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Ayaka Tomoda

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same chord structure Spatzenmesse in C major K. 220: theme of the Kyrie recalled in the Dona nobis pacem Litaniae de venerabili altaris sacramento K. 243: theme of the Kyrie recalled in the Miserere Mass in C major, K. 317: theme of the Kyrie recalled in the Dona nobis pacem Vesperae solennes de Dominica K. 321: A setting of the Minor Doxology (Gloria Patri et Filio) concludes all movements, with a rhythmic similarity in "Gloria" Vesperae solennes de confessore K. 339: A setting of the Minor Doxology (Gloria Patri et Filio) concludes all movements, with a rhythmic similarity in "Gloria" Mass in C minor K.427: The soprano melody of Quoniam tu solus in measure 96 (F-E-D-C#-C-...) resembles that of Cum sanctu spiritu in measure 98 (G-F#-E-D#-D-...) Joseph Haydn



Symphony No. 31: material from start of first movement recalled at the end of the finale Symphony No. 46: material from the menuetto third movement recalled in the finale Ludwig van Beethoven Piano Sonata No. 13 Piano Sonata No. 28 Symphony No. 5: material from scherzo movement recalled in the finale Symphony No. 9: all three movements are briefly revisited in the finale Franz Schubert Divertissement a la Hongroise Wanderer Fantasy: entire piece based on thematic transformation Piano Trio No. 2: materials from the second movement recalled in the finale Felix Mendelssohn Piano Sextet: material from scherzo movement recalled in the finale Octet: material from scherzo movement recalled in the finale, plus allusions to first and second movements Piano Sonata in E, Op. 6: opening of first movement recalled at end of finale String Quartet in A minor, Op. 13: introduction to first movement recalled at end of finale, first movement and second movement recalled during finale. String Quartet in E-flat, Op. 12: first movement recalled in finale Symphony No. 3: thematic transformation across all four movements Hector Berlioz Symphonie Fantastique: "idée fixe" heard in all five movements Harold in Italy: "idée fixe" heard in all four movements Robert Schumann Symphony No. 2 Symphony No. 4: thematic transformation across all four movements Piano Quintet Niels Gade Symphony No. 1: first movement recalled in finale Franz Liszt Sonata in B minor Faust Symphony Saint-Saëns Symphony No. 3: thematic transformation across all four movements Cello Concerto No. 1: two key first movement themes repeated in finale César Franck Symphony in D minor Violin Sonata String Quartet Johannes Brahms Piano Sonata No. 1 Quartet No. 3 Symphony No. 3: The melody opening the first subject in the first movement is recalled in the codas of the first & fourth movements. Clarinet Quintet: The melody opening the first movement is recalled just after the 5th variation in the fourth movement, but in the subdominant. The codas in the first & fourth movements are almost the same, except for how it finally closes (first movement closes with quiet B minor chords while fourth movement closes with a loud one and then a quiet one). Bedrich Smetana Má vlast, cycle of 6 symphonic poems: The opening from the first work Vyšehrad recalled in the second Vltava and the sixth works Blaník, shortly before the latter two end. Anton Bruckner Symphony No. 5 Symphony No. 8 Pyotr Ilyich Tchaikovsky Symphony No. 4: "motto" of first movement recalled in the finale Manfred Symphony: Material from the beginning of the first movement recalled halfway in the third movement. Material from the ending of the first movement used in the middle section of the second movement, and just before the organ sounds in the fourth movement. Symphony No. 5: "motto" of first movement recalled in all later movements; first movement's first subject recalled in the finale Anton Arensky Piano Trio No. 1: Material opening the first movement recalled shortly before the finale ends. Material in the middle section from the third movement recalled halfway in the finale. Antonín Dvorák Symphony No. 9: the theme of the first movement returns in all four movements Arnold Schoenberg – Violin Concerto, Op. 36 Carlos Chávez Symphony No. 3 Symphony No. 4 Edward Elgar Symphony No. 1: "motto" theme from the 1st movement returns in the scherzo and finale Symphony No. 2: "motto" theme from the 1st movement returns in the slow movement and finale Sergei Rachmaninoff Piano Sonata No. 1 Trio éléguiaque No. 2 Symphony No. 1 Piano Concerto No. 3 George Enescu Chamber Symphony in E major, Op. 33 Octet for Strings in C major Piano Quartet No. 1, Op. 16 Piano Quartet No. 2, Op. 30 Piano Quintet in A minor, Op. 29 Piano Sonata No. 3, Op. 24, No. 3 String Quartet No. 1, Op. 22, No. 1 String Quartet No. 2, Op. 22, No. 2 Symphony No. 1, Op. 13 Symphony No. 3, Op. 21 Symphony No. 4 Symphony No. 5 Violin Sonata No. 2, Op. 6 Sergei Prokofiev Piano Concerto No. 1: Main opening theme reappears midway and at end of work, differently orchestrated each time Piano Sonata No. 6: Opening from the first movement recalled in the "Andante" in the fourth movement. Symphony No. 6: theme from first movement recalled in the finale Symphony No. 7: both the second and third themes from the first movement return at the climax of the finale Vasily Kalinnikov Symphony No. 2 Dmitri Shostakovich Suite for 2 Pianos in F-sharp minor, Op. 6 Suite for Variety Orchestra: Material opening the March is recalled at the very end of the Finale String Quartet No. 8: The "DSCH" motif is used in all four movements as a unifying aspect. Ralph Vaughan Williams A London Symphony (Symphony No. 2) Oboe Concerto Symphony No. 4 Symphony No. 5 Heitor Villa-Lobos Symphony No. 2 Symphony No. 3 (cyclic only with relation to the following Symphony No. 4) Symphony No. 4 Sources Burkholder, J. Peter. 2001. "Borrowing, §5: Renaissance Mass Cycles". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. Macdonald, Hugh. 2001. "Cyclic Form". The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. London: Macmillan Publishers. Mladjenovic, Tijana Popovi, Blanka Bogunovic, Marija Masnikosa, and Ivana Perkovic Radak. 2009. "untitled essay W. A. Mozart’s Phantasie in C minor, K. 475: The Pillars of Musical Structure and Emotional Response". Journal of Interdisciplinary Music Studies 3, no. 1–2 (Spring–Fall): 95–117. (accessed 5 March 2020). Randel, Don Michael. 2003. "Cyclic Form". The Harvard Dictionary of Music, fourth edition, Cambridge, Massachusetts: Belknap Press. ISBN 978-0674011632. Sapsuev, Andrey Yu. 2014. "Once Again on Mozart’s Requiem (Issues of Intonation-and-Style Analysis)". Journal of Siberian Federal University: Humanities & Social Sciences 3, no. 7:498–509. (accessed 5 March 2020). Strucken-Paland, Christiane. 2009. Zyklische Prinzipien in den Instrumentalwerken César Francks. Kassel: Bosse. Taylor, Benedict. 2011. "The Idea of Cyclic Form". Mendelssohn, Time and Memory: The Romantic Conception of Cyclic Form. Cambridge: Cambridge University Press: 6–51. Webster, James. 1991. Haydn's 'Farewell' Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music. Cambridge: Cambridge University Press. Woods, Kenneth. 2009. "Mozart Requiem: Quotation and Meaning". Kennethwoods.net blogsite (8 April) (accessed 5 March 2020).[unreliable source] Further reading Chusid, Martin. 1964. "Schubert's Cyclic Compositions of 1824". Acta Musicologica 36, no. 1 (January–March): 37–45. Proksch, Bryan. 2006. "Cyclic Integration in the Instrumental Music of Haydn and Mozart." Ph.D. Diss. Chapel Hill: University of North Carolina at Chapel Hill. Rosen, Charles. 1995. The Romantic Generation. Cambridge, Massachusetts: Harvard University Press. Saffle, Michael. "Liszt's Sonata in B minor: Another Look at the 'Double Function' Question." JALS: The Journal of the American Liszt Society 11 (June): 28–39. Tucker, G. M., and Roger Parker. 2002. "Cyclic Form". The Oxford Companion to Music, edited by Alison Latham. Oxford and New York: Oxford University Press. Vande Moortele, Steven. 2009. Two-dimensional Sonata Form: Form and Cycle in Single-Movement Instrumental Works by Liszt, Strauss, Schoenberg, and Zemlinsky. Leuven: Leuven University Press


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