movement, we need to briefly examine the origins of the classical sonata.

The sonata emerges during the early seventeenth century, the term implying a piece written for instruments, as opposed to the typical vocal piece written during the medieval and renaissance periods. The sonata was written for a variety of instruments, but there were typically two solo instruments such as violins and recorders, under which a bass instrument and keyboard instrument would fulfill the remaining harmonies. This 'trio' sonata embodied contrast - instrumental, harmonic and texture. However, they tended to be written as a continuous piece, avoiding closure ('cadence' in musical terms) by unexpectedly speeding up and slowing down.

As seventeenth century composers became more adventurous, these sonatas began to have extended sections with cadences, followed by a new section with a change of time and sometimes instrumentation. Typically the introduction would be slow, followed by a faster section or movement, which might then be followed by another slow-fast pairing. As instrumental technology developed during the course of the seventeenth century (especially through stringed instruments such as the violins), sonatas became more evolved and complex and emerged into the symphony of the eighteenth century.

While Haydn and Mozart are the most famous composers of this era, the Symphony, with its clearly defined movements, was a product of a group of German composers based in Mannheim. Josef Haydn is regarded as the 'Father of the Symphony', and may also be acknowledged as the composer who defined the classical movement. His symphonies often begin with a short and slow introduction, followed by the main fast movement in 'sonata form' (where two clearly -defined themes are presented). The next movement is usually slow and often lyrical, typically in a different mode or key, followed by a stately minuet and trio, showing the influence of dancing. The final movement is fast, often in 'Rondo' form where the same theme is presented again and again. The classical concerto, written to highlight a solo instrument such as a violin or piano, also followed the same movements with the exception of the Minuet and Trio.

Mozart's later Symphonies gradually abandoned the opening slow movement, commencing with a fast sonata form movement and continuing the structure of Haydn. Beethoven continued the development of specific movements, particularly the stately minuet and trio that he converted into a frenetic 'Scherzo' (meaning playful, but in practice a movement full of energy and devoid of courtly poise and elegance!). The nineteenth century romantic composers such as Schumann and Schubert maintained the four-movement Symphony, and its clearly-defined structure was gradually eroded in the early twentieth century.

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