Translation of "Kopfsatz" in English

Mozart followed Joseph Haydn’s example with the introduction to the first movement.

The first movement alone lasts more than half an hour.

The introductory movement is the mightiest literally as well as musically.

The most important movement is the first movement, which in the case of the Classical sonata follows sonata form.

In its technical development the first movement is modelled on the first movement of Beethoven’s String Quartet op.

It concludes with an unleashed Finale that speeds along, thematically related to the first movement.

The effective second theme in the first movement for example, suggests Shostakovich’s scherzo grotesques.

Particularly striking is the portrayal of marching Nazi troops that Shostakovich includes in the first movement, when he distorts the beginning of Lehár’s operetta hit “Da geh’ ich zu Maxim” into a militant version, making it the theme of 11 increasingly strident variations.

Hans Rott composed the first movement when he was 19 - two years prior to the other movements.

The second movement draws on thematic material from the slow introduction, the Scherzo derives its triumphant theme from the first movement and the trio is also a variation of the beginning of the symphony.

Moreover, the passacaglia theme creates a motivic link to the first movement, giving the symphony a cyclical shape at the close.

The opening movement is unusual in that Bruckner for the first time in his career has composed a slow introduction.

And indeed, in Kleinhapl’s hands, the opening movement raced by in a capricious flurry, sometimes thrashing about, sometimes yielding to searing lyricism, and always absorbing.

In the opening movement of Brahms’s First Piano Concerto, according to the Austrian composer’s student Friedrich Eckstein, Bruckner reportedly “found the first theme to be splendid but regretted that in all his symphonies Brahms had never again managed to come close to such a theme.

The first movement, marked Allegramente (i.e. cheerfully, joyfully), opens arrestingly with the crack of a whip.

It’s no wonder that Beethoven’s Seventh with its vision of victory in the first movement, the hymn-like passages of the Scherzo and the ecstatic rhythms of the Finale became extremely popular within a very short time.

As the lengths of the nave towards the two aisles of a Romanesque basilica were built in a fifth ratio 2:3, the opening movement is composed in the form of A-B-A', that exactly reflect this ratio in its numbers of strokes per molding.

A massive Toccata of square elements was created by the addition and varying grouping of components, which expresses again the impact and heavenly dimension of the Romanesque basilica tying in the first movement.

The spirited first movement, Allegro con brio, is followed by one of the most appealing movements of Haydn's, a morbid Largo in d minor that is reminiscent of Bach.

These features mark Nielsen’s Third Symphony, the Sinfonia espansiva, completed in 1911, named after the tempo indication of its opening movement, “Allegro espansivo” (i.e. extrovert).

The TE DEUM forms the first movement of the organ symphony, bringing the central Gregorian melody together with Bruckner's insistant quaver figures (built in fifths and fourths).

The sparklingly brilliant first movement, the brooding and archaic overtones in the short largo and the typically 'Haydnesque' grandiose flourishes in the finale make the piece an excellent teaching work that more experienced enthusiasts love playing.

It seems as if with his bright Fourth Symphony full of joie de vivre, Ludwig van Beethoven intended to build directly on the tradition of Joseph Haydn’s “Paris” and “London Symphonies” – though the clear antithesis between the B-flat minor Introduction and the B-flat major Allegro in the first movement is more reminiscent of the contrast between the “Representation of Chaos” and the choir’s interjection “Es ward Licht” in Haydn’s Creation.