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| Crucial in rise of Instrumental music. |
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| What forms of insturmental |
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| symphonies, string quartets, piano trios, piano sonatas |
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| goal to produce as many examples of a genre as possible |
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| goal to produce individual ‘art works’. post 1780, Haydn edges towards this stuff |
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| classical style. why bad term |
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| anachronistic term coined in mid 19th cent |
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1758 worked under ct. morzin in vienna
1761 moves to work for esterhazys in eisenstadt. his isolation there forced him to become ‘original’
1790 cut loose by new esterhazy prince, becomes a free marketplace artist
two trips to london |
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| 2 important Haydn symphonies |
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Symphony 6 Matin slow intro evokes sunrise. in the recap, MC and first S theme omitted = haydn often recomposed his recaps rather than directly quote
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Sturm and Drang: the experimentation with minor mode works
symphony no. 45 in F# minor. farewell. in last movement, orchestral players leave 1×1 to protest extended stay in Eisenstadt. rare key of F# minor, doesnot lead to the relative major. melody moves by leap, string tremolos |
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| baryton, define. used in what? |
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| string instrument w/ two sets of strings, one set bowed, one set plucked
used in Baryton Trios, written for patron Prince Nikolaus |
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| String quartets. invented? |
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| possibly invented by haydn in 1750s, even if not, he made genre his own |
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| Middle period quartets why importatn |
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Op 20 has fugal finales, mixture of old and new
Op 33 onset of high classical. equal interplay between all four instruments
shows off haydn’s mastery of wit, surprise, evocatism. |
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| Important example of mid period quartet and why |
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| The Bird shows off Haydn’s fondness for experimentation of form (false expo) musical imagery (imitation of birdcall) monothematic expositions (P launches development) economy of material (haydn develops short motifs) recomposed recaps |
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| late period string quartets: example |
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| Symphony traits, by phase. |
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| slow introductions common in london symphonies, also s themes similar to P themes. “Surprise”
Sonata-rondo finales common by 1780s
Paris symphonies: fondness for rustic, folksy finales |
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| The Creation. Libretto by Baron van Swieten.
in representation of Chaos, extreme harmonic ambig. non harmonic tones, cadential delay
light |
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