Chapters 25, 26, & 29 Joseph Haydn

CHAPTERS 25, 26, & 29
JOSEPH HAYDN
Copyright © 2020 W. W. Norton & Co., Inc.

 Born in Rohrau, Austria, and
studied in Vienna.
 Background consisted of folk music
 Went to Vienna at age 8, served as
choirboy in Cathedral of St.
Stephen
 Turned out when voice changed
 Gave music lessons
 Played violin in street bands
 Successful trips to England
 Died 1809, while Napoleon’s army
was occupying Vienna
Joseph Haydn (1732 - 1809)

Joseph Haydn (1732 - 1809)
• Music Director for Prince Nicholas Esterhazy for almost 3 decades
• Composing--whatever Prince wanted
• Conducting--in charge of one of the best orchestras in Europe
• Keeping order among musicians
• Established the symphony and the string quartet as major
instrumental forms.
• After death of Prince, Haydn made 2 long trips to England (1790).
• Composed symphonies, songs, and piano works
• Returned to Vienna in 1795--produced oratorios, Masses, and more
string quartets.
• Taught Beethoven

Haydn’s Music
• Wrote every kind of music
• Optimistic, sense of humor
• “Papa Haydn”-very influential to other musicians
• Master at developing themes

Copyright © 2020, W. W. Norton & Company, Inc.
Expanding Musical Ideas, Part 1
I. Expanding Musical Ideas
A. Theme: musical idea, building block
1. thematic development
a. melodic outline, rhythm, or harmony
varied
b. motive: melodic or rhythmic fragment of a
theme
c. sequence: motive repeated at higher or
lower level
d. larger forms: clarity, coherence, logic
e. extension, contraction, repetition

Expanding Musical Ideas, Part 2

Classical Forms, Part 1
II. Classical Forms
A. Absolute music: no prescribed story or text
1. form holds music together
2. recognizable structures; dependent on
listener’s expectations
B. Multimovement cycle
1. three or four separate movements in one piece
2. prescribed forms and tempos:
a. first movement: sonata-allegro form;
Allegro
b. second movement: theme and variations,
(or A-B-A); Andante or Adagio

c. third movement (optional): minuet and trio,
or scherzo and trio; Allegro or Allegretto
d. fourth movement (last): sonata-allegro (or
rondo or sonata-rondo); Allegro or Vivace
3. instrumental works: symphonies, sonatas, concertos,
string quartets, other chamber music
4. common practice in Classical and Romantic eras
C. The second movement: theme and variations
1. Andante or Adagio (slow tempo)
2. lyrical, songful melodies
3. forms: theme and variations, or (A-B-A)

4. theme and variations: theme clearly stated followed by
variations
a. theme: two- or three-part idea, room for elaboration
b. types of variation
i. melodic: adding or omitting notes
ii. harmonic: chords and accompaniment changed;
shift to different key
iii. rhythmic: note lengths, meter, or tempo altered
iv. texture: enriched; new themes,
countermelodies
D. Chamber music
1. string quartet: most important chamber music genre of the era
a. instrumentation: violin 1, violin 2, viola, cello

2. players function as a team: equal participation
3. conversations without words
4. predictable musical forms
5. Haydn, central role in evolution of the genre
E. Haydn’s Emperor quartet
1. Joseph Haydn (1732–1809)
a. prolific Austrian composer
b. choirboy at St. Stephen’s Cathedral in Vienna

The String Quartet
• Musical Instruments
• 1st violin
• 2nd violin
• viola
• cello

c. Esterházy family: patronage system at its best
i. patrons for nearly thirty years
ii. directed orchestra, opera company, marionette
theater, chapel
d. successful trips to London, 1790s
e. important in development of the orchestra and string
quartet
f. mature Classical style: expressive harmony, structural
logic, varied moods
g. output: over 100 symphonies, 68 string quartets,
concertos, 14 operas, keyboard music

F. Emperor quartet
1. Op. 76, set of six quartets; Emperor third in set
2. second movement: based on hymn tune Haydn wrote
for Franz II’s birthday
a. Gott erhalte Franz den Kaiser (God Keep the
Emperor Franz)
b. became Austrian national anthem
G. Listening Guide 14: Haydn: String Quartet, Op.76, No. 3
(Emperor), II (1797)
1. Poco adagio, cantabile; theme and four variations
2. lyrical theme, subtle dynamics

Theme and Variations Form
Very popular in Classical Era
Theme presented and then altered in several ways
Examples of variation techniques:
Change of key
Change of mode (major to minor/minor to major)
Change of tempo or meter
Change of timbre (i.e., instrumentation)
Change in texture (homophony/polyphony)

Theme & Variations
Can be independent piece or movement of symphony,
sonata, or string quartet
Outline of form: A A΄(A prime, variation 1), A΄΄(variation
2), etc.; each prime mark indicates variation of basic
theme
Connected or separated by pauses
Composer may borrow melody or invent own
Usually no more than 4 variations of a tune

String Quartet in C Major
2nd Movement
Movement 2

3. theme: violin 1, homophonic texture
4. variation 1: theme played by violin 2
5. variation 2: theme played by cello, more polyphonic
6. variation 3: theme by viola, some chromaticism,
syncopation
7. variation 4: theme by violin 1, polyphonic
8. coda: fades out softly

Symphony: “Ultimate Instrument” of the Classical era, Part 1
I. Symphony: “Ultimate Instrument” of the Classical era
A. Greatest expressive potential
1. Remarkable timbral palette
2. Most versatile, powerful resource
B. Early history of the symphony
1. roots in Italian opera overture
a. fast-slow-fast, became separate movements

Symphony: “Ultimate Instrument” of the Classical era, Part 2
2. early German symphonists: added effects, expanded
genre
a. “rocket theme”: aggressive, rhythmic; quick rise
from low to high register
b. steamroller effect: drawn-out crescendos
c. minuet added; dance movement

The Classical Orchestra, Part 1
II. The Classical Orchestra
A. Four instrumental families
1. strings: heart of the orchestra
2. woodwinds: provided varying colors, often
doubled the strings
3. brass: sustained harmonies
4. percussion: timpani, rhythmic life and vitality
B. Eighteenth-century orchestra: thirty to forty players
1. size appropriate for the salon
2. interchange of themes between instrument
groups
3. Classical symphony: like chamber music

C. Haydn Symphony No. 100 (Military)
1. Haydn composed over 100 symphonies
a. established four-movement structure
b. “father of the Symphony”
2. London symphonies: set of twelve, Nos. 93–104
a. masterpieces in the genre
b. expressive effects:
i. sudden crescendos and accents
ii. dramatic dynamic contrasts of soft and
loud

Important Symphonies Composed by Haydn
Symphony #8--G Major (“Evening”)
One of a series (“Morning,” “Noon,” and “Evening”)
Symphony #45--F Minor (“Farewell”)
Musicians left the stage one-by-one in protest for having to
be away from their families too long
Symphony #94--G Major (“Surprise”)
Loud chord near beginning of slow movement
Symphony #101--D major (“Clock”)
Tick-tock rhythm of slow movement

Haydn and the Symphony
No. 94, Movement II
No. 45, Movement IV

Important Composers of the Classical Concerto
• C.P.E. Bach--50 keyboard
concertos
• Johann Christian Bach--
dozens of keyboard
concertos
• Haydn
• Cello Concerto in D Major
• Trumpet Concerto in E-
flat Major
• Mozart
• 27 piano concertos
• 5 violin concertos
• 4 horn concertos
• 1 bassoon concerto
• 1 concerto for flute and
harp
• Concerto for 2 Pianos in E-
flat Major
• Clarinet Concerto in A
Major

The Solo Concerto
Soloist (typically piano or violin) and orchestra
3 movement format: fast, slow, fast
1st and last movements usually had cadenza: an
improvisatory passage in which soloist could show off
virtuosity on instrument, fermata
Often this passage was not written by composer.
Much of the musical improvisation was based on
themes of the movement.

Concerto--Movements
Second movement--sonata, theme and variations, or ABA form
Third movement--Finale--sonata or rondo form
Omits the dance movement (minuet and trio)

Double-Exposition Concerto Form
First movement--sonata form
2 expositions
• 1st--orchestra alone; all in tonic
• 2nd--soloist and orchestra together; 2nd theme modulates to
related key (as in other sonata form movements)
Development--avoids tonic, like sonata form
Recapitulation--all themes in tonic
• Contains cadenza--virtuostic, improvisatory section based on
themes and other material
Coda--follows cadenza--orchestra plays alone; tonic key

The Classical Concerto
The Movements of the Concerto
Closing
Cadenza
B
Orchestral Exposition
First movement (I)
• First-movement concerto form
• Sonata-allegro with a double exposition
Theme II
Theme I
Trans.
& piano theme
Various themes
Coda
Solo Exposition Development Recapitulation
A’ A
Theme II
Theme I Transition
A
Modulation to new key area

The second movement (II)
Slow and lyrical
Andante, Adagio, or Largo
The Classical Concerto
The Movements of the Concerto

Movements of the Classical Concerto, Part 1
I. Movements of the Classical Concerto
A. Classical era shifted emphasis to solo concerto
1. solo instrument and orchestra
2. virtuoso soloist: strong conversation leader
3. three movements, fast-slow-fast
4. cadenza: virtuosic solo passage
a. orchestra falls silent
b. improvisational, free-play or fantasy

5. first movement Allegro: sonata-allegro form with
double exposition
a. orchestral exposition, presents themes
b. soloist plays elaborate versions of these
themes
c. solo cadenza appears near end
d. coda, strong affirmation of the tonic key
B. The last movement: Haydn’s Concerto for Trumpet
1. third movement: fast and lively, often a spirited rondo

2. rondo form: recurring theme, known as the refrain (A),
alternates with contrasting episodes
a. (A–B–A–C–A) symmetrical, balanced; extension of
ternary form
b. (A–B–A–C–A–B–A) sonata-rondo, combines sonata-
allegro form and rondo
3. thirty-five concertos by Haydn, various instruments
4. trumpet concerto: experimental instrument, keyed
trumpet
a. highly lyrical melodies, virtuosic passages
b. explores technical possibilities of the instrument
c. first performance in 1800; manuscript lost until 1929
d. Haydn’s last orchestral work

Thirty-five concertos by Haydn
Trumpet concerto: experimental instrument, keyed trumpet
highly lyrical melodies, virtuosic passages
1800 first performance; manuscript lost until 1929
Haydn’s last orchestral work
The Last Movement:
Haydn’s Concerto for Trumpet and Rondo Form

Composed in 1796 for keyed trumpet
Virtuoso-Anton Weidinger
Exciting to listen to
Brilliant trumpet sound
Happy quality
Rondo form
Rondo contains both old and new ideas
Concerto for Trumpet in E-flat
Third Movement-Rondo(1796)

Rondo: recurring musical idea, refrain (A)
(A-B-A-C-A) symmetrical, balanced
(A-B-A-C-A-B-A) sonata-rondo
combines sonata-allegro form and rondo
The Last Movement:
Haydn’s Concerto for Trumpet and Rondo Form

Trumpet Concerto in Eb Major Movement III
Movement III

Credits
This concludes the Lecture PowerPoint presentation for “The Enjoyment of Music, 4th Edition, Chapter 25: Musical
Conversations: Haydn and Classical Chamber Music”
For more resources, please visit https://digital.wwnorton.com/enjmusic4ess

Chapters 25, 26, & 29 Joseph Haydn

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