Most of this work has some sort of representation of the Catholic Church and God. One of these representations is involved with the works structure. The work is based on a Tripartite Structure which represents The Holy Trinity; Bars 1-22 (section A) represents God Father, bars 22-61 (section 3) represents God the Son and bars 23-end (Section C) represents the Holy Spirit. The use of Antiphons at bars 1-8 between the soprano soloist and chorus can be related to a church service as the call and response between the Vicar and ingratiation.
The use of a fugue in choral works of this nature was a traditional device which can be traced back to late Baroque music; Haydn uses a fugue at bars 62-66. Another sort of device Haydn uses in his work is a contrapuntal Inversion. This contrapuntal inversion is the over emphasis on music over religion and is found at bars 30-31. The Tonality in ‘Quondam TU Souls’ is always major; this Is because Haydn wanted the music to sound happier to represent celebration of the Napoleonic war. He opens the work In D major and does not modulate.
The work Is clearly In a Major Key because there’s functional harmony and tonality. Functional harmony and tonality is typical in classical musical. A Perfect cadence is found at the end of the work and par 61 has the use of l, IV-V in root and first inversion. How does Hornier represent both joy and happiness in “Take her to ban Mr. Morocco? The scene where this piece of music starts is a very exciting point in the film. In this work the music also gives the Idea of the Joy and Happiness of the passengers themselves. Hornier creates these feelings In several ways.
Firstly, Hornier opens the strings and win in the opening 3 bars. This represents the excitement which the passengers feel as they start their new lives while the ship is Just about to set sail. Repetition is commonly used to build up tension; in this case exciting tension. Repetition is found at bars 4-7 having a repeated motif in the harp, synch and second ‘loins. This use of repetition makes people think about what’s being played, as when [o hear something being played once it hasn’t got the same effect when it is written more the once; it keeps you thinking.
At the same time of this motif, the double bass and viola have a rising line, adding to the feeling of this excitement, creating the sense of Joy and happiness. A new/longer set of repetition is added from bar 8 up until bar 20. However at this point there is also a low dominant pedal being played by the double bass on D. This creates a dark feel for the bowls of the ship. From bars 21-30 there is a series of pip moss instructions that indicate the speeding up of the ship. These instructions are also accompanied by yet another source of repetition
Inch again adds excitement to the work. Hornier adds in a series of rising tertiary key changes which help build excitement. E. G. Work opens in Be major and then modulates to G major at bar 8. At bar 37 Hornier includes a 5/4 dance feel to represent the Joy and happiness of lower class due to the folk-like feel this time signature introduces. Another large build up is introduced at bar 80 when Hornier Includes clicks to represent a large build-up of excitement produced by the crescendo, cymbal roll and rising glissando on the harps in bar 79.