Haydn Symphony 104 Mvt 2
4.0 / 5 based on 1 rating
- Created by: Ellie Warlow
- Created on: 10-05-17 12:35
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 p 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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