Joseph Haydn's Symphony No. 94 Second Movement
Haydn's symphony no. 94 second movement
Joseph Haydn (1732-1809) was born in Rohrau. He was exposed to a lot of folk music when he was younger and this had an effect on his later style. His talents were soon discovered and at the age of 29 he started working for a wealthy family in Hungary, where he worked for almost 30 years. Haydn composed his works extremely quickly, performing two concertos and two operas weekly, and chamber works daily. Haydn's compositions became popular throughout Europe and were regarded as one of the best musicians of his time, working for aristocratic and royal circles. Haydn was a pioneer of symphonies and string quartets, a master of developing themes and splitting them into smaller fragments to be repeated, produced …show more content…
comic and surprise effects by tempo changes and changes of dynamics and pitch. He was considered an innovator and experimenter.
This symphony is one of Haydn's most famous and familiar works. He composed it during his first visit to London, and it is nicknamed the "surprise symphony." After the first two phrases, just as the music seems to be settling in, there is a sudden fortissimo chord played by the entire orchestra. One would think that this would unsettle the orchestra, however, the music continues as if nothing happened. Haydn only added this surprise chord after composing the symphony. It was not intended to wake the audience up; in fact, Haydn wanted to introduce something new that the audience would not have heard before. The form of this movement is theme and variation, which is very prevalent. It is easy to see why he was considered a master of developing themes, as the main theme is repeated and varied throughout the movement. These variations include both ascending and descending scale-like patterns, as well as very quick, complicated rhythms in the string and woodwind sections.
This is the second movement and is in 2/4 time.
Theme 1 is introduced in the 1st and 2nd violins and consists of 6 staccato quavers playing an ascending broken triad, followed by a crotchet. This rhythmic pattern repeats 4 times with varying pitches. This creates an 8 bar phrase which is the foundation of the movement. This theme is repeated, with the 1st violins playing the melody and the rest of the string section playing pizzicato crochets on the first beat, supporting the melody. It is after this second phrase where there is a sudden fortissimo chord played by the entire orchestra. Haydn continues to vary this theme by introducing counter melodies of semiquavers played by the first violins. There is then a modulation to a minor key, where there is a repeat section. The first four bars of the phrase are fortissimo, with the woodwind section and strings playing the melody and the last four are pianissimo, with the 1st violins playing the melody and the rest of the string section playing accompaniment. This creates a great deal of contrast in dynamics and timbre. There is then a modulation back to the original major key, and the melody is played in the oboes, supported by the strings and woodwind section. In this variation, the instruments are playing in semi quaver figures. There is soon a variation that involves the entire orchestra, for the first time, and is played fortissimo. The coda section is preceded by a fermata. In this section, the last 3 notes of the original theme are emphasised. The last four bars of the movement are played
pianissimo. Beethoven's 5th symphony, 1st movement
Ludwig van Beethoven (1770-1827) was regarded as a prodigy when he was young. He gave concerts at the age of eight and received piano, organ, violin, viola and theory lessons from several music masters in Bonn. Beethoven did not attend high school and his academic knowledge was very limited. Beethoven established himself quickly as a pianist and composer, not only because of his talent, but due to his contacts with aristocracy. His compositional activity can be divided into three main periods; the early period showing classical characteristics, the middle period with 19th century characteristics and influences from Mozart and Haydn, and the late period, which lead to an increase in chromatic harmonies.
This composition is in classical sonata form, and is one of the most popular, best known compositions of the classical period, and one of the most played symphonies. The movement includes an exposition section – with the famous, powerful theme 1, a modulation in the bridge and theme 2. There is development section, where this material is explored and developed, a recapitulation section, where there is no modulation in the bridge section, and a coda. This symphony was only completed and performed in Vienna in 1808, 4 years after Beethoven started working on the composition in 1804. Beethoven began to lose his hearing in 1801 and in a letter he said he would “seize fate by the throat.” The 5th symphony is very powerful and it suits the favoured label of his middle period: Heroic. That is why this symphony is aptly nicknamed “fate knocking on the door.” The key of C minor was a special key for Beethoven because of its "heroic, stormy tonality." In this particular symphony, many of the changes that Beethoven introduced are very prominent, such as splitting the cello and bass part, development of rhythmic motives and restating material from previous movements.
Theme one is introduced and it consists of four notes, followed by a pause with a held note in the orchestra. The motif is then repeated, this time a tone lower followed by another held note. The theme is then passed around the instruments while a chord of C minor is held, followed by a held dominant chord. As the motif is being changed and developed, there is a crescendo which leads to another pause and only the 1st violins holding a note. Thereafter is another restatement of the motif, after which it is exchanged between the instruments as tension begins to build. The French horns then introduce the second theme in the relative major key. It has the same rhythm as the 1st motif, but is a lot more hopeful. A contrasting, optimistic theme is then played in the violin. The exposition is then repeated, followed by a development section. Here, the 1st and 2nd themes of the exposition section are broken down and developed. The second theme is then introduced and explored. The first 2 notes of the motif are repeated over and over again and are exchanged between the woodwind section and the strings. The once optimistic theme now seems ambiguous and slightly doubtful. There is then a recapitulation, where the powerful first theme is played by the whole orchestra, discarding any sense of doubt. A figure in the oboe is then heard, which has a very different sound and brings back that sense of doubt with its lack of confidence. The second theme that was played on the horns is now played by the bassoon and, as a result, is a lot less powerful. The overall confidence of the orchestra seems to have been lowered by the figure played by the oboes. The coda section is then played and uses ideas from both theme 1 and theme 2.
Mozart's symphony no. 40 in G minor, 1st movement.
Wolfgang Amadeus Mozart was born in Salzburg, Austria, and is regarded as one of the best child prodigies in history. He began composing at the age of 5 and when he was thirteen, he was already composing symphonies, sonatas, concertos and oratorios. Despite this, the prince archbishop of Salzburg did not appreciate his musical genius and gave him a subordinate position in the court orchestra. In Vienna he was criticised and his audience didn't like his style. As a result, he received a low income and lived and died in poverty. He was a genius at composition and composed with ease. His music is graceful and spontaneous; melodies are lyrical, light and easy, although not easy to perform. He perfected the classical concerto and raised it to its highest level, involving all kinds of solo instruments.
The classical symphony is an orchestral composition, commonly in 4 movements. It utilises the range, tone colour, textures and dynamics of the symphony. Mozart was never wealthy and often struggled financially. Some say that Mozart’s sadness is reflected in this symphony, with the help of the minor tonality, in the first movement especially. Out of 41 symphonies, Mozart only composed 2 pieces in a minor key – both of which were G minor. This piece is often referred to as the “Great G minor Symphony.” The first movement is a fast movement in 2/2 time, and in sonata form. The movement includes an exposition section, a development section, a recapitulation section and a coda. The symphony consists of 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns and strings, with the trumpets and timpani absent.
Theme one is established and a distinct motif is recognised with the use of the violins and a pulsing viola accompaniment. In the second phrase, the woodwind section is introduced and then the first phrase is played again, as a combination of strings and woodwind. The bridge theme is then introduced, with the strings playing staccato crotchets accompanied by sustained chords in the woodwind section. Theme two is played by the strings and woodwind section. This makes use of the chromatic scale and the articulation is legato, which contrasts the previous staccato, quick bridge section. The closing section involves an ascending chromatic section in the strings and bassoon part. The motif from theme one is then exchanged between the instruments, with varying dynamics, until the full orchestra plays a descending scale. After a series of chords, the exposition section repeats itself. In the development section, material from theme one is used and repeated, with instrument groups alternating the melody as well as playing together. The closing phrase of the development section includes a descending chromatic movement in the woodwinds. In the recapitulation section, there is a modulation towards the end of theme one. The bridge theme now includes a pulsing rhythm from the cellos and basses. After theme two, there is a coda which includes the use of chromatic scales, the very first motif being exchanged between instruments, followed by concluding chords from the whole orchestra.
Joseph Haydn (1732-1809) was born in Rohrau. He was exposed to a lot of folk music when he was younger and this had an effect on his later style. His talents were soon discovered and at the age of 29 he started working for a wealthy family in Hungary, where he worked for almost 30 years. Haydn composed his works extremely quickly, performing two concertos and two operas weekly, and chamber works daily. Haydn's compositions became popular throughout Europe and were regarded as one of the best musicians of his time, working for aristocratic and royal circles. Haydn was a pioneer of symphonies and string quartets, a master of developing themes and splitting them into smaller fragments to be repeated, produced …show more content…
comic and surprise effects by tempo changes and changes of dynamics and pitch. He was considered an innovator and experimenter.
This symphony is one of Haydn's most famous and familiar works. He composed it during his first visit to London, and it is nicknamed the "surprise symphony." After the first two phrases, just as the music seems to be settling in, there is a sudden fortissimo chord played by the entire orchestra. One would think that this would unsettle the orchestra, however, the music continues as if nothing happened. Haydn only added this surprise chord after composing the symphony. It was not intended to wake the audience up; in fact, Haydn wanted to introduce something new that the audience would not have heard before. The form of this movement is theme and variation, which is very prevalent. It is easy to see why he was considered a master of developing themes, as the main theme is repeated and varied throughout the movement. These variations include both ascending and descending scale-like patterns, as well as very quick, complicated rhythms in the string and woodwind sections.
This is the second movement and is in 2/4 time.
Theme 1 is introduced in the 1st and 2nd violins and consists of 6 staccato quavers playing an ascending broken triad, followed by a crotchet. This rhythmic pattern repeats 4 times with varying pitches. This creates an 8 bar phrase which is the foundation of the movement. This theme is repeated, with the 1st violins playing the melody and the rest of the string section playing pizzicato crochets on the first beat, supporting the melody. It is after this second phrase where there is a sudden fortissimo chord played by the entire orchestra. Haydn continues to vary this theme by introducing counter melodies of semiquavers played by the first violins. There is then a modulation to a minor key, where there is a repeat section. The first four bars of the phrase are fortissimo, with the woodwind section and strings playing the melody and the last four are pianissimo, with the 1st violins playing the melody and the rest of the string section playing accompaniment. This creates a great deal of contrast in dynamics and timbre. There is then a modulation back to the original major key, and the melody is played in the oboes, supported by the strings and woodwind section. In this variation, the instruments are playing in semi quaver figures. There is soon a variation that involves the entire orchestra, for the first time, and is played fortissimo. The coda section is preceded by a fermata. In this section, the last 3 notes of the original theme are emphasised. The last four bars of the movement are played
pianissimo. Beethoven's 5th symphony, 1st movement
Ludwig van Beethoven (1770-1827) was regarded as a prodigy when he was young. He gave concerts at the age of eight and received piano, organ, violin, viola and theory lessons from several music masters in Bonn. Beethoven did not attend high school and his academic knowledge was very limited. Beethoven established himself quickly as a pianist and composer, not only because of his talent, but due to his contacts with aristocracy. His compositional activity can be divided into three main periods; the early period showing classical characteristics, the middle period with 19th century characteristics and influences from Mozart and Haydn, and the late period, which lead to an increase in chromatic harmonies.
This composition is in classical sonata form, and is one of the most popular, best known compositions of the classical period, and one of the most played symphonies. The movement includes an exposition section – with the famous, powerful theme 1, a modulation in the bridge and theme 2. There is development section, where this material is explored and developed, a recapitulation section, where there is no modulation in the bridge section, and a coda. This symphony was only completed and performed in Vienna in 1808, 4 years after Beethoven started working on the composition in 1804. Beethoven began to lose his hearing in 1801 and in a letter he said he would “seize fate by the throat.” The 5th symphony is very powerful and it suits the favoured label of his middle period: Heroic. That is why this symphony is aptly nicknamed “fate knocking on the door.” The key of C minor was a special key for Beethoven because of its "heroic, stormy tonality." In this particular symphony, many of the changes that Beethoven introduced are very prominent, such as splitting the cello and bass part, development of rhythmic motives and restating material from previous movements.
Theme one is introduced and it consists of four notes, followed by a pause with a held note in the orchestra. The motif is then repeated, this time a tone lower followed by another held note. The theme is then passed around the instruments while a chord of C minor is held, followed by a held dominant chord. As the motif is being changed and developed, there is a crescendo which leads to another pause and only the 1st violins holding a note. Thereafter is another restatement of the motif, after which it is exchanged between the instruments as tension begins to build. The French horns then introduce the second theme in the relative major key. It has the same rhythm as the 1st motif, but is a lot more hopeful. A contrasting, optimistic theme is then played in the violin. The exposition is then repeated, followed by a development section. Here, the 1st and 2nd themes of the exposition section are broken down and developed. The second theme is then introduced and explored. The first 2 notes of the motif are repeated over and over again and are exchanged between the woodwind section and the strings. The once optimistic theme now seems ambiguous and slightly doubtful. There is then a recapitulation, where the powerful first theme is played by the whole orchestra, discarding any sense of doubt. A figure in the oboe is then heard, which has a very different sound and brings back that sense of doubt with its lack of confidence. The second theme that was played on the horns is now played by the bassoon and, as a result, is a lot less powerful. The overall confidence of the orchestra seems to have been lowered by the figure played by the oboes. The coda section is then played and uses ideas from both theme 1 and theme 2.
Mozart's symphony no. 40 in G minor, 1st movement.
Wolfgang Amadeus Mozart was born in Salzburg, Austria, and is regarded as one of the best child prodigies in history. He began composing at the age of 5 and when he was thirteen, he was already composing symphonies, sonatas, concertos and oratorios. Despite this, the prince archbishop of Salzburg did not appreciate his musical genius and gave him a subordinate position in the court orchestra. In Vienna he was criticised and his audience didn't like his style. As a result, he received a low income and lived and died in poverty. He was a genius at composition and composed with ease. His music is graceful and spontaneous; melodies are lyrical, light and easy, although not easy to perform. He perfected the classical concerto and raised it to its highest level, involving all kinds of solo instruments.
The classical symphony is an orchestral composition, commonly in 4 movements. It utilises the range, tone colour, textures and dynamics of the symphony. Mozart was never wealthy and often struggled financially. Some say that Mozart’s sadness is reflected in this symphony, with the help of the minor tonality, in the first movement especially. Out of 41 symphonies, Mozart only composed 2 pieces in a minor key – both of which were G minor. This piece is often referred to as the “Great G minor Symphony.” The first movement is a fast movement in 2/2 time, and in sonata form. The movement includes an exposition section, a development section, a recapitulation section and a coda. The symphony consists of 1 flute, 2 oboes, 2 clarinets, 2 bassoons, 2 horns and strings, with the trumpets and timpani absent.
Theme one is established and a distinct motif is recognised with the use of the violins and a pulsing viola accompaniment. In the second phrase, the woodwind section is introduced and then the first phrase is played again, as a combination of strings and woodwind. The bridge theme is then introduced, with the strings playing staccato crotchets accompanied by sustained chords in the woodwind section. Theme two is played by the strings and woodwind section. This makes use of the chromatic scale and the articulation is legato, which contrasts the previous staccato, quick bridge section. The closing section involves an ascending chromatic section in the strings and bassoon part. The motif from theme one is then exchanged between the instruments, with varying dynamics, until the full orchestra plays a descending scale. After a series of chords, the exposition section repeats itself. In the development section, material from theme one is used and repeated, with instrument groups alternating the melody as well as playing together. The closing phrase of the development section includes a descending chromatic movement in the woodwinds. In the recapitulation section, there is a modulation towards the end of theme one. The bridge theme now includes a pulsing rhythm from the cellos and basses. After theme two, there is a coda which includes the use of chromatic scales, the very first motif being exchanged between instruments, followed by concluding chords from the whole orchestra.