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Symphony 100 In G 'military'/Allegretto
Franz Joseph Haydn Lyrics


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Most interesting comments from YouTube:

@marcogiorgio6930

Movement 3: Menuetto/Menuet 15:12
Minuet
a
15:12 - 15:36 (Bar 1-16)
- G major
- Starts with an anacrusis (up-beat)
- Motifs heard in First Violins
- End on perfect cadence in G (V-I)
b
15:36 - 15:53 (Bar 16-27)
- G Major, D Major
- Starts with descending sequence
- In D Major at bar 22 (C# added)
- End b on a perfect cadence in D (V-I) A major to D Major bars 27-28
Link
15:53 - 16:16 (Bar 27-42)
- D Major - Pedal passage
- Notice the dominant pedal (D) in the timpani from bars 28-35
- Hemiola in Bars 29-31 (Bar-lines feel displaced)
a
16:16 - 16:37 (Bars 42-56)
- G major (repeat of the opening)

Once this a section finished, Haydn repeats b, the Link, and a (16:37 - 17:38)

Trio
c
17:38 - 18:03 (Bar 56-64)
- G Major
- 4 bar phrases x2
- Feels syncopated
- This section is repeated
d
18:03 - 18:17 (Bar 64-72)
- G Major, D Major, G Minor
- Military Reference bar 68
- Pedal of D in timp. over a G minor harmonic scale (flattened 3rd, sharpen 7th)
- Ends on D a bar 72
c
18:17 - 18:30
- G Major
- Repeats c
- Only difference that it ends with an ascending major scale leading to V-I (D-G)

Menuet da Capo 18:30

Minuet 18:30 - 20:22
- Minuet is played through once.



@choralpracticerecordings9869

1st Movement:

0:06 - Slow Introduction - starts in G Major

Exposition:
1:58 - 1st Subject - starts in G major
2:54 - first (repeat of 1st subject but in dominant key) 2nd Subject - starts in D major
3:16 - second (new) 2nd Subject - starts in D major
3:33 - Codetta - starts in D major - finishes perfect cadence in D major
{repeat}

Development:
5:44 - Development (modulates through lots of different keys) -starts in Bb Major

Recapitulation:
7:10 - 1st Subject - starts in G major
7:36 - 2nd Subject - starts in G major
8:28 - Coda - starts in G major


2nd Movement:

8:47 - A section - starts in C major
10:47 - B section - starts in C minor
12:00 - A' Section - starts in C major
14:01 - Coda - starts in C major



@guthix4764

Introduction
00:00 - 01:58 (Bar 1 - 23)
- Slow introduction in G major

Exposition
01:59 - 02:15 (Bar 24-39)
- First subject in G major
02:16 - 02:55 (Bar 39-74)
- Transition from G major to D major
02:56 - 03:32 (Bar 75-108)
- Second subject in D major, briefly in D minor and back to D major
03:33 - 03:50 (Bar 108-124)
- Codetta in D major

Development
05:43 - 07:10 (Bar 125-201)
- B flat major – D minor – E minor – F major – E minor – D major (V in G)

Recapitulation
07:11 - 07:28 (Bar 202-217)
- First subject in G major
07:29 - 07:36 (Bar 218-226)
- Transition in G major
07:37 - 08:27 (Bar 226 -272)
- Second subject in G major – E flat major – D major (V in G)

Coda
08:28 - 08:50 (Bar 273-289)
- Coda in G major


2nd movement
08:51 - 10:47 (Bar 1 - 56)
- Section A in C major
10:48 - 11:58 (Bar 57 - 91)
- Section B in C minor – E flat major – C minor
11:59 - 14:02 (Bar 92-152)
- Section A in C major
14:03 - 15:07 (Bar 152-186)
- Coda in C major – A flat major – C major



@elaineblackhurst1509

@@korhonenmikko
You’re quite right that the use of a trumpet fanfare - actually an Austrian army military call - was not uncommon.

What was unusual was the way it was worked into a movement that was Haydn’s biggest hit symphony whilst in England.

The reason for this, as recorded in the spectacular London newspaper reviews, was that the movement tuned into - absolutely and completely - the fears of a nation under a serious war threat from revolutionary France*.
Up to Trafalgar in 1805, there was a real danger of invasion, and it was probably the biggest threat as such to the security of the British Isles between the Spanish Armada in 1588, and the German Luftwaffe of 1940.

It is this historical context that actually makes the trumpet call rather more original than you suggest.

* Haydn was well aware of the war situation; he had seen thousands of French prisoners on a trip to review warships in Portsmouth, and on his return to Vienna in August 1795, rather than take the normal shorter route across the English Channel to Calais, had had to take the longer North Sea crossing to Hamburg.



@eduardpratama2390

Movement 4

EXPOSITION

A
1st subject (bar 0-49) 20:25 - 21:52
- G major, E minor, D minor, D major, G major, V7 in D major
- Bar 25 - 26 perfect cadence on D
- Imitation
- Pedal on D
Transition (Bar 49 - 66) 21:52 - 22:08
- V7 broken chord on D

B
2nd subject (Bar 67-97) 22:08 - 22:37
- D major
- starts with 1st subject in dominant
- wind & string staccato
- 2nd subject idea: octave leap & grace note
Codetta (Bar 98 - 116) 22:37 - 22:52
- Octave leaps
- Chromaticism
- ends in alternating tonic and dominant chord on D major


DEVELOPMENT

C (Bar 117-216) 22:54 - 24:25
- D major, D minor, F major, C major, Ab major, Db major, C# minor, E major, E minor, V7 in G major
- starts with 2nd part of 2nd subject
- Imitations
- Inversion
- Perfect Cadence on Db major 23:30
- Modal shift Db major to Db minor, but using enharmonic C# minor
- Perfect cadence on E major 23:47


RECAPITULATION

A First subject (Bar 217-234) 24:25 - 24:41

B Second subject (Bar 234-303) 24:41 - 25:41
- triangle and cymbal

A (Bar 303-334) 25:41 - end



@elaineblackhurst1509

⁠@@miguelsuarez8010
Most composers had humorous moments, my point is that Haydn was no different from any other and that he seems to be the only composer where it’s highlighted even when it doesn’t exist as in two further examples you quote.

Haydn was clear when asked about the ‘Surprise’ moment that it was a special effect, whilst the exiting musicians at the end of the ‘Farewell’ symphony (1772) is a moment of incredible poignancy and power as it is the apotheosis and final - and only - resolution of the music in the entire work into an ethereal F# major in what is the single greatest work of through-composition and cyclic integration before Beethoven’s 5th (1808).

The pantomime of the exiting musicians is not supposed to be funny and is a distraction from what is going on musically in one of the greatest symphonies of the 18th century.

Much of the so-called humour in Haydn is actually better described as playful ingenuity, the rest being derived from opera buffa; then there are a few genuine humorous bits as well like any other composer.

The Eszterhazy princes paid a fortune for their musical establishment - they were the wealthiest aristocratic family in the Habsburg empire - and Prince Paul Anton and Prince Nicholas (Haydn’s employers from 1761-1790) were sophisticated men of education who had a passion for music; they did not waste that money on someone you have dismissed and devalued as ‘…a prankster’.

The surprising and unexpected bassoon entry in Symphony 93 is no more crude or funny than Mendelssohn’s braying donkeys his Midsummer Night’s Dream overture or any number of similar prankster moments you find in music.

There is humour in Haydn, but overstating the point caricatures the composer, and - like the ‘Farewell’ example noted above - usually leads one to miss the point.



All comments from YouTube:

@sniffers6600

absolutely love seeing everyone here before music GCSEs

@JustanAsianGuyVietnam

Yessirr!

@advikanair_

heyy i’m new to this syllabus, can someone help me understand what we’re gonna be asked to do for this piece? 😭

@sniffers6600

hey!! >:) I recently did the may/june gcse music examination and here's some info about it ( fyi, the syllabus that my batch got was movement 1 and 2, but if I'm not mistaken the new batch has to do movement 3 and 4. so do check on that with your teacher )

- the paper asked about key changes, type of cadences in different highlighted parts and just general theory stuff about the extract of the piece played
- they will DEFINITELY ask you what section and/or what movement the extract played is from, so do memorise the names of each section + what they sound like
- something that appeared in my paper which didn't appear in all the past papers I've done is "how does the extract show features of the French Baroque?" ad if I remember correctly, the answer had something to do with its rhythm??? I forgot so pls ask your teacher about it HAHAH
- they will most likely ask you general info about the piece: when and where this piece was performed in, why the piece was named "Military" etc. so do read up on that

I believe that's about it, if you have any other inquiries or if you need notes ( movement 1 and 2 only + general info about the piece ) do feel free to email me ( jaymielww@gmail.com ) or dm me on instagram ( @jehmeheh ). have a great day and all the best in your exams!!

@calamondin8918

@@sniffers6600 ahhhhhh omg tysm, ive got mocks in ab 3 weeks and didnt get any of this in class, thanks for the info:)

@4nnikki

musik student cris in pAiN

11 More Replies...

@hellofromtheotherside6045

I'm playing this for symphony orchestra at school as bassoon. This helped a lot, thanks!

@marcogiorgio6930

Movement 3: Menuetto/Menuet 15:12
Minuet
a
15:12 - 15:36 (Bar 1-16)
- G major
- Starts with an anacrusis (up-beat)
- Motifs heard in First Violins
- End on perfect cadence in G (V-I)
b
15:36 - 15:53 (Bar 16-27)
- G Major, D Major
- Starts with descending sequence
- In D Major at bar 22 (C# added)
- End b on a perfect cadence in D (V-I) A major to D Major bars 27-28
Link
15:53 - 16:16 (Bar 27-42)
- D Major - Pedal passage
- Notice the dominant pedal (D) in the timpani from bars 28-35
- Hemiola in Bars 29-31 (Bar-lines feel displaced)
a
16:16 - 16:37 (Bars 42-56)
- G major (repeat of the opening)

Once this a section finished, Haydn repeats b, the Link, and a (16:37 - 17:38)

Trio
c
17:38 - 18:03 (Bar 56-64)
- G Major
- 4 bar phrases x2
- Feels syncopated
- This section is repeated
d
18:03 - 18:17 (Bar 64-72)
- G Major, D Major, G Minor
- Military Reference bar 68
- Pedal of D in timp. over a G minor harmonic scale (flattened 3rd, sharpen 7th)
- Ends on D a bar 72
c
18:17 - 18:30
- G Major
- Repeats c
- Only difference that it ends with an ascending major scale leading to V-I (D-G)

Menuet da Capo 18:30

Minuet 18:30 - 20:22
- Minuet is played through once.

@staticgirl830

Do you have one for the 4th Movement?

@choralpracticerecordings9869

1st Movement:

0:06 - Slow Introduction - starts in G Major

Exposition:
1:58 - 1st Subject - starts in G major
2:54 - first (repeat of 1st subject but in dominant key) 2nd Subject - starts in D major
3:16 - second (new) 2nd Subject - starts in D major
3:33 - Codetta - starts in D major - finishes perfect cadence in D major
{repeat}

Development:
5:44 - Development (modulates through lots of different keys) -starts in Bb Major

Recapitulation:
7:10 - 1st Subject - starts in G major
7:36 - 2nd Subject - starts in G major
8:28 - Coda - starts in G major


2nd Movement:

8:47 - A section - starts in C major
10:47 - B section - starts in C minor
12:00 - A' Section - starts in C major
14:01 - Coda - starts in C major

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