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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.