Haydn 104 Essay Points

Question 1

Haydn 104 - Overall form and style

Answer 1

• 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

Question 2

Haydn 104 - First movements

Answer 2

• 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

Question 3

Haydn 104 - Second movements/Slow movements

Answer 3

• 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

Question 4

Haydn 104 - 3rd movements/dance forms

Answer 4

• 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.

Question 5

Haydn 104 - 4th movements

Answer 5

• 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.

Question 6

Haydn 104 - Melodic writing

Answer 6

• 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

Question 7

Haydn 104 - Harmony and tonality

Answer 7

• 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.

Question 8

Haydn 104 - Rhythm and metre

Answer 8

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.)

Question 9

Haydn 104 - Folk and nationalism

Answer 9

• 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’.

Question 10

Haydn 104 - Orchestration and texture

Answer 10

• 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