Download Haydn Symphony no 100 detailed analysis

Haydn Symphony no 100 – analysis
Background information
Haydn was born in Austria in 1732. He left for London in 1790. In London, he had an
opportunity to work with a large orchestra. In 1792, he returned to Vienna.
In 1794, went to London again where he wrote symphonies no 99-104. All Haydn’s works
were organised into a catalogue by Hoboken who gave them numbers. Haydn’s Military
symphony’s number is Hob I:100.
Haydn is known as ‘the father of Symphony’ (a type of large-scale or four-movement
orchestral composition) as he wrote 104 published symphonies – many more than any
other major composer.
Haydn’s symphony was first performed in 1794 in London to rapturous applause.
It was known as the ‘Military’ due to its use of ‘Turkish’ instruments and the 2nd and 4th
movements – the triangle, bass drum and cymbals, as well as trumpet and timpani fanfare
in the 2nd movement.
The 2nd movement is a re-orchestrated version of the movement from the 3rd concerto for
the Hurdy-gurdy (a type of string instrument).
Overall, the symphony consists of four contrasting movements (parts). You are expected to
analyse only the 1st and the 2nd one.
The overall key of the piece is G-major, which is also the key of the 1st movement.
The 2nd movement is in the key of C-major (subdominant of G-major).
The form (or structure of the 1st movement is Sonata-Allegro form with a slow tempo
Introduction section).
The form of the 2nd movement is ternary ABA with Coda (extended ending).
Movement 1
Bar
number
1-23
Section of the
overall Sonata
form
Slow
Introduction
Themes/subject within
sections
Key
Introduction
G-major
Musical details



The opening 13 bars feature
mostly strings, with
occasional bassoon
accompaniment.
The opening seven notes
outline the first four bars of
the 1st subject in the
Exposition
Bars 5-8, repeats the
opening melody but
modulated to the key of Dmajor (Dominant) in bar 8.





24-124
Exposition
First subject (or theme)
Bars 24-39
G-major



Transition
Bars 39-74
125-201
Development
Bars 9-10, there is a
descending sequence in the
key of A-minor followed by
C-minor.
Bar 14 – 1st tutti (whole
orchestra plays) with rapid
crescendo moving from Gminor to C-minor.
Bar 17, E-flat major, new
music pianissimo (very soft)
Bar 18, - Augmented 6th
chord used (German 6th),
consisting of Eb-Bb-G-C#.
From bar 19, Dominant
pedal (repeated note),
Diminished chords alternate
with Dominant or V chords.
Change of tempo – from
slow to fast
Played by Flutes and Oboes
only.
From bar 32, the same
theme repeated by strings
Tutti – whole orchestra
Forte – loud
Tonic pedal – repeated note in low
strings
Bars 58-61, descending sequence
Subject 2
Bars 75-108
D-major,
Dominant
Codetta
Bars 108-124
D-major
Changes
many
times
Contains two themes
1. The theme of subject 1
repeated in D-major key
In Bar 87, the theme is
played in D-minor with some
changes
2. 2nd theme – new, bats 94107. Melody is played by 1st
violins and accompanied by
pizzicato (plucked) cellos
and double-basses.
Based on the extended version of
the 2nd theme of the 2nd subject.
Opens in B-flat major with the
melody of the 2nd theme of the 2nd
subject
Bar 134, bassoon plays augmented
(longer notes) rocking quaver motif
Bar 139, Augmented 6th chord
Bar 142, monophonic texture
episode with timpani rolls in Dminor, based on the minor second
motif from the 2nd subject.
201-272
Recapitulation
(restatement
of the
exposition
with changes
of the key)
1st Subject
G-major
Transition
G-major,
Does not
modulate
G-major
2nd Subjects
Bars 226-272
273-289
Coda
G-major
In bars 147-158, is a repeated of
bars 134-146 but in the different
key of E-minor – one step higher.
It is identical to bars 24-31 of the
Exposition.
However, the part played by the
strings (2nd phrase) is played tutti.
Shortened, tutti
Only the 2nd theme – new themewas used
Similar to Codetta at the end of the
Exposition
Movement 2 – C-major
Allegretto (fairly fast but less fast than Allegro)
Ternary form ABA with Coda
Bar numbers
1-56
Section of the overall
ternary form ABA
Section A
Key
Musical details
C-major
Alla breve or 2/2 cut time
indicating that it is faster and
should have a 2-in-a-bar-feel.
The opening 8-bar theme begins
with the melody played by Flute
and 1st violins in unison,
accompanied by the strings,
including divided (divisi) violas.
From bar 3, violas double the
melody a third lower.
The harmony of the first 8 bars
uses only tonic, dominant and
subdominant – primary chords
ending with imperfect cadence.
57-91
Section B – ‘Turkish section’
C-minor
Tutti – whole orchestra, with
drums. The melody derived from
the section A .
92-239
Section A (repeat)
C-major
Significant changes of
orchestration.
The opening 8-bar theme is played
by oboes, clarinets, bassoons,
horns and strings.
Strings play pizzicato
accompaniment.
Bar 100, Turkish section come
back.
152-186
Coda – extended ending
Begins with a trumpet fanfare
(signal music), followed by
timpani roll, emphasizing Military
nature of the movement.
Bar 161, unexpected modulation
to a distant key of A-flat major.
From bar 174 – final tutti with all
Turkish instruments.