Haydn's Drum Roll Symphony

8/18/2019 Haydn's Drum Roll Symphony

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H a y d n S y m p h o n

y n o. 1 0 3 i n

E b m a j o r…

t h e

b a c k g r o u n d

…

TASK: ami!iari"e your"e!# $ith your Haydn"core and #o!!o$ thi" through $ith the

recording.


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Haydn

• 1%3&'1(0)• *ro!i+c compo"er o# "ymphonie" ,10(-•

o"t o# hi" $orking !i#e $a" "pent in "er/iceto the E" terha y #ami!y , ienna 2 theirpa!ace E" terha a4-.

• Had the tit!e o# 5Kape!!mei"ter6 7 meaning5director o# mu"ic at the 8ourt6.

• 9ehear"ed 2 directed court mu"ician" inopera" 2 orche"tra! mu"ic $ritten by him"e!#

2 other".


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ore on Haydn• Haydn "uppo"ed!y "aid that hi" i"o!ation4 $ith the E" terha y #ami!y a!!o$ed and#orced him to e periment $ith mu"ic and

become origina!.• He became #amou" a!! around Europe through hi"

pub!i"hed mu"ic and commi""ion" 7 particu!ar!y hi""ymphonie" #or *ari" ,no". (&'(%- 7 compo"ed in 1%(;'(pera 8oncert.


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=ondon 7 1%00"• The Hano/er S?uare 9oom" $a"a purpo"e'bui!t concert ha!!. @t had a rai"ed

p!at#orm #or the orche"tra $ith "pace #or a;00B audience.• Cohann *eter Sa!omon 7 a /io!ini"t 2 !eader o#

the >pera 8oncert >rche"tra 7 $anted the

be"t mu"ician" #rom a!! o/er Europe #or hi"orche"tra. A" "oon a" he heard o# the deatho# *rince Diko!au" E "terha y in ienna he$ent "traight there to try to con/ince Haydnto go $ith him to =ondon.


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=ondon continued…• a""i/e array o# pro#e""iona! 2 amateur mu"ic in =ondon in the !ate

1%00".• u"ic had been kept a!i/e by the ari"tocracy #or a !ong time through

commi""ion" 2 patronage by Eng!and no$ had a midd!e c!a"" that $a"gro$ing due to the beginning" o# the @ndu"tria! 9e/o!ution.

• ore $ea!th in the midd!e c!a"" meant that they cou!d no$ a ord theprice" o# a concert ticket 7 they $ere enjoying the "ame entertainment"a" the ari"tocratic "ociety.

• *ro#e""iona! orche"tra" $ere a #eature o# cu!tura! !i#e 7 theatre" opera"concert ha!!". =ondon had become a me!ting'pot #or cu!ture.

• @n"trumenta! mu"ician" mo/ed #romEurope to =ondon becau"e they cou!d makea good !i/ing there in a concert or theatreorche"tra. They cou!d ea"i!y "upp!ement theirincome through teaching 2 "e!!ingFpub!i"hing"heet mu"ic.• Sheet mu"ic became a gro$ing bu"ine"" $iththe gro$ing amateur market 7 the ri"ing midd!e

c!a""e" that cou!d a ord piano" in their home"G


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ore about =ondonG• Haydn /i"ited =ondon t$ice ,1%)1'1%);- and "tayed

#or more than a year each time he $ent.• He had !itt!e e perience o# tra/e!!ing $a" a man in

hi" #ordni/er"ity.


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E/en more about =ondon…• Sa!omon managed to get Haydn to "ign contract" $ith him 7

he had to produce < "ymphonie" $ith each /i"it that he

made.• He $a" right among"t the ri/a!ry bet$een the t$o =ondonorche"tra".

• Haydn6" a""ociation $ith the >pera 8oncert >rche"trameant that the *ro#e""iona! 8oncert >rche"tra had todi"per"e becau"e they !o"t popu!arity 7 a !ot o# the"emu"ician" joined the >pera 8oncert >rche"tra in"teadG

• >rche"tra! mu"ic had rea!!y taken o and Haydn6" !a"t three"ymphonie" 7 inc!uding the Drum Roll 7 $a" $ritten

#or an o/er'"i ed4 orche"tra o# appro .


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The Drum Roll "ymphony• A !ot o# Haydn6" "ymphonie" ha/e nickname"

7 "ometime" re!ated to the characteri"tic" o#the piece.

• Some e amp!e" inc!ude: no. 3( Echo4 no.101 The 8!ock4 no. 103 Irum 9o!!4.

• So $hy i" it ca!!ed the Irum 9o!!4 "ymphonyJ• or a =ondon audience thi" $ou!d ha/e been

a "triking e ect and enjoyab!e no/e!ty.•

Haydn typica!!y $rote "ymphonie" #ororche"tra" con"i"ting o# ju"t "tring" oboe" 2horn" and "tructured them in 3 mo/ement" 7no. 103

i" on a much !arger "ca!e.


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ore about the "ymphony• our mo/ement" in tota! 7 $e are ju"t !ooking at

mo/ement @ .• 1 "t mo/ement "!o$ 2 "eriou"• &nd mo/ement /ariation on & #o!k"ongme!odie" /io!in "o!o !ead"• 3 rd mo/ement minuet• L th mo/ement 7 what form do you think it’s in?• The +r"t per#ormance took p!ace on & nd arch 1%);.•

Do. 103 $a" the penu!timate "ymphony to becompo"ed in =ondon. Do. 10L i" ca!!ed the =ondon4"ymphony 7 ho$e/er no". )3'10L are a!"o kno$n a"the =ondon Symphonie"4 or the Sa!omonSymphonie"4.


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Haydn6" =ondon >rche"tra• & o# each $ood$ind in"trument• & trumpet"• & horn"• & timpani• !ute" a!$ay" p!ay in uni"on ,di/ide in the

"!o$ mo/ement- 7 gi/e a bright "ound abo/ethe orche"tra.

•

& c!arinet" in Mb 7 the"e $ere ne$ to Haydnhe on!y u"ed them in hi" !a"t three"ymphonie"G


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The 5dying6 piano• The piano had u"urped the harp"ichord in the

8!a""ica! period ,c.1%;0'1(;0-.• Typica!!y the harp"ichord ,and !ater the piano- !ead

the orche"tra. Ho$e/er the idea o# the ba""ocontinuo $a" becoming un#a"hionab!e and $ith the

increa"ed orche"tra the piano $a" no !onger neededto "upport the harmonic "tructure o# mu"ic.• Haydn mo"t certain!y $ou!dha/e p!ayed the piano in the

per#ormance" o# hi" mu"ic in =ondon7 particu!ar!y the =ondonSymphonie"4.• odern per#ormance" o#ten !ea/e

out the keyboard part.


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Mra"" in"trument"• odern bra"" $ith /a!/e" ,a" $e kno$ them

today- "ti!! didn6t e i"t and the current bra""cou!d on!y p!ay a "et amount o# note" 7 ba"edon the harmonic "erie".

• There are 5natura!6 bra"".

TASK: Nrite a paragraph that di"cu""e" ho$ the!imitation" o# bra"" in"trument" !imited the

mu"ic.


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The =imitation" o# Mra""• Do. 103 i" in Eb major 7 "o the in"trument"

are crooked to Eb.• Mra"" mu"ician" $ere e?uipped $ith crook" 7

detachab!e tubing 7 "o that they cou!dchange the key o# the in"trument.

• Nhene/er you "ee a $ritten note o# 586 it"ound" !ike an Eb.

• Horn" in Eb "ound a major < th !o$er than

$ritten.• Trumpet" in Eb "ound a minor 3 rd higher.


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The Structure•

Typica!!y Haydn 2 o art $ou!d $rite the !a"tmo/ement , nale - o# a "ymphonyF"onata a"upbeat and !i/e!y 7 to rai"e "pirit". @t $a"u"ua!!y tune#u!.

• *re/iou" mo/ement" u"ua!!y re?uired moreconcentration #rom the audience.

• The Drum Roll end" $ith a #a"t mo/ement$hich #o!!o$" the typica! "tructure.

TASK: Nhat i" the o/era!! "tructure o# theL th mo/ementJ


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Sonata'rondo #ormG• A hybrid combination o# "onata #orm and

rondo #orm.• The mo/ement i" a!"o 5monothematic6 7

meaning on!y one theme.

TASK: Think o# the t$o "tructure" o# rondo and"onata #orm and the #act that the

mo/ement on!y ha" one theme.Ho$ $ou!d thi" +t together a" a "tructureJNrite a brie# p!an o# ho$ the"e t$o"tructure" might be combined.


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9ecap1. Nho $a" Haydn and $hat $a" he emp!oyed to do in

iennaJ&.Nhat $a" the "igni+cance o# =ondon #or mu"icJ3. Nhat $a" happening to the midd!e c!a""e" 2 mu"icJL.Nho $a" Cohann Sa!omonJ;. Nhat i" the "tructure o# the L th mo/ementJ


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Iirected Study• =ook at your Haydn "core and ana!y"e the $ay

that Haydn u"e"F$rite" #or hi" in"trument" 7 a!"okno$n a" 5orche"tration6. 8omp!ete the$ork"heet.

• Natch the re"t o# the MM8 documentaryThe Mirth o# Mriti"h u"ic: Haydn4. "ing thi" and

your kno$!edge o# the hi"torica! conte t to the"ymphony produce a $ritten artic!e that detai!" thecircum"tance" in $hich Haydn created thi" piece.

A good word count is around 1000 words.

*!ea"e make "ure that you bring thi" to our ne t!e""on #or "ubmi""ion.


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H a y d n S y m p h o

n y n o. 1 0 3

i n E b m a j o r

… t h e

a n a ! y " i "…

TASK: "ing your kno$!edge o# Haydn6"orche"tration ho$ did Haydn $rite #or hi"

Oute"J


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Nhat did you di"co/erJ

=a"t !e""on you $ere in"tructed to ana!y"e the$ay that Haydn u"e" and $rite" #orin"trument".

Pou $ere a!"o a"ked to produce a $ritten artic!ethat detai!" the circum"tance" in $hich Haydn

created hi" Drum Roll "ymphony.


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StructureRondo form Tonality Sonata form

A Theme,1'10%-

TONICEb major 7 modu!ate" to dominant Mbmajor

Expositionir"t "ubject

BEpi"ode,10%'1;%-

DOMINANTMb major 7 through dominant minorMb minor 7 end" on dominant

Second "ubject

A Theme,1;('1(&-

TONICEb major ir"t "ubject

CEpi"ode,1(&'&


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9ondo orm

• Moth Haydn 2 o art u"ed rondo #orm #ortheir nales.

• 9ondo #orm con"i"t" o# 5epi"ode"6 and5principa! "ection"6 ,A-.

• AMA8AIA ,8oda- 7 the epi"ode" cou!d beu"ed to change the mood ,e.g. minor key-introduce a ne$ theme etc.


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Sonata'9ondo orm• The dramatic 2 e pre""i/e po""ibi!itie" o#

"onata #orm come" #rom:the u"e o# contra"ting theme" 7 u"ingtonicFdominant tona!ity.the de/e!opment o# materia! pa""ing througha /ariety o# key".return to the tonic. 9epetition o# materia!.

• The #unction o# rondo #orm i" that the maintheme return" numerou" time" in the tonic

key.


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8ombined

• Haydn6" nale combine" #eature" o# both:Sonata #orm $here the 1 "t "ubject return" inthe tonic be#ore the de/e!opment9ondo #orm $ith a !onger opening "ection.

The coda bring" an epi"ode "ection in"tead o#the main theme.

Thi" mo/ement i" a!"o 5monothematic6 7meaning one theme.


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E perimentation• Thi" mo/ement i" a per#ect e amp!e o# ho$

Haydn e perimented $ith #orm" during hi"5i"o!ation6 $ith the E "terha y #ami!y.

• The =ondon audience" !o/ed ho$ Haydncou!d de/e!op "imp!e mu"ica! materia! into an

imaginati/e 2 inte!!ectua!4 $ay.• Eng!i"h ne$"paper" at the time re#erred to

Haydn a" 5the Shake"peare o# mu"ic6.


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The Theme• The main theme in the /io!in" come" #rom a

58roatian #o!k "ong6.• The horn ca!! at the beginning ,bar" 1'L- i" repeated

in bar" ;'(. Thi" mean" that the +r"t /io!in phra"ebecome" a counterme!ody to the horn".

• The "econd phra"e ,bar" )'1&- p!ayed by the 1 "t 2&nd /io!in" begin" in 3rd" and i" accompanied by thec!arinet".

• Thi" then modu!ate" to the dominant key o# Mbmajor.

• The #u!! /er"ion o# the theme 7 $ith horncounterme!ody 7 i" heard +/e time" in the

#ourth mo/ement. Each time it return" it i"p!ayed in the tonic ,Eb major-.

T t


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T e appearance o t etheme

TASK: The theme appear" +/e time" in it" #u!!"tate throughout thi" mo/ement. State the bar"number" o# the p!ace" $here thi" happen".


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The appearance" o# the main theme•

Mar" ;'1&: opening theme• Mar" L;';&: e act repeat o# the opening• Mar" %3'%


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Section A 7 the theme ,bar" 1'10%-• The horn ca!! at the "tart o# the mo/ement i" a ca!! to

attention.• There aren6t any dynamic mark" but they are norma!!y

p!ayed !oud!y.• A#ter a "hort pau"e the horn ca!! i" repeated no$ a" an

important part o# the main theme.• The /io!in theme i" broken into "e/era! moti#".

8ompo"er" o#ten take a particu!ar #eature "uch a" pitchrhythm or harmony $hich characteri"e" the moti#.

• 9epeating or de/e!oping a moti# i" a common $ay o#dri/ing the mu"ic on $hi!e bringing a "en"e o# unity tothe piece.

• The rhythm 2 repeated note" o# thi" theme gi/e" themo/ement inten"ity and momentum 7 dri/e" the mu"ic

a!ong.


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…•

Haydn make" the audience $ait #or the #u!! orche"tra!"ound at bar %3.• A "erie" o# !ong "u"tained note" ,peda!"- contribute to a

"en"e o# "u"pen"e that i" bui!t up 7 thi" i" u"ed throughoutthe AFE po"ition "ection.

• Mar


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Section M 7 1 "t epi"ideF& nd "ubject ,10%'1;%-

• A#ter the c!ima o# the opening "ection 7 the M"ection become" !e"" hectic.

• String" no$ ha/e repeated crotchet" in"tead o#me!odic intere"t.

• Iynamic" ha/e dropped to piano.• Te ture reduce" to "tring" B occa"iona! $ood$ind.• The epi"ode ha" 3 me!odic idea".• E amp!e" o# doub!e "topping can be "een at bar 1L1'

1L& $ith trip!e "topping at 1L3'1LL. Thi" add"empha"i" to the cadentia! chord".

• =ink pa""age ,bar" 1L


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The return o# the theme ,1;('1(&-

• The main theme return" in a "horter #orm 7&; bar".

• A!mo"t identica! to the +r"t appearance at

bar" ;'&< 7 apart #rom an in/erted moti# inthe c!arinet at bar 1%&.


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9ecapitu!ation ,&


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9ecap

1. Nhich bar number doe" the +r"t "ection A endJ&.Nhich harmonic 2 compo"itiona! #eature doe" the oboe

p!ay in the +r"t "ectionJ

3. Nhich bar number doe" the recapitu!ation "tartJL.Nhat doe" 5monothematic6 meanJ;. Nho commi""ioned Haydn to $ork #or them in =ondonJ


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• 8ontinue to $ork through the Haydn "coree erci"e" unti! the book!et i" comp!eted.

• 9ead through your ana!y"i" and conte tua!hi"tory note" in preparation #or an end o#unit a""e""ment.

*!ea"e prepare thi" #or "ubmi""ion in ourne t !e""on.

Iirected Study


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H a y d n

S y m p h o n y

n o. 1 0 3 i n

E b m a j o r…

# u r t h e r a n a ! y " i "

2 e n d o # u n

i t

a " " e " "

m e n t

TASK: 1. Ho$ many time" doe" the theme appear in it" #u!!"tate in the L th mo/ementJ

&. Nhat i" the opening horn "ection de"cribed a"J


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Nhat did you di"co/erJ

=a"t !e""on you $ere in"tructed to continue tocomp!ete the Haydn "core ana!y"i" book!et.

Pou $ere a!"o a"ked to re/i"e your Haydn note"in preparation #or the end o# unit a""e""ment.


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=ight" 8amera HaydnG

TASK: @n "ma!! group" produce a "hort theatrepiece that portray" the circum"tance" in $hich

Haydn created hi" Drum Roll "ymphony. The"e$i!! be +!med and $i!! become a re/i"ion aid #oryour Summer e amination.

9ecap ' end o# unit


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• *!ea"e put a!! note" a$ay and prepare #orthe end o# unit a""e""ment.

•

Thi" $i!! con"i"t o# "ome genera!kno$!edge ?ue"tion" on Haydn’s DrumRoll symphony and a!"o "ome deeperana!y"i" ?ue"tion" #ocu"ing on "peci+carea" o# the piece $hich $i!! in/o!/e!i"tening and "core ana!y"i".

9ecap ' end o# unita""e""ment


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•

=i"ten to t$o di erent recording" o# Haydn6" Drum Roll"ymphony. 8ompare and contra"t the key #eature" o# eachrecording u"ing "imi!aritie" and di erence" to guide yourre"pon"e.

Pou may $i"h to re#er to a"pect" "uch a":

TempoMa!ance

Articu!ation

*itch

Iynamic"

Thi" cou!d be produced a" a $ritten artic!e or in a tab!e#ormat.

A good word count is around 00 words.

*!ea"e prepare thi" #or "ubmi""ion in our ne t !e""on.

Iirected Study


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An important part o# A'!e/e! "tudying i"reading around your "ubject and a!!o$ingyour"e!# the time to re"earch and in/e"tigatea$ay #rom $hat i" co/ered in !e""on" atco!!ege.

• Haydn by Ia/id Nyn Cone".• Haydn! A "reati#e $ife in %usic by Kar!

Qeiringer.

urther 9eading


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• The 8reation ,1%)

Documents

Haydn's Drum Roll Symphony