Haydn symphnoy 26

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  • - Like much plainsong, 2nd subject melody predominantly stepwise- violin moves disjunctly based on broken chords
  • - 1-8 each of first 3 phrases have repeated notes in syncopated rhythm then an upward leap inc maj 6th in b 4 - this leads to stepwise descent creating suspensions against the bass
  • 9-12 semitone descent F-E 'sighing motif' piano, minor key + rests give sighing emotion
  • 1-16 employ periodic phrasing
  • cycle of 5ths 57-63
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  • based on major and minor scales and largely dependent on functional harmony
  • exposition changes from Dmin to Fmaj (relative major) which is predictable.
  • development = Fmaj for 10 bars, gmin 55-65, amin from 65
  • Most memorable is the change to Dmaj for second subject of recap modulating from the tonic minor to major was uncommon in the Baroque but relatively common in the classical.
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  • the harmony, as common in the classical period is functional, with special emphasis on dominant and tonic functions in establishing tonality in perfect cadences and elsewhere
  • Bars9-12 I,Vb heard 4 times in succession in dmin
  • a few diminsihed 7ths which work to create harmonic tension e.g bars 4 and 69 and 71
  • suspensions also create harmonic tension e.g double sus at end of evangelists passage (25)   and a characteristically classical triple suspension at 'christ' 31
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