Haydn Symphony 104

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Haydn

  • 1732- 1809
  • One of the 'Great Classical Composers' with Mozart and Beethoven
  • Known as 'The Father of the Symphony'
  • 1761 appointedat the court of Prince Esterhazy which forced him to work in isolation so he had to be creative in his writing
  • Offered various commisions eg. the LONDON SYMPHONIES
  • Showed growth of stylistic development between the first and last symphonies
  • 'Invented' the string quartet
  • Influenced Mozart, Beethoven, Schubert, Mendelssohn and Brahms
  • Wrote Symphony 104 in 1795
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Structure

  • Introduction BARS 1-16
  • Exposition BARS 17-123
  • Subject 1 BARS 17-49
  • Transition passage BARS 50-64
  • Subject 2 BARS 65-98
  • Codetta BARS 99- 123
  • Development BARS 124- 192
  • Recapitulation BARS 193-276
  • Subject 1 BARS 193-207
  • Transition passage BARS 208- 246
  • Subject 2 BARS 247- 276
  • Codetta BAR 266
  • Coda BARS 277-294
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Sonata Form

  • Usually Allegro
  • Preceded by a slow introduction
  • In the tonic key of the symphony
  • Organised by EXPOSITION, DEVELOPMENT and RECAPITUALTION
  • Also includes a coda
  • In the introduction section, two themes are explored
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Introduction Bars 1- 16

  • Adagio
  • Fanfare motif - unison tutti and ff on tonic and dominant notes, reflected downwards in bar 2
  • Ambiguous openeing- is it major or minor?
  • Bar 3- answering phrase in strings and first bassoon         - contrast in dynamics, instrumentation and texture
            - narrower pitch range                                                                                                   - movement is conjunct but double-dotted rhythm remains                                           - now in D minor    
  • Bar 5- fanfare motif heard in relative major (F) but no brass
  • Bar 9 - 5 bars of string idea with a flute from bar 12                                                                - rising harmonic sequence
  • Bar 14- return of fanfare from the beginning but it is cut short          - drops to after 1 bar                                                                                    - resolves to subdominant, followed by Neapolitan chord followed by an imperfect cadence, above which is the oboe melody
  • Concludes with a 1 bar pause
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Exposition- First Subject Bars 17-49

  • Played by strings
  • 16 bar theme that divides into 8+8 (periodic phrasing)
  • First phrase ends with an imperfect cadence and second ends with perfect cadence
  • Conjunct movement
  • Mid-range pitch
  • Bar 32 - D major semiquaver patterns supported by 8 bar tonic pedal with brass
  • Bar 40- move to submedient chord with chromaticism
  • Bar 42-43 - scalic crotchets are augmented forms of bar 18
  •                 - semiquaver patterning
  •                 - fast harmonic change
  •                 - more active bass line
  • Concludes with D major perfect cadence bar 50
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Exposition- Transition Passage Bars 50-64

  • Built on repeated notes of bar 19 (Sub. 1)
  • Start of key change (G#)
  • Moves to dominant key of A major
  • Bass rises to E pedal at bar 57 which is the dominant of the dominant
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Exposition- Second Subject Bars 65-98

  • Dominant A major- same theme repeated = MONOTHEMATICISM
  • Bars 65-76 - same as 17-28 but additional woodwind and rearranged orchestration
  • Bar 73-79 - harmony becomes more chromatic and uses imitative counterpoint (includes dominant 7th chord)
  • Second section at bar 80 - dominant 7th resolves to interrupted cadences
  •                                      - dependent on quaver passages
  •                                      - lower strings play syncopated descending stepwise line
  • Tutti passage bar 86- similar to 32
  •                               -  melody spirals downwards in broken chord fashion
  •                               - unison C# bar 90
  • Bar 98- perfect cadence in A major
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Exposition Codetta Bars 99-123

  • Rounds off exposition
  • 100-112 introduces new material = triadic motif
  • Move to F# minor bar 109 then E majojr bar 111
  • Exposition then repeated
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Development Process 1- bars 124-145

  • Develops bars 3+4 of Sub.1 - sequential imitation
  •                                          - varied registers and instruments
  •                                          - B minor
  • Bar 132- flutes and oboes enter, followed by clarinets, bassoons and brass in bar 137
  • Increased chromaticism and rate of harmonic changes
  • Aversion of cadential definition
  • Bar 137- tutti ff passage in polyphony
  •            - clarinets, bassoons and oboe play bar 2 of sub. 1 while strings play quavers
  •            - violin 1 syncopated
  • Modulates to C# minor bar 145
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Development Process 2 - bars 145- 155

  • Scored for upper strings
  • Violins develop codetta
  • 2nd violins continue oscilating quaver passage
  • Bar 150 starts a circle of fifths in descending sequence
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Development Process 3 - Bars 155- 179

  • Bar 155- change to major tutti ff
  •            -  rhythmic diminution of bar 105
  • Bar 159- extension of bar 18
  • Syncopation bar 164
  • Bar 19-20 - developed in bar 166 by overlapping and changing orchestration, also in E minor
  •                - developed through sequencing and diminution
  • Bar 170 - E minor augmented 6th
  •             - timpani joins
  • Resolves to F# major bar 174 with pedal note which is preparation for B minor, which is the relative minor of D major
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Development Process 4 - Bars 179- 192

  • Second fig. of Sub.1 heard in brass, strings and woodwind, but not exact
  • Violin 1- more quaver patterns
  • Bars 183-4 - ascending bass scale to reach pedal A for 8 bars (dominant of home key)
  • Ascending and descending 4-note patterns all link to Sub.1
  • Pause before recapitualtion
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Recapitualtion - Sub. 1 Bars 193-207

  • 193-200 = same as bars 17-24
  • 201-207 = flute 1 and oboes, with melody in oboe 2 and oboe 1 and flute playing harmonised descant
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Recapitualtion - Transition Passage Bars 208-246

  • Bars 208-221 = same as 32-45
  • Bar 216 - violin melody octave higher
  • Bar 222 - quaver motif extended and harmony based on circle of fifths, with suspensions in woodwind and violin 1 staccato decoration
  • Bar 224 - harmonic rate of change increases; diatonic ascending scalic movement
  • Bar 228 - new tutti ff development with quaver bass
  • Hesitant bar 237
  • Finishes with 2 silent bars
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Recapitualtion - Sub. 2 Bars 147- 276

  • Development of Sub. 1 with antiphony between oboes and violins
  • Thematic content in flute 1
  • Bar 257 - as bar 80 but in tonic key and shortened
  • Bar 266 - return of closing exposition theme as in bar 99 but in tonic key and shorter
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Coda 277- 294

  • Rounds off
  • f played tutti
  • Similar to Sub. 1
  • Ends with scalic arpeggiated  repeated notes
  • Ends with perfect cadence in D major
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Comments

Ellie Warlow

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To anyone who uses this resource, please be aware that for some reason the slides re-organise themselves so that they're not in any logical order. No matter how often I sort them it just doesn't work. 

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