Bar 36 (on page 31) begins the middle section of the piece starting at 9m6s of the video.
Take a look at how the long sustained woodwinds are support by the gentle pulsation of the high strings. Do a condensation of the 6 bars of the winds and see how cleverly they support and give room to each other. Here is an example of the first oboe sustaining the first violins line an octave above:
The cellos and basses become very prominent in this section as a sort of melody with their arpeggiated chords.
Listen to this snapshot of bars 38 to 41 how the octaves (G to G, G# to G# aso) change the sound dramatically and how they sound different depending on their placement rhythmically. Two occur going up on the third 8th-note of the bar, two occur going up beginning the bar, and the last one goes down!
These are all fine things to write about, the crucial thing is you listen for this!
In the following bars we shift from p to f again and again. This picture of bassoon/horn bar 43-44 sums it up:
The f ‘s get all they can, but the subtlety with which he treats the p‘s is great. First having everyone shift to piano but then to decrease it further by cutting out the woodwinds on the second half of the bar!
- Where else in this movement does Mozart use rests to decrease in dynamics?
The questions are open for discussion in the comment section below!
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