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EDUQAS

AS Level Resources

Set Work: Haydn’s ‘London’ Symphony

Jan Richards

WCT Set work Haydn: ‘London’ Symphony No. 104 Choose a Task

Choose a task based on Movement 1.

Activity A –Background Information

Activity B –Structure

Activity C –Tonality

Activity D –Texture

Activity E –Structure / Themes

Activity F –Thematic development

Activity G –Harmony

Activity H –Instrumentation

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Activity A – Background Information

This symphony is the twelfth and last of the symphonies specifically composed for a series of concerts in London. It was written in 1795 and first performed in the same year at the King’s Theatre, Haymarket.

Complete the following paragraph by inserting the correct information from the given list.

Haydn (1732-1809) was one of the most important composers of the erain music, having written at least symphonies illustrating the developmentof this genre. After many years in the employment of the family, aninvitation came in 1790 to compose twelve symphonies for London, for the British audiencesthat hailed him as the “greatest composer in the world”. He had been contacted by theGerman-born violinist Johann Peter who was working as a concert manager in London at that time. Haydn was to be impressed by the rich musical life, the cosmopolitan atmosphere and the very fine, large orchestras there.

As such, he was determined to live up to expectations, and the resulting are appreciated as the crowning glory of his prolific work as a symphonic composer. While they show no radical departure from his previous works, there were a number of outstanding features that contribute to their special character. They are works on a‘grand’ scale, giving a broader presentation of musical ideas, more brilliant utilising often simplistic but effectively appealing thematic material with the occasional use of , more use of harmony and more purposeful content.

In terms of the scoring, Haydn’s earliest symphonies were usually written for two oboes, two horns and , though there were exceptions to the rule with occasional use of a flute, and an additional horn.

It was only in these last twelve symphonies that andwere used regularly, with making an appearance in five of the last set of six symphonies.

Symphony No 104 is scored for: 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in , two trumpets in D, and strings. The première was extremely successful; and as was usual at the time, Haydn directed the performance himself from a instrument, though his part was not written down in the .

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AnswersstringsEsterhàzyadventurousdrumsorchestrationscorebassoonsDClassicalSalomonkeyboardFolksong melodiestrumpets104clarinetsrhythmicLondon symphoniestimpani

For further consideration:

♫ Explain the difference between the early 18th century Baroque orchestra and the orchestra used by Haydn at Esterhàzy.

♫ Find out why the following symphonies were given their well-known titles: the Surprise Symphony, the Clock Symphony, the Drum Roll Symphony. Write a paragraph on each, and listen to the works, following the scores if possible. (Scores are available on IMSLP). Working in pairs, note down any features of particular interest.

♫ Haydn once said of his time at Esterhàzy “I was cut off from the world… I could make experiments… try new things… so I was forced to become original”. Undertake some research to see whether you can find out what he meant by this.

Activity B – Structure

The first movement is in Sonata Form.Task 1: Rearrange the section headings in the correct order, then match the sections with the correct bar numbers.Task 2: In pairs, explain to each other the function of each section within the overall form. Some of these sections are main sections, others subsidiary sections.[Bar numbers correlate to the Eulenberg Audio + Score edition]

The correct order would be:

Section Bar numbers

Function of the Section

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For further consideration:

♫ How does Haydn achieve variety in this movement?

♫ How does the music reflect the ‘Classical’ style?

♫ How important is the material of the Introduction section? How effectively, in musical terms, does Haydn ‘introduce’ his symphony? How does he create the anticipation of the Exposition section?

Section Bar numbers

Development 65-98First Subject Section 193-276Introduction 50-64Exposition 99-123Codetta 1-16Coda 124-192Recapitulation 17-123Second Subject Section 17-49Transition Passage 277-294

Activity C – Tonality

Complete the following paragraph about the key changes in the first part of this movement by inserting the correct information from the given list.

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For further consideration:

♫ Working in pairs, discuss and note all the key changes seen in the Development section of this movement.

♫ How do the key changes / modulations relate to the home key? Are there any features of particular interest?

♫ In terms of the overall key structure, what are the main differences between the Exposition section and the Recapitulation section?

As with many of Haydn’s symphonies, this first movement begins with an introductory section – in this case in the key of . The first two bars set the scene with a solemn,

commanding fanfare-like motif using the

and

notes of the key. This is followed by four bars of a contrasting, quieter phrase which starts in

, and modulates to

in bar 7 via a

in that

key. In bar 14, the opening dotted motif is heard once more in

, before moving

to the

chord in bar 153 – though the last beat of bar 15 brings a

chord, followed by the cadential progression

.

The Exposition proper then begins with a change of mode to

. The Transition

section has the function of

between the first subject and

,

and in this case, as expected, the music

to the

key of

. Here, Haydn uses the same theme, but

into the dominant

key. The following section is more elaborate in harmonic terms, and the outcome is enriched

through some

content. In bar 80, the phrase rather surprisingly ends with an

, though from bar 92 the

on E in the bass leads to a

perfect cadence in

in bar 99. The final section includes two further key

changes: one in

in bar 109, and another in

in bar 111. The

Exposition finally concludes in bar 123, firmly in the key of

.

Answersdominantperfect cadenceinterrupted cadenceI6/4 V5/3modulatesD minor majordominant pedalA majorA majorF majorE majorchanging keytransposedD minorD minorNeapolitan 6th

chromaticA majordominantS2F# minortonicsubdominant

Activity D – Texture

What does the word texture actually mean?

Working in pairs, discuss the meaning of the musical terms listed below.

Now, identify and describe the types of texture found in the sections as indicated by the bar numbers below.

Bar Nos Identification/description of the texture1-23-67-817-31145-9247-257

277-294

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Monophonic Imitation Counterpoint

AntiphonyUnison Heterophonic

FugalHomophonicStretto

For further consideration:

♫ Listen to another first movement from a different Haydn symphony (e.g. the Military, Clock or Drum Roll) and note the different types of texture used in the different sections.

♫ Write a short essay on Haydn’s use of texture in the first movement of the ‘London’ symphony. Give special attention to the relationship between the instruments.

♫ Sometimes, the following terms are used when describing the texture of a section of music. Find out what they mean: spacing of parts, countrapuntal, countermelody, chordal.

Activity E – Structure / Themes

However, there seem to be four sections in the first movement of Haydn’s ' London' Symphony.

Insert the names of these sections, in the order they are heard in the table below. The first letter of each has been given for you.

I E D R

Within this structure, it is possible to track the main themes as they are presented, developed and then returned. Identify the following melodic ideas and motifs (S1 or S2 etc), state where they are first introduced (section / bar nos.), and in what keys they are heard.

THEME SECTION BARS KEY

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Sonata Form

usually

has three main sections in which TWO themes or subjects are explored according to set key

relationships.

Task:

Explain what is meant by ‘monothematicism’, supporting your observations with reference to the first movement of the ‘London’ Symphony.

.

• a theme is the melodic material upon which part (or all) of a composition is based

• a theme is usually a complete phrase

Activity F – Thematic development

Describe the musical features of the first subject, and then discuss and note down how the theme has been treated and developed in subsequent passages as indicated.

S1

Musical features: Treatment/development from bar 124 144:

Treatment/development from bar 172 192

Identify and explain two ways in which contrast has been achieved in the second subject section of the Exposition.

(i)

(ii)

How does Haydn achieve further variety when S2 appears in the Recapitulation section?

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♫ Identify the devices heard in the following bars:

Bars Devices Bars Devices3-6 46-48 (violin 1)32-39 73-7980-82 (lower strings) 277-280150-155 109

♫ Working in pairs, list the different ways that Haydn develops the thematic material in this movement.

Activity G – Harmony

What is a cadence?(i) Consider the following definitions and decide which is the correct one:

- the final chord of a piece of music - the opening progression of chords in a phrase - a progression of (at least) two chords that concludes a phrase, or piece of music

(ii) There are four main types of cadence. What are they made up of?Type of Cadence .....consisting of:1)2)3)4)

Task 1. Referring to your score of the first movement of the ‘London’ Symphony by Haydn, give bar numbers where the following cadences may be located.

Cadences Bar numbers / locationInterrupted cadenceCadence in B minorPerfect cadence in APerfect cadence in E minorImperfect cadence in D major

Task 2. Identify the keys, chords, and cadences in the following bars:

Bars Key Chords Cadence49-5015-16155-158160-163219-220264-266

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♫ Working in pairs, map out the entire structure of the Exposition section, and list as many cadences as you can. For further understanding, the process could be repeated with the remainder of the movement.

♫ Write a variety of cadences (for four parts e.g. S.A.T.B) in the same key as this movement, contrasting both the arrangement and the positioning of the chords.

Activity H – Harmony: Chords

When studying the music of the Western Classical Tradition, you must learn and understand about the different types of chords and the way that they are used in a piece of music.Task 1. Many Western harmonic styles are based on the triads built on each degree of the scale. Using roman numerals, identify the primary triads, the secondary triads, and state their technical name. (The first one has been done for you).

Type of triad Identification of triad (roman numerals)

Technical name

PRIMARY TRIADS: I Tonic

SECONDARY TRIADS

Task 2. Complete the following table, identifying the position of the chord (e.g. 2nd inversion) and giving the accepted figuring (e.g 6/4)

Position FiguringA chord with the root in the bass is called a ..... ( ) ..chord.A chord with the 3rd in the bass is known as a ..... ( ) ..chord.A chord with the 5th in the bass is called a ....... ( ) ..chord.A chord with the 7th in the bass is called a ..... ( ) ..chord.

Task 3. Complete the following sentences by identifying the chords in the first movement of the ‘London’ symphony.

(i) The first chord in bar 3 is........(ii) The last chord in bar 4 is ........(iii) The first chord in bar 17 is........

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Task: Describe the harmonic content of bars 124-130.

→ to bar 130

Answers:

bars 172-3leaderunusually largean octave lowerthe stringsflutekeykeyboardfanfare tuttitimpanibassoontonicclarinetscellosstandard symphony orchestrasonorityoboedominantcomposerquiet stringstransposingviolin 1

(iv) The last chord in bar 32 is ........(v) The first chord in bar 44 is........(vi) The last chord in bar 75 is .........(vii) The chord in bar 76 is ........(viii) The chord in bar 172 is ........

Activity I – Instrumentation

In his 'London' symphonies, Haydn was anxious to create works on a grand scale.

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Using the D major triad as a starting point, follow the instructions to create a different chord each time.

Add a 4th note to create the dominant 7th of G major. Add an accidental to change this to the tonic minor in D minor Add an accidental to create an augmented chord Add a 4th note and an additional accidental to create a diminished chord Take away a note to leave a perfect 5th

Rearrange the notes to write a tonic first inversion chord Take away a note to leave a minor 3rd

1 This work has been scored for a_______________________________.

2 For the time, the amount of performers was ______________________.

3 Note that ____________________ were included – this was a relatively new practice for Haydn!

4 In this orchestra, the clarinets, horns and trumpets are the ________________ instruments. This means that their music appears to be in a different _______.

5 In the first performance, the direction of the orchestra was divided between the ______________ of the orchestra, and the ___________, who would probably have been playing the ______________. This would

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In pairs, discuss the meanings of the following symbols and directions as seen on the score:

ff Cb. [Tutti] fz Soli.

Cor. Pizz. Fg. [a2]

1 This work has been scored for a_______________________________.

2 For the time, the amount of performers was ______________________.

3 Note that ____________________ were included – this was a relatively new practice for Haydn!

4 In this orchestra, the clarinets, horns and trumpets are the ________________ instruments. This means that their music appears to be in a different _______.

5 In the first performance, the direction of the orchestra was divided between the ______________ of the orchestra, and the ___________, who would probably have been playing the ______________. This would