The
theme of each piece is made of up two motifs. In “Hedwig’s Theme,” Motif A (made
up of two eight-bar phrases) is:
Motif
B (in terms of the clarinet part) is:
In
“Dance of the Sugar Plum Fairy,” Motif A (in terms of the celesta part) is:
And
Motif B is:
The
pieces are structured similarly, in that the above motifs appear as A-B-A-B in
the pieces. In both pieces, there is a break after the first A-B motif. In
“Hedwig’s Theme,” this break (from 0:41-0:48) is fast ascending and descending
notes in the violins that seemingly interrupts the first A-B motif to usher in
the second repetition of the A-B motif. In “Dance of the Sugar Plum Fairy,” the
celesta solo (1:09-1:18) interrupts the first A-B motif and later transitions
into the second repetition of the A-B motif.
Additionally,
both pieces end with a break to their themes. From 4:51 to the end of “Hedwig’s
Theme,” a final, quick ascending line in the violins ends the piece separate
from its theme. The same effect happens in “Dance of the Sugar Plum Fairy,” as rapid
celesta and violin notes from 1:53 to the end offer a break from the theme.
Both
pieces are structured with alternating motifs to the theme that is then broken
at the very end of the piece.
