Haydn 104 Essay Points Flashcards

1
Q

Haydn 104 - Overall form and style

A
  • It was predominantly Haydn who created the transition to the development section and the
    transition to the recapitulation section as moments of tension and interes
  • Trio is in Bb major (unusual) - necesitates link section for minuet repeat in tonic.
  • He often used slow introductions to opening movements
  • He sometimes constructed Sonata Form on a single theme i.e. monothematicism
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2
Q

Haydn 104 - First movements

A
  • Slow intro in tonic minor
  • Monothematic (S2 based on same melody as S1 but in dominant as expected)
  • Development explores related minor keys of B minor, E minor, C# minor, and is based on bars 3 and 4 of first subject → varies the thematic material each time it is heard e.g. false start and imitative texture
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3
Q

Haydn 104 - Second movements/Slow movements

A
  • Slow intro in tonic minor
  • Monothematic (S2 based on same melody as S1 but in dominant as expected)
  • Development explores related minor keys of B minor, E minor, C# minor, and is based on bars 3 and 4 of first subject → varies the thematic material each time it is heard e.g. false start and imitative texture
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4
Q

Haydn 104 - 3rd movements/dance forms

A
  • Keeps some aspects of what would make a typical minuet and trio and cleverly adds some changes too.
  • 3rd mov - rhythm and metre (3/4) typical of traditional minuet and trio + use of on beat crotchets and quavers made it appealing to dance to
  • Accents on 3rd beats
  • Trio is in Bb major (unusual) - necessitates link section for minuet repeat in tonic.
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5
Q

Haydn 104 - 4th movements

A
  • Sonata form but S2 is just S1 in the dominant key.
  • Monothematic
  • Melody is simple and functional (based off D major scale) and very conjunct
  • This movement has many elements of folk music in it, such as a solo bass drone and strong accented notes which create a ‘stamp stamp’ motif.
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6
Q

Haydn 104 - Melodic writing

A
  • By his final symphonies, melodies became simpler (e.g. Haydn 104). Monothematicism seen across final few works.
  • Final mvt of Haydn 104 in sonata form but S2 is just S1 in the dominant key. Melody is simple and functional (based off D major scale) and very conjunct
  • Regular phrase lengths e.g. S1 is 8 bars antecedent + consequent phrasing
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7
Q

Haydn 104 - Harmony and tonality

A
  • Haydn’s use of harmony and tonality are entirely functional in keeping with the mature classical style. Structure is defined by key, and modulations move to a key which is directly connected to the key before through the dominant tonic relationship.
  • The most adventurous use of tonality is where he arrives at Db major in the middle of the final section of the 2nd movement → to go back to tonic, shifts enharmonically to C#minor, then through a sequence of cadences using diminished chords
  • Trio is in Bb major (unusual) - necesitates link section for minuet repeat in tonic.
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8
Q

Haydn 104 - Rhythm and metre

A

Still 1 time signature per mvt
Very similar stylistically to Stamitz, clarity + balance of phrase lengths and rhythms.
Opening double dotted motif creates drama and a sense of grandeur – calling the audience to attention.
Haydn likes to emphasise the off beat with sforzando markings e.g. bar 2 second movement.
Multiple rhythmic variations in the second movement including dotted rhythms and sextuplet rhythms.
Hemiola section in the 3rd movement bar 203-24 – (hemiolas were typical in baroque music at cadence points.)

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9
Q

Haydn 104 - Folk and nationalism

A
  • Haydn’s 104th symphony - drone on D at the beginning of the fourth movement above which is a simple folk like 4 bar melody with a narrow range. There is a recurring motif in the 4th movement of 2 accented crotchets
  • The 3rd movement has a strongly accented 3rd beat in the manner of a folk dance, even though it is ostensibly a minuet.
  • There is speculation that the first movement melody originated as a Croatian folk melody ‘Jelena jelena’.
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10
Q

Haydn 104 - Orchestration and texture

A
  • Standard classical orchetra
  • String section carry most of material - typical
  • Also typical is the way that he contrasts the denser and lighter textures throughout. The opening Adagio section is a good example of this: tutti dramatic opening followed by contrasting quiet strings and bassoon
  • There are moments where he only uses ww for contrast e.g. 2nd mv bars 114-117
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