1. Haydn Symphony No. 26, 1 st movement

2. L.O  To understand features of Classical Music  To begin to analyse the musical characteristics of Haydn’s symphony

3. What do you know about the Classical Era?

4. General Background and performance circumstances.  Joseph Haydn (1732-1809) Austrian  Haydn was highly influential in establishing the symphony and wrote 104 (or more) symphonies.  The symphony first became popular in the Classical Period.  The nickname “Lamentatione” (Lamentation) refers to the inclusion of a plainsong melody associated with the suffering and death of Jesus Christ, reflecting the intention that the work would be performed in the week before Easter.  The movement reflects the Sturm und Drang (Storm and Stress) style of the early Classical period, with its minor-key opening, agitated syncopation, tense harmonies and vivid contrasts.  Sturm und Drang was an artistic movement in Germany in all the arts. The aim was to disturb or frighten and display extreme emotion (instead of charm and please their audience!)

5. Background continued  Musical elements that link it to Sturm und Drang include:  Starting in a minor key  Tense harmony in some of the minor key writing (diminished 7 th chords, suspensions)  Rhythmic tension of the opening (syncopation between violins, double oboes and bass, bassoons)  Haydn used a fairly small orchestra  Because of the link to plainsong, it may have been heard in a church

6. Performing forces and their handling  Small orchestra – 2 oboes, bassoon, 2 horns and strings – typical early Classical  First and second violins play in unison in some passages (such as the start of the movement), while violas often double the cellos (either in unison or an octave higher)  Violin I is often more active (e.g. bars 26-31). Most rapid/violent section are the rising semiquaver scales at b.37 and 120  Cello part would have also been played by a double bass, sounding an octave below the cellos  “Cembalo” at the start of the bass – a harpsichordist may have filled out the texture, improvising chords based on the cello parts  Overall, string parts aren’t too demanding. Mainly arco, with staccato to help articulate repeated quavers.

7. Performing Forces and their handling  Oboes mainly double the violins, sometimes having a simplified version of their parts (e.g. bar 45)  Independent solo part for oboes in bars 96-99 (rising arpeggio phrases)  Bassoon – doubles the cello part, although drops out in any passages where the oboes don’t play  Horns – “Natural” – lacked valves. Sound a minor 7 th lower than written. Mainly used in D minor and D major sections  Modest range used for all instruments. Technical demands aren’t high.  Dynamics – Forte and piano only (similar to terraced dyncamis)

8. Texture  Orchestral doublings result in a texture of just two-part counterpoint in the first eight bars (and similar sections)  Counterpoint = the clear rhythmic differentiation of parts which each have a definite melodic character.  This is followed by four bars of chordal (or homorhythmic) texture (bars 9-12). The contrast is underlined by the abrupt changes in dynamics (terraced dynamics)  Plainsong sections, the texture is mainly melody- dominated homophony (e.g. 17-38 and 100-121)

9. Structure and Tonality.  This movement is in SONATA FORM.  This is one of the main musical structures in the Classical period.  Listen to the work and see whether you can follow the structure:  1. EXPOSITION. An opening idea (first subject) in D minor. Contrasting second subject in F major (plainsong theme bar 17). Repeat of these 44 bars.  2. DEVELPOMENT. A middle section (45-79) in a variety of keys.  3. RECAPITULATION. Opening returns bar 80. First subject is extended by four bars and is again in D minor, but the second subject (bar 100) is now in the tonic major – D major.  The middle section sounds different yet seems to fit into the whole. This is because it develops ideas from the exposition, hence its name.

10. Structure and Tonality continued.  Bars 45-52 are based on a variant of the syncopated idea from the first subject, transposed to F major and treated in sequence.  The extended sequences bars 57-64 are based on a circle of fifths (Bb-E-A-D-G-C#-F-B) in the bass part on beat 1 of every bar.  This carries the music to A minor.  Dominant pedal found bars 65-68 whilst oboes play a variant of Christ’s plainsong.  Final section recaps (with changes) the exposition.  Movement ends with a coda (126-133) which is an expansion of bars 43-44.

11. 1-4445-7980-133 SectionExposition (1 st and 2 nd subject) : DevelopmentRecapitulation (1 st and 2 nd subject) Main keysD min 1 st subject 1-16 F major 2 nd subject 17-44 (17-38 based on plainsong melody) Various keysD min 1 st subject D major 2 nd subject

12. Harmony  Functional harmony  Perfect cadences to define new keys and mark the end of sections (e.g bar 44)  Chords I and V7 also have an important role elsewhere (e.g. to accompany the opening bars of the 2 nd subject)  Diminished 7 th chords, bar 13 = harmonic tension (Sturm und Drang)  Dissonances created by suspensions and long apoggiaturas (bar 16 E against D) = harmonic tension  Harmonic sequences and a circle of 5ths progression occur in bar 57-63

13. Melody  Mainly played by Violin I  Opening first subject has 2 melodic strands – syncopated upper part and the walking bass, heard together in counterpoint. Both feature stepwise movement and mainly small leaps  Contrasting idea in bars 9-12 known as “sighs”  Four semitone descents (F-E)  Alternates between low and high octaves  Higher ones elaborated with appoggiaturas and trills (ornamentation)  Plainsong melody used in the second subject bar 17 is played by violin II (double by oboe I). Repeated notes and conjunct movement with a few small leaps  Both melodies are diatonic

14. Rhythm and Metre  Simple quadruple metre (four crotchet beats per bar)  Fairly fast tempo  Most bars feature quaver movement, with the most striking rhythmic feature being in the opening (syncopation)  Lower part is on the beat (crotchets) whilst the other parts begin on a quaver then crotchets, creating the syncopation and a sense of urgency  Wind parts have more sustained parts  Rests are skilfully used for articulation (bars 9-12 sighs)  Short rests clarify the end of sections (bar 8 and 16)

15. Questions  What is the pitch of the first note sounded by the “natural” horns?  Describe the rhythm of the bass part in the first 7 bars  Name the cadence heard in bar 12  Identify the chord in bar 71 and name the key and the type of cadence in bars 73 beat 3 – 74 beat 1  Compare bars 100-104 with bar 17-21

16. Homestudy  Complete a revision task for your peers to complete next week. This can be whatever you like!  Wordsearch  Fill in the blanks  True or false  Matching cards