Instrumental Set Work - Haydn
- Created by: stephen_lunn1
- Created on: 18-04-16 11:04
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- Haydn - Symphony No.26
- Harmony
- Bars 57-64 are based on a circle of fifths in the bass part on the first beat of each bar
- Dominant pedal in the key of A minor (bars 65-68)
- Dramatic use of diminished 7th chords for example bar 13
- Appoggiaturas are important throughout,
- some are long and diatonic (E in melody against D in bass bar 16)
- Some are short and chromatic (F# in bars 40 and 42)
- Structure + Tonality
- Opening idea 44 bars repeated
- First subject in D minor
- Contrasting second subject in F major (the plainsong starting in bar 17)
- Middle section (bars 45-79) in a variety of keys
- Return to the opening section bar 80
- First subject is extended by 4 bars
- Second subject (bar 100) is now in the tonic major D major
- Sonata Form
- Exposition, Development, Recapitulation
- Coda is an expansion of bars 43-44 from the end of the exposition
- Opening idea 44 bars repeated
- Melody
- Bars 45-52 are based on a variant of the syncopated idea from the first subject
- Transposed to F major and treated in sequence
- Oboe plays a variant of Christ's plainsong (bars 65-68)
- Wild leaps in the violin parts bar 41 to portray the excited cries of the crowd
- Bars 45-52 are based on a variant of the syncopated idea from the first subject
- Rhythm
- Syncopation used throughout
- Rests are used for articulation to separate the contrasting ideas for example bar 8
- Texture
- In bar 26 the oboes and second violins playing the main theme while simultaneously being decorated by the first violins create a heterophonic texture
- Mainly melody dominated homophony
- Contextual
- Classical Symphony
- Austrian classical composer 1735-1809
- Symphony no.26 was composed in 1768
- Sturm Und Drang (storm and stress)
- Harmony
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