Symphony No. 100 in G Major, Hob.I:100, "Military": IV. Finale: Presto
Joseph Haydn (31 March or 1 April 1732–31 May 1809) was a leading composer of … Read Full Bio ↴Joseph Haydn (31 March or 1 April 1732–31 May 1809) was a leading composer of the Classical period, called the "Father of the Symphony" and "Father of the String Quartet".
The name "Franz" was not used in the composer's lifetime; scholars, along with an increasing number of music publishers and recording companies, now use the historically more accurate form of his name, rendered in English as "Joseph Haydn".
A life-long resident of Austria, Haydn spent most of his career as a court musician for the wealthy Eszterházy family on their remote estate. Being isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer at the court of Archbishop-Prince Hieronymous von Colloredo who also had in his employ Wolfgang Amadeus Mozart and father Leopold Mozart. Haydn had a third brother, Johann Evangelist Haydn, a tenor singer.
Joseph Haydn was born in 1732 in Rohrau, Austria village near the Hungarian border. His father was Matthias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music. However, Matthias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbors.
Haydn's parents were perceptive enough to notice that their son was musically talented and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Franck, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Franck in his home to train as a musician. Haydn thus went off with Franck to Hainburg (ten miles away) and never again lived with his parents. At the time he was not quite six.
Life in the Franck household was not easy for Haydn, who later remembered being frequently hungry as well as constantly humiliated by the filthy state of his clothing. However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing soprano parts in the church choir.
There is reason to think that Haydn's singing impressed those who heard him, because two years later (1740), he was brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who was touring the provinces looking for talented choirboys. Haydn passed his audition with Reutter, and soon moved off to Vienna, where he worked for the next nine years as a chorister, the last four in the company of his younger brother Michael.
Like Franck before him, Reutter didn't always bother to make sure Haydn was properly fed. The young Haydn greatly looked forward to performances before aristocratic audiences, where the singers sometimes had the opportunity to satisfy their hunger by devouring the refreshments. Reutter also did little to further his choristers' musical education. However, St. Stephen's was at the time one of the leading, musical centers in Europe, where new music by leading composers was constantly being performed. Haydn was able to learn a great deal by osmosis simply by serving as a professional musician there.
In 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. On a weak pretext, he was summarily dismissed from his job. He evidently spent one night homeless on a park bench, but was taken in by friends and began to pursue a career as a freelance musician. During this arduous period, which lasted ten years, Haydn worked many different jobs, including valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He laboured to fill the gaps in his training, and eventually wrote his first string quartets and his first opera. During this time Haydn's professional reputation gradually increased.
In 1759, or 1757 according to the New Grove Encyclopedia, Haydn received his first important position, that of Kapellmeister (music director) for Count Karl von Morzin. In this capacity, he directed the count's small orchestra, and for this ensemble wrote his first symphonies. Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as assistant Kapellmeister to the Eszterházy family, one of the wealthiest and most important in the Austrian Empire. When the old Kapellmeister, Gregor Werner, died in 1766, Haydn was elevated to full Kapellmeister.
As a liveried servant of the Eszterházys, Haydn followed them as they moved among their three main residences: the family seat in Eisenstadt, their winter palace in Vienna, and Eszterháza, a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and eventually the mounting of operatic productions. Despite the backbreaking workload, Haydn considered himself fortunate to have his job. The Eszterházy princes (first Paul Anton, then most importantly Nikolaus I) were musical connoisseurs who appreciated his work and gave him the conditions needed for his artistic development, including daily access to his own small orchestra.
In 1760, with the security of a Kapellmeister position, Haydn married. He and his wife, the former Maria Anna Keller, did not get along, and they produced no children. Haydn may have had one or more children with Luigia Polzelli, a singer in the Eszterházy establishment with whom he carried on a long-term love affair, and often wrote to on his travels.
During the nearly thirty years that Haydn worked in the Eszterházy household, he produced a flood of compositions, and his musical style became ever more developed. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the Paris symphonies (1785–6) and the original orchestral version of The Seven Last Words of Christ (1786), were commissions from abroad.
Around 1781 Haydn established a friendship with Mozart, whose work he had already been influencing by example for many years. According to later testimony by Stephen Storace, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work, and in various ways tried to help the younger composer. During the years 1782 to 1785, Mozart wrote a set of string quartets thought to be inspired by Haydn's Opus 33 series. On completion he dedicated them to Haydn, a very unusual thing to do at a time when dedicatees were usually aristocrats. The extremely close 'brotherly' Mozart-Haydn connection may be an expression of Freemasonic sympathies as well: Mozart and Haydn were members of the same Masonic lodge. Mozart joined in 1784 in the middle of writing those string quartets subsequently dedicated to his Masonic brother Haydn. This lodge was a specifically Catholic rather than a deistic one.
In 1789, Haydn developed another friendship with Maria Anna von Genzinger (1750–93), the wife of Prince Nicolaus's personal physician in Vienna. Their relationship, documented in Haydn's letters, was evidently intense but platonic. The letters express Haydn's sense of loneliness and melancholy at his long isolation at Eszterháza. Genzinger's premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, which are unusual in Haydn's work for their tone of impassioned tragedy, may have been written as response to her death.
The London journeys
In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical establishment and put Haydn on a pension. Thus freed of his obligations, Haydn was able to accept a lucrative offer from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large orchestra.
The visit (1791-2), along with a repeat visit (1794-5), was a huge success. Audiences flocked to Haydn's concerts, and he quickly achieved wealth and fame: one review called him "incomparable." Musically, the visits to England generated some of Haydn's best-known work, including the Surprise, Military, Drumroll, and London symphonies, the Rider quartet, and the Gypsy Rondo piano trio.
The only misstep in the venture was an opera, L'anima del filosofo, which Haydn was contracted to compose, and paid a substantial sum of money for. Only one aria was sung at the time, and 11 numbers were published; the entire opera was not performed until 1950.
Final years in Vienna
Haydn actually considered becoming an English citizen and settling permanently, as composers such as Handel had before him, but decided on a different course. He returned to Vienna, had a large house built for himself, and turned to the composition of large religious works for chorus and orchestra. These include his two great oratorios The Creation and The Seasons and six masses for the Eszterházy family, which by this time was once again headed by a musically-inclined prince. Haydn also composed the last nine in his long series of string quartets, including the Emperor, Sunrise, and Fifths quartets. Despite his increasing age, Haydn looked to the future, exclaiming once in a letter, "how much remains to be done in this glorious art!"
In 1802, Haydn found that an illness from which he had been suffering for some time had increased greatly in severity to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they cannot have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing Gott erhalte Franz den Kaiser, which he had composed himself as a patriotic gesture in 1797. This melody later became used for the Austrian and German national anthems, and is the national anthem of the Federal Republic of Germany.
Haydn died in 1809 following an attack on Vienna by the French army under Napoleon. Among his last words was his attempt to calm and reassure his servants as cannon shots fell on the neighbourhood.
Character and appearance
Haydn was known among his contemporaries for his kindly, optimistic, and congenial personality. He had a robust sense of humour, evident in his love of practical jokes and often apparent in his music. He was particularly respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn.
Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. When he finished a composition, he would write "Laus deo" ("praise be to God") or some similar expression at the end of the manuscript. His favourite hobbies were hunting and fishing.
Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. Like many in his day, he was a survivor of smallpox and his face was pitted with the scars of this disease. Haydn was quite surprised when women flocked to him during his London visits as he did not consider himself to be handsome.
About a dozen portraits of Haydn exist, although they disagree sufficiently that, other than what is noted above, we would have little idea what Haydn looked like were it not also for the existence of a lifelike wax bust and Haydn's death mask. Both are in the Haydnhaus in Vienna, a museum dedicated to the composer. All but one of the portraits show Haydn wearing the grey powdered wig fashionable for men in the 18th century, and from the one exception we learn that Haydn was bald in adulthood.
Works
Haydn is often described as the "father" of the classical symphony and string quartet. In fact, the symphony was already a well-established form before Haydn began his compositional career, with distinguished examples by Carl Philip Emmanuel Bach among others, but Haydn's symphonies are the earliest to remain in "standard" repertoire. His parenthood of the string quartet, however, is beyond doubt: he essentially invented this medium singlehandedly. He also wrote many piano sonatas, piano trios, divertimentos and masses, which became the foundation for the Classical style in these compositional types. He also wrote other types of chamber music, as well as operas and concerti, although such compositions are now less known. Although other composers were prominent in the earlier Classical period, notably C.P.E. Bach in the field of the keyboard sonata (the harpsichord and clavichord were equally popular with the piano in this era) and J.C. Bach and Leopold Mozart in the symphony, Haydn was undoubtedly the strongest overall influence on musical style in this era.
The development of sonata form into a subtle and flexible mode of musical expression, which became the dominant force in Classical musical thought, owed most to Haydn and those who followed his ideas. His sense of formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic, (see sonata rondo form). Haydn was also the principal exponent of the double variation form, that is variations on two alternating themes, which are often major and minor mode versions of each other.
The name "Franz" was not used in the composer's lifetime; scholars, along with an increasing number of music publishers and recording companies, now use the historically more accurate form of his name, rendered in English as "Joseph Haydn".
A life-long resident of Austria, Haydn spent most of his career as a court musician for the wealthy Eszterházy family on their remote estate. Being isolated from other composers and trends in music until the later part of his long life, he was, as he put it, "forced to become original".
Joseph Haydn was the brother of Michael Haydn, himself a highly regarded composer at the court of Archbishop-Prince Hieronymous von Colloredo who also had in his employ Wolfgang Amadeus Mozart and father Leopold Mozart. Haydn had a third brother, Johann Evangelist Haydn, a tenor singer.
Joseph Haydn was born in 1732 in Rohrau, Austria village near the Hungarian border. His father was Matthias Haydn, a wheelwright who also served as "Marktrichter", an office akin to village mayor. Haydn's mother, the former Maria Koller, had previously worked as a cook in the palace of Count Harrach, the presiding aristocrat of Rohrau. Neither parent could read music. However, Matthias was an enthusiastic folk musician, who during the journeyman period of his career had taught himself to play the harp. According to Haydn's later reminiscences, his childhood family was extremely musical, and frequently sang together and with their neighbors.
Haydn's parents were perceptive enough to notice that their son was musically talented and knew that in Rohrau he would have no chance to obtain any serious musical training. It was for this reason that they accepted a proposal from their relative Johann Matthias Franck, the schoolmaster and choirmaster in Hainburg, that Haydn be apprenticed to Franck in his home to train as a musician. Haydn thus went off with Franck to Hainburg (ten miles away) and never again lived with his parents. At the time he was not quite six.
Life in the Franck household was not easy for Haydn, who later remembered being frequently hungry as well as constantly humiliated by the filthy state of his clothing. However, he did begin his musical training there, and soon was able to play both harpsichord and violin. The people of Hainburg were soon hearing him sing soprano parts in the church choir.
There is reason to think that Haydn's singing impressed those who heard him, because two years later (1740), he was brought to the attention of Georg von Reutter, the director of music in St. Stephen's Cathedral in Vienna, who was touring the provinces looking for talented choirboys. Haydn passed his audition with Reutter, and soon moved off to Vienna, where he worked for the next nine years as a chorister, the last four in the company of his younger brother Michael.
Like Franck before him, Reutter didn't always bother to make sure Haydn was properly fed. The young Haydn greatly looked forward to performances before aristocratic audiences, where the singers sometimes had the opportunity to satisfy their hunger by devouring the refreshments. Reutter also did little to further his choristers' musical education. However, St. Stephen's was at the time one of the leading, musical centers in Europe, where new music by leading composers was constantly being performed. Haydn was able to learn a great deal by osmosis simply by serving as a professional musician there.
In 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. On a weak pretext, he was summarily dismissed from his job. He evidently spent one night homeless on a park bench, but was taken in by friends and began to pursue a career as a freelance musician. During this arduous period, which lasted ten years, Haydn worked many different jobs, including valet–accompanist for the Italian composer Nicola Porpora, from whom he later said he learned "the true fundamentals of composition". He laboured to fill the gaps in his training, and eventually wrote his first string quartets and his first opera. During this time Haydn's professional reputation gradually increased.
In 1759, or 1757 according to the New Grove Encyclopedia, Haydn received his first important position, that of Kapellmeister (music director) for Count Karl von Morzin. In this capacity, he directed the count's small orchestra, and for this ensemble wrote his first symphonies. Count Morzin soon suffered financial reverses that forced him to dismiss his musical establishment, but Haydn was quickly offered a similar job (1761) as assistant Kapellmeister to the Eszterházy family, one of the wealthiest and most important in the Austrian Empire. When the old Kapellmeister, Gregor Werner, died in 1766, Haydn was elevated to full Kapellmeister.
As a liveried servant of the Eszterházys, Haydn followed them as they moved among their three main residences: the family seat in Eisenstadt, their winter palace in Vienna, and Eszterháza, a grand new palace built in rural Hungary in the 1760s. Haydn had a huge range of responsibilities, including composition, running the orchestra, playing chamber music for and with his patrons, and eventually the mounting of operatic productions. Despite the backbreaking workload, Haydn considered himself fortunate to have his job. The Eszterházy princes (first Paul Anton, then most importantly Nikolaus I) were musical connoisseurs who appreciated his work and gave him the conditions needed for his artistic development, including daily access to his own small orchestra.
In 1760, with the security of a Kapellmeister position, Haydn married. He and his wife, the former Maria Anna Keller, did not get along, and they produced no children. Haydn may have had one or more children with Luigia Polzelli, a singer in the Eszterházy establishment with whom he carried on a long-term love affair, and often wrote to on his travels.
During the nearly thirty years that Haydn worked in the Eszterházy household, he produced a flood of compositions, and his musical style became ever more developed. His popularity in the outside world also increased. Gradually, Haydn came to write as much for publication as for his employer, and several important works of this period, such as the Paris symphonies (1785–6) and the original orchestral version of The Seven Last Words of Christ (1786), were commissions from abroad.
Around 1781 Haydn established a friendship with Mozart, whose work he had already been influencing by example for many years. According to later testimony by Stephen Storace, the two composers occasionally played in string quartets together. Haydn was hugely impressed with Mozart's work, and in various ways tried to help the younger composer. During the years 1782 to 1785, Mozart wrote a set of string quartets thought to be inspired by Haydn's Opus 33 series. On completion he dedicated them to Haydn, a very unusual thing to do at a time when dedicatees were usually aristocrats. The extremely close 'brotherly' Mozart-Haydn connection may be an expression of Freemasonic sympathies as well: Mozart and Haydn were members of the same Masonic lodge. Mozart joined in 1784 in the middle of writing those string quartets subsequently dedicated to his Masonic brother Haydn. This lodge was a specifically Catholic rather than a deistic one.
In 1789, Haydn developed another friendship with Maria Anna von Genzinger (1750–93), the wife of Prince Nicolaus's personal physician in Vienna. Their relationship, documented in Haydn's letters, was evidently intense but platonic. The letters express Haydn's sense of loneliness and melancholy at his long isolation at Eszterháza. Genzinger's premature death in 1793 was a blow to Haydn, and his F minor variations for piano, Hob. XVII:6, which are unusual in Haydn's work for their tone of impassioned tragedy, may have been written as response to her death.
The London journeys
In 1790, Prince Nikolaus died and was succeeded by a thoroughly unmusical prince who dismissed the entire musical establishment and put Haydn on a pension. Thus freed of his obligations, Haydn was able to accept a lucrative offer from Johann Peter Salomon, a German impresario, to visit England and conduct new symphonies with a large orchestra.
The visit (1791-2), along with a repeat visit (1794-5), was a huge success. Audiences flocked to Haydn's concerts, and he quickly achieved wealth and fame: one review called him "incomparable." Musically, the visits to England generated some of Haydn's best-known work, including the Surprise, Military, Drumroll, and London symphonies, the Rider quartet, and the Gypsy Rondo piano trio.
The only misstep in the venture was an opera, L'anima del filosofo, which Haydn was contracted to compose, and paid a substantial sum of money for. Only one aria was sung at the time, and 11 numbers were published; the entire opera was not performed until 1950.
Final years in Vienna
Haydn actually considered becoming an English citizen and settling permanently, as composers such as Handel had before him, but decided on a different course. He returned to Vienna, had a large house built for himself, and turned to the composition of large religious works for chorus and orchestra. These include his two great oratorios The Creation and The Seasons and six masses for the Eszterházy family, which by this time was once again headed by a musically-inclined prince. Haydn also composed the last nine in his long series of string quartets, including the Emperor, Sunrise, and Fifths quartets. Despite his increasing age, Haydn looked to the future, exclaiming once in a letter, "how much remains to be done in this glorious art!"
In 1802, Haydn found that an illness from which he had been suffering for some time had increased greatly in severity to the point that he became physically unable to compose. This was doubtless very difficult for him because, as he acknowledged, the flow of fresh musical ideas waiting to be worked out as compositions did not cease. Haydn was well cared for by his servants, and he received many visitors and public honours during his last years, but they cannot have been very happy years for him. During his illness, Haydn often found solace by sitting at the piano and playing Gott erhalte Franz den Kaiser, which he had composed himself as a patriotic gesture in 1797. This melody later became used for the Austrian and German national anthems, and is the national anthem of the Federal Republic of Germany.
Haydn died in 1809 following an attack on Vienna by the French army under Napoleon. Among his last words was his attempt to calm and reassure his servants as cannon shots fell on the neighbourhood.
Character and appearance
Haydn was known among his contemporaries for his kindly, optimistic, and congenial personality. He had a robust sense of humour, evident in his love of practical jokes and often apparent in his music. He was particularly respected by the Eszterházy court musicians whom he supervised, as he maintained a cordial working atmosphere and effectively represented the musicians' interests with their employer; see Papa Haydn.
Haydn was a devout Catholic who often turned to his rosary when he had trouble composing, a practice that he usually found to be effective. When he finished a composition, he would write "Laus deo" ("praise be to God") or some similar expression at the end of the manuscript. His favourite hobbies were hunting and fishing.
Haydn was short in stature, perhaps as a result of having been underfed throughout most of his youth. Like many in his day, he was a survivor of smallpox and his face was pitted with the scars of this disease. Haydn was quite surprised when women flocked to him during his London visits as he did not consider himself to be handsome.
About a dozen portraits of Haydn exist, although they disagree sufficiently that, other than what is noted above, we would have little idea what Haydn looked like were it not also for the existence of a lifelike wax bust and Haydn's death mask. Both are in the Haydnhaus in Vienna, a museum dedicated to the composer. All but one of the portraits show Haydn wearing the grey powdered wig fashionable for men in the 18th century, and from the one exception we learn that Haydn was bald in adulthood.
Works
Haydn is often described as the "father" of the classical symphony and string quartet. In fact, the symphony was already a well-established form before Haydn began his compositional career, with distinguished examples by Carl Philip Emmanuel Bach among others, but Haydn's symphonies are the earliest to remain in "standard" repertoire. His parenthood of the string quartet, however, is beyond doubt: he essentially invented this medium singlehandedly. He also wrote many piano sonatas, piano trios, divertimentos and masses, which became the foundation for the Classical style in these compositional types. He also wrote other types of chamber music, as well as operas and concerti, although such compositions are now less known. Although other composers were prominent in the earlier Classical period, notably C.P.E. Bach in the field of the keyboard sonata (the harpsichord and clavichord were equally popular with the piano in this era) and J.C. Bach and Leopold Mozart in the symphony, Haydn was undoubtedly the strongest overall influence on musical style in this era.
The development of sonata form into a subtle and flexible mode of musical expression, which became the dominant force in Classical musical thought, owed most to Haydn and those who followed his ideas. His sense of formal inventiveness also led him to integrate the fugue into the classical style and to enrich the rondo form with more cohesive tonal logic, (see sonata rondo form). Haydn was also the principal exponent of the double variation form, that is variations on two alternating themes, which are often major and minor mode versions of each other.
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Symphony No. 100 in G Major Hob.I:100 "Military": IV. Finale: Presto
Franz Joseph Haydn Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
Marco Giorgio
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.
Eduard Pratama
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
Choral Practice Recordings
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
Guthix
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
Elaine Blackhurst
@Mikko Korhonen
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.
Marco Giorgio
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.
Static Girl
Do you have one for the 4th Movement?
HelloFromTheOtherSide
I'm playing this for symphony orchestra at school as bassoon. This helped a lot, thanks!
Eduard Pratama
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
Sachin Giri
Thanks for the help with help for our music igcses. You’re a true hero
Dominik Clarke
@Sachin Giri lol yes torturing myself by listening to this on repeat
star cookie
thank you soo muchhhh im having the exam tmr 😭
Dominik Clarke
@star cookie it was awful wtf hardest paper I've ever seen from cie. Brutal
star cookie
@Dominik Clarkefrr part D was horrible ;-;
Choral Practice Recordings
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