Haydn 104

Haydn 104

Melody:

• Ascending perfect 5th (1st bar) - Fanfare motif reinforcing importance of 1st and 5th. Lack of 3rd makes the key slightly ambiguous.
• 1st & 4th mvt monothematic - Compare how S1 & S2 they are different, how are they recapped? (S2 much shorter in recap.)
• Standard 8 bar phrase length (1st mvt) - strongly categorized by motifs X, Y and Z (give examples as to how they are developed)
• Rising sequence bars 9 and 10 (1st mvt)
• Use of Chromatic Appoggiatura and auxiliary notes (mvt 1& 3)
• Contrary motion type movement, violin 1, melody bar 1-2 (2nd mvt)

Texture:

• Begins in homorhythmic unison tutti (Multiple Octaves)
• Homophonic at the beginning- strings and bassoon - antiphonal at bar 3
• General pause found in bar 16 (reinforces point in Haydn 100)
• Bar 13 texture is antiphonal~ Comparable to Haydn 100 - Upper Woodwinds take melody at recap of s2 (mvt 1 b.201) has a 3 part Homophonic texture in winds, and link passage of second movement (b. 114) 4 part Homophonic texture in winds

Harmony:

• D minor tonic, relative major modulation on bar 7 (conventional). Exposition begins in G major, after an imperfect cadence.
• Allegro starts in typical V - I movement, showing Haydn still makes use of typical harmonic movements
• Bar 150 (during development) is in C# minor - unusual key as it is the leading note of the tonic
• The link passage at the end of the third movement (the minuet and trio), is a clear example of how Haydn uses harmony to modulate from one key to another distantly related key, starting in Bb and ending in D over just 10 bars.
• The symphony is largely diatonic, however there are some chromatic inflections, such as the harmony in bar 51 of movement 1

Mannheim influences/Commissioned Works:

• Trio section references the 3 wind instruments, clarinet is left out as it is the latest wind instrument made.
• It premiered at the King’s Theatre in London showing the shifting use for the symphony and how they started to attract audiences of the general public.
• Prior to the London Symphonies, Haydn would have done similar things to both Mozart and Stamitz, writing only for the courts that commissioned him to write them.
• This change came about due to the Industrial revolution and the emergence of the middle class so concert halls and theatres were built for entertainment purposes
• This influence comes across in the drama he used when writing his London Symphony (ex. Slow Introduction and bar 30 is a big dramatic tutti section) which can be argued he did to appeal to a broader audience.

Development of movement conventions:

• Features slow introduction (Dm → D)4 movement structure
• Textbook allegro-sonata form
• Sonata form bar numbers:
  • Intro 1-16
  • Exposition 17-123 (S1=17-49 Tr=50-64 S2=65-98 Codetta=99-123)
  • 124, start of development, ends 192 beat 1
  • Recap. Of S1 (& section) at bar 193
  • Recap. Of transition at bar 208
  • Recap. Of S2 at bar 247
  • Recap. Of S2b at bar 257
  • Recap. Of codetta at bar 267
  • Coda 277
• Movement 2 - three part (opening 1 - 37, mid-section 38 - 70, final 74 - 140 + Coda 141 - 152) but we wouldn’t call it Ternary as the third section is almost half of the movement and it makes use of Theme and Variation.
  • Starts in G
  • Flute Cadenza at bar 114 just woodwind, now in Db, enharmonic change to C# which takes us back into G in a matter of only a few bars
• Movement 3 - Minuet (A section 1 - 16, B Section 17 - 26, C section 27-34, A1 35 - 42, Codetta 43 -52) and Trio (A: 53 -64, B: 65 - 78, C: 71- 93, Link: 94 - 104) Both are in rounded binary form.
• Different types of phrase structure regular in minuet & irregular in Trio
• Trio - three wind accompanied by stringsMovement 4 Sonata Form - back in Tonic Key
• Movement 4
  • Exposition (1 - 117)
  • Development (118 - 194)
  • Recapitulation (195 - 264)
  • Coda (265 - 334)
  • Development end with a dominant pedal in the key of F# minor then moves to a C#7 chord which then goes to cadence on D, forming an interrupted cadence.
• Both the 1st and 4th Movements are monothematic

Extra-musical influences:

• Melody influenced by Austrian and Croatian folk music, gypsy music and Hungarian tunes – and wrote original melodies in the same style, able to transform them and take them to a new level

• Diatonic with short phrase lengths - square shape

• New symphonic composers no longer wrote just for the court or church, or were exclusively employed by these institutions; now they wrote for concert-going audiences. Haydn was one composer who finally came to terms with this aspect and was successful.

• Conventional phrase lengths, antecedent and consequence.

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