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Haydn: London Symphony, No.104 (Movement one)
EDUQAS: AS and AL Set Work
Teachers’ Notes
The main stylistic characteristics of Classical music
• Less complex than Baroque music, with a lighter, clearer texture including clarity of phrases
and less ornamentation.
• Emphasised grace (style galante) rather than the grandeur and seriousness of much of Ba-
roque music.
• Encased in formal structures which were held in proportion: melodies tended to be shorter,
more evenly balanced and punctuated with clearly marked cadences, and the regularity and
balance of phrase structures brought clarity to the music (at times, it was the mixture of
regular / irregular phrases and rhythms which brought a sense of individuality to a composer’s
personal style).
• Larger, stronger structures predominated by three and four movements shaped the musical
elements into a broader unified whole, with unified variety and refined contrasts of keys being
the guiding principles.
• Sonata form was recognised as the main structure used to build up movements (mainly first
movements, but sometimes other movements as well).
• Increased harmonic effectiveness within these structures was attained through simpler chords
and more efficient progressions, with clarification of key relationships and modulation ensuring
a ‘functional’ harmonic process.
• Textures were mainly homophonic and melodic with a chordal accompaniment, though still
including many examples of contrapuntal writing.
• The overall style was more varied and flexible, with contrasts evident in the music (dynamics,
mood, instrumental sonorities, rhythms and thematic material, tempo and keys).
• Increasing importance given to instrumental music such as divertimenti, trios and the emerging
string quartet, with the baroque trio sonata evolving into the Classical sonata, and the Italian
overture growing into the new Classical symphony. The concerto was still very popular, though
solo concerti more so than the older Baroque concerto grosso.
• Orchestra increases in range and size, with woodwind section becoming increasingly impor-
tant; less reliant on the harpsichord for ‘filling-in’.
• Piano(forte) gradually replaces the harpsichord and the basso continuo falls out of use.
• 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.
Haydn: London Symphony, No.104 (Movement one)
EDUQAS: AS and AL Set Work
Teachers’ Notes
Haydn and his musical style
Franz Joseph Haydn
• Dates:1732 – 1809
• Along with Mozart and Beethoven is recognised as one of the three ‘Great’ Classical
composers.
• Showed musical talent at a young age and had written his first symphony and string quartet
before 1760. Was remembered as ‘the Father of the Symphony’.
• In 1761 was appointed to the court of Prince Esterhàzy, in Eisenstadt near Vienna and was
later promoted to Kapellmeister. Here he found freedom to develop and experiment as a
composer, with wonderful musical facilities at his disposal. At this remote estate, he was rather
isolated - and by his own admission was ‘forced to become original’.
• Enjoyed recognition throughout Europe as his work was published and he was offered various
commissions (e.g., the Paris Symphonies, ‘The Seven Last Words’, the ‘London symphonies’).
At the time of his death, aged 77, he was one of the most celebrated composers in Europe.
• Invited to London in 1791 and 1794 by the German musician and impresario Johann Salomon,
during which time symphonies nos 93-104 were composed (i.e. the London Symphonies).
• His work gives the most comprehensive picture of stylistic development of music in the
Classical era. His creative span lasted many years – longer than most composers – and during
that time there were many changes in music e.g. the structural dependence on formal key
relationships, and the growth of instrumental music to attain equal recognition alongside vocal
music.
• Is remembered as the first great symphonist and the composer who essentially ‘invented’
the string quartet. Has been described as the ‘principal engineer’ of the Classical style, and
his influence on later composers was immense – notably Mozart, Beethoven, Schubert,
Mendelssohn and Brahms.
Structure
Haydn was fundamentally interested in structure and his music demonstrated a strong
architectural sense:
• could perhaps be considered to also be the ‘father of sonata form’ – his symphonies in
particular demonstrate his utilisation of the structure and the way he exploited the dramatic
potential of the musical content
• he enjoyed the variety of form, and the freedom with which he worked is clearly evident in the
London symphonies
• he realised the potential of the Minuet
• it was predominantly Haydn who created the transition to the development section and the
transition to the recapitulation section as moments of tension and interest
• he made every aspect of the harmony implicit in the main themes, providing a ‘homophonic
analog’ to the ‘polyphonic fugue’ – providing the seed from which later ideas would emerge,
with different effects
• he often used slow introductions to opening movements
• he sometimes constructed Sonata Form on a single theme i.e. monothematicism
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
• favoured the use of the short, periodic, articulated phrase with symmetry evident not only from
phrase to phrase, but also within the phrase itself
• clearly realised the possibilities of breaking up longer thematic lines into shorter rhythmic and
melodic components and motifs
• sometimes used irregular phrasing, and odd phrase-lengths were evident even in some of his
early symphonies (e.g. finale of no.1 has a 6-bar phrase to open, and the minuet of No. 9 uses
3-bar phrases)
• revelled in the manipulation and transformation of a single idea, sometimes basing his opening
sonata form movements in his symphonies on a single theme (i.e. monothematicism)
Textures
At a time when the new Classical style favoured a relatively simple texture of the single melody
line plus chordal accompaniment in contrast to the rich polyphonic textures of the Baroque, Haydn
actually included a variety of textures into his vocal and instrumental music:
Harmony
Haydn’s harmony is largely diatonic – but his expanded use of harmony in the London symphonies
was quite striking:
• he knew how to present and use his material to achieve intricate and close-knit designs in
the musical fabric
• from the outset counterpoint was important, used in his instrumental music to build the key
changes and melodic transformations (e.g. the finales of four of his first 14 symphonies are
polyphonic)
• he emphasised the importance of textural variety in his symphonies by the way that all the
separate ‘voices’ of the orchestra contributed to the overall effect – not so much as a basic
melody and accompaniment, but in the presentation of a theme which rests on the integration
of contrasting lines, rhythms and timbres
• he experiments with wide-ranging modulation and pushes the harmonic boundaries, using
harmony imaginatively, and enjoying chromatic adventures
• he enjoyed major/minor contrasts
• he sometimes exploits unconventional key relationships between movements
• within single movements there are sometimes sudden shifts to remote keys (e.g. moving to the
#6th)
• note his use of suspensions, pedal notes, diminished and augmented chords, Neapolitan
chords etc.
Instrumentation
With the larger forces available to him in London, Haydn reveled in creating a new spacious and
brilliant sound – trumpets, drums, and double woodwind (including clarinets).
• Haydn never abandoned the keyboard, but allowed the instruments of the orchestra to usurp its
function
• Important to note the playful use of instrumental sonorities as he allowed independent lines of
sound
• More dependence gradually given to the wind instruments
• Occasional concertante use of instruments (solo violin entries in London Symphonies 95, 96,
98) and in the Andante of the Drum Roll
• Gradually the responsibility of ‘leading’ the Classical orchestra fell to the leader of the violins.
The Eduqas specification includes a compulsory component which is based on The Western
Classical Tradition - specifically, The Development of the Symphony, 1750 – 1830 for AS (and
up to 1900 for A level).
This has been presented as Area of Study A, and it focuses on the development of the symphony
through the Classical era to the early Romantic era. The symphony was considered to be the
most important instrumental genre of the eighteenth and nineteenth centuries. The development
of the symphony went hand in hand with the rise of sonata form and the development of the
orchestra.
The symphony is acknowledged as an extended musical composition for orchestra. It had its roots
in the Italian opera overture of the early 18th century, which was a composition in three parts i.e.
fast – slow – fast, and quite a light form of entertainment. With the addition of a Minuet and Trio
as a third movement, initially credited to the contribution of Stamitz and the Mannheim School
of composition, the symphony become accepted as a more complex composition, mostly in four
carefully balanced movements:
Stylistic Features
Classical music is characterized by a lighter texture compared to Baroque music, emphasizing clarity and simplicity in phrases.
The style galante emphasizes grace over the grandeur typical of Baroque music, leading to a more elegant sound.
Formal structures are crucial, with shorter, balanced melodies punctuated by clear cadences, enhancing clarity and individuality.
The predominant three and four movement structures unify musical elements while allowing for refined contrasts in keys.
Sonata form is the main structural framework, particularly in first movements, allowing for thematic development and contrast.
Harmonic effectiveness is achieved through simpler chords and efficient progressions, clarifying key relationships and modulation.
Instrumentation and Texture
The orchestra expanded in size and range, with woodwinds gaining importance and the harpsichord becoming less central.
The piano gradually replaced the harpsichord, leading to a shift in performance practices and musical textures.
Textures are primarily homophonic, featuring a clear melody with chordal accompaniment, though contrapuntal writing is still present.
Instrumental music gained prominence, with new forms like divertimenti and string quartets emerging alongside the symphony.
The concerto evolved, with solo concerti becoming more popular than the Baroque concerto grosso, reflecting changing audience preferences.
Composers began writing for concert-going audiences rather than exclusively for courts or churches.
Franz Joseph Haydn: Life and Influence
Biography and Career
Born in 1732, Haydn is recognized as one of the three 'Great' Classical composers alongside Mozart and Beethoven.
He displayed musical talent early, composing his first symphony and string quartet before 1760, earning the title 'Father of the Symphony.'
Appointed to the court of Prince Esterhàzy in 1761, he had the freedom to develop his style in a supportive environment.
His works gained recognition across Europe, leading to commissions like the Paris Symphonies and the London Symphonies.
Haydn's creative span was extensive, allowing him to adapt to significant changes in music during his lifetime.
He is credited with the development of the string quartet and is considered a principal architect of the Classical style.
Musical Contributions
Haydn's music demonstrates a strong architectural sense, often utilizing sonata form to exploit dramatic potential.
He introduced variety in form and effectively used the Minuet, enhancing the structural complexity of his compositions.
His innovative transitions to development and recapitulation sections added tension and interest to his symphonies.
Haydn's harmonic approach was characterized by a homophonic analog to polyphonic textures, influencing future composers.
He often employed slow introductions and sometimes constructed sonata form based on a single theme, showcasing monothematicism.
His melodies were influenced by folk music, showcasing his ability to transform and elevate simple themes.
Analysis of Haydn's London Symphony No. 104
Structure and Form
The London Symphony No. 104 exemplifies Haydn's mastery of sonata form, with clear thematic development and structural integrity.
The first movement features a clear exposition, development, and recapitulation, showcasing Haydn's architectural prowess.
The use of contrasting themes and motifs creates a dynamic listening experience, engaging the audience throughout the movement.
Haydn's innovative use of the Minuet and Trio form adds a layer of complexity and charm to the symphony.
The symphony's orchestration highlights the expanded woodwind section, contributing to a richer sound palette.
The final movement often reflects Haydn's playful character, incorporating humor and surprise elements.- two bar silence in minuet
Harmonic and Textural Innovations
Haydn's harmony in the London Symphony is largely diatonic, yet he explores intricate harmonic relationships and modulations.
The use of counterpoint is significant, with multiple voices contributing to the overall texture rather than a simple melody-accompaniment format.
He experiments with chromaticism and unconventional key relationships, pushing the boundaries of harmonic exploration.
Sudden shifts to remote keys within movements create moments of surprise and interest, enhancing the overall musical narrative.
Haydn's use of suspensions, pedal notes, and various chord types adds depth and complexity to his harmonic language.
The orchestration allows for independent lines of sound, showcasing the capabilities of the expanded orchestra.
specific examples in movements
minuet
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