Haydn Symphony 104 Mvt 2

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Structure

  • Theme and variation with elements of ternary form
  • Clearly triparite
  • Develops one main theme based on openening 4 bars
  • Opening Section: BARS 1-37
  • Middle Section: BARS 38-70
  • Final Section: 74-140
  • Codetta: 141- 152
  • G major
  • 2/4 
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Opening Theme A

  • Motif based on intervalic ideas of 5ths and 2nds
  • Phrase A repeated bars 1-8
  • Begins quietly in strings with violin I on melody
  • Use of double-dotted theme from Mvt 1
  • Homophonic texture
  • Concludes with a perfect cadence at bar 4
  • Next phrase repeats opening bars but with diminished harmony in bar 6 and modulates to perfect cadence in the dominant key
  • sfz in bar 2
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Phrase B

  • Bars 9-16 based on thematic material from A
  • Intervals of 5ths and 2nds
  • Dotted rhythms heard in cellos first then violas  bars later
  • Stepwise in parallel 3rds in violins- bars 10, 12 and 13
  • Sequential presentation = more interesting and light texture
  • IMITATIVE STYLE
  • C natural in cello (bar 9) shifts attention to tonic but not the tonicisation of D minor and A major
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Phrase A- Bar 17-32

  • Phrase A now longer (6 bars)
  • Bars 17-20 based on bars 1-4
  • Solo bassoon moves with violin I melody
  • Final quaver beat bar 20 signals change and an extension
  • Rhythm rises sequentially in violin I but makes an interrupted cadence in bar 24-25 via augented 6th chord bar 23
  • Resolves onto C major pause chord for attention of listeners
  • Double dotted rhythm in strings
  • Second interrupted cadence bars 28-29  whih resolves to a diminished chord
  • Ends with perfect cadnece in tonic key
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Codetta 33-37

  • 5 bar phrase concludes with extended A phrase
  • Solo bassoons join with violin I to play triadic motif
  • Tonic pedal in bass which is hed until descending arpeggio figre in bar 37
  • Section ends in G major
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Middle Section

  • In two halves
  • First half Bar 38-56
  • Second half bar 57-70
  • Link bars 70-73
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Middle Section- First Half bars 38-56

  • Immediate contrast in sonorities
  • Main theme in G minor as flute solo
  • First 4 bars scored for woodwind
  • Diminished chords bar 40-41
  • Interrupted by ff tutti in D minor with counter-theme in upper woodwind
  • Complete with higher dominant dischords/ diminished harmony and syncopation bars 43-44
  • Violin II and lower stringshave semiquaver arpeggiac figure played staccato
  • Shift in chord from flattened submediant on D minor (Bb) brings ii > V7 > I in Bb major
  • Melodic lines merge and violins decorate woodwind
  • Turbulence added  via syncopation (upper woodwind), descending semiquavers and bass demi-semi-quavers
  • First half finishes dominant 7th bar 55
  • Sudden stop = 1 bar rest bar 56
  • STURM UND DRANG = building up tension then sudden stop
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Middle Section- Second Half bars 57-70

  • Slightly shorter
  • Still Bb major
  • Main theme heard in violin
  • Reduction in texture
  • bar 60- tutti Bb chord in root position f
  • IMITATION 
  • Motif heard sequentially (bars 60-61, then 62-63)
  • Music reaches V7 of G major = dominant preparation for return to the home key
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Link Bars 70-73

  • Bar 70 violins play alone
  • Monophonic
  • Staccato semi-quavers on dominant chord
  • Builds expectation
  • bar 73 joined by solo bassoon pp
  • Leads back to section A
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Final Section Phrase A bars 74-81

  • Same as 1-8 with added woodind
  • Bassoons + violin II continue arpeggio semi-quavers
  • G major
  • Flute joins octave higher with violin melody
  • Bars 76-81 = strings with flute solo played p
  • Ends with perfect cadence in G
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Phrase A1 - bars 82-89

  • Same as bars 9-16
  • Includes flute and bassoon
  • 88-89 = full orchestra ff
  • Dotted figure at end of section
  • D major via perfect cadence in tonic key
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Phrase B bars 90-97

  • Based on opening B section
  • Starts on D7 chord (C in bass) before tonicisation of A minor bar 91
  • Bar 93 D minor tonic takes hold before returning to A minor bar 94
  • Decoration of initial ideas including rhythm eg. bar 96 violin I semiquaver septuplets
  • Stepwise movement and interval of 2nd
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Phrase A bars 98-130

  • Bars 17-37 but longer due to development
  • 98-112 = main theme + decoration and flute solo
  • 102 = texture reduced to only strings with dotted figure in violins + idea from 16 up a minor third
  • Sextuplet rhythmic figuration continues with arpeggios in violin II = interpolating section with diverse tonality
  • 105 = harmonic move as C minor is tonicised with C and E acting as pivot notes
  • 107 = moves to Ab major chords
  • 109 = Ab now dominant preparation for Db major
  • Db = flat dominant of G = tritone from home key 
  • Dominant and tonic double pedal notes in viola and bass
  • Ends on root position Db chord with diminuendo to p - chord paused
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Bars 114-117

  • Textual interest to flutes, oboes and bassoons = Db held enharmonically in bassoon, supporting C# minor chord
  • 4 bar cadenza for solo flute and piu largo over chromatic harmony
  • Diminished chords bars 115-116
  • Cadenza finishes with F# major pause chord
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Bars 118-121

  • Answered by strings on F# minor to move to dominant of home key through shared pivot notes
  • Timpani roll on dominant D for return key of G major
  • Repeats everything again
  • Harmonic shift
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Bars 122-140

  • 122 = main theme continues with development now ff with horns for fanfare motif
  • 98-140 = bars 17-32 + development + cadenza bars 131-134
  • 131-140 = 27-32 but with written in sextuplet semiquavers in strings only
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Codetta bars 141-152

  • = bars 33-37 but extended to 12 bars
  • 149 = p then pp
  • Repetition and imitation
  • 145-148 = tonic pedal in string bass, then horns play an otave apart
  • 149 = horns play fanfare figure as solo very quietly = very unusual
  • Final 4 bars = strings + woodwind
  •                     = interval of 2nd
  •                     = punctuated by rests
  •                     = 3 staccato detached chord --> perfect cadence in G
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