Originally, Haydn meant for the symphonies not to be played in order as they are numbered, and did not write them in numerical order either. He wrote number 83 and 87 around 1785, in 1786 he wrote numbers 82, 84, and 86 and number 85 was written at an unknown time between 1 785 and 1786. Haydn started by wanting them to be published in the order 87, 85, 83, 84, 86, 82, but later decided to have them played the order 82, 87, 85, 84, 83, 86. [2] To analyze this piece will be using the book “Haydn: The Pans’ Symphonies” by Bernard Harrison. I will also use as a back up is “The Music of Joseph Haydn, the Symphonies” by Antonym Hodgkin.

Both of these books have decent analysis of the ices and, with the recordings, should provide excellent tools. The large Pans orchestra, which played the symphonies first, consisted of seventy strings and doubled woodwind, yet it is believed that Haydn did not consider this while he was writing them. The two fullest works were not played by the Paris Orchestra, however. They were originally played by by the Prince’s Band at Stargaze , which only had twenty-four members, not Including trumpets and drums, which only played when required.

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This ensemble was approximately one third the size of the Paris Orchestra. [3] Haydn did something with symphony 82 that had not been done In over twelve years. Number 82 is in C major, and it brought to the table a C Major Festive Symphony including the very touching sounds of horns crooked in C alto. [4] At this point the instrumentation can also call for trumpets in C rather than the horns, which Is fairly common even though the piece accommodates the horns a lot better. Symphony number 84 and 87 are very musically similar to each other. Symphony number 84 is one of the more popular of the Paris Symphonies.

It, like number 87, has more timbre and Instrumentation than the others. Number 84 has more emphasis on the woodwinds than any of the other “Paris Symphonies”. Both of these, especially number 84 have the best of the orchestral expectations of the 1 ass’s, but 1 OFF Symphony number 84 has a very large assertion of the dominant of B Major, although it does spend a little time in the minor mode of E flat. [6] Beginning in the dominant is a characteristic of music from the sass’s, which was a favorite decade of Heyday’s. [7] Both 84 and 87 provide insight into Heyday’s musical taste.

They both also relate very well the growing difference between the popular mindset that Haydn ride to achieve, with the current favorite of classical music in late eighteenth century France and England. [8] In symphony 82 a multitude of different instruments are employed. The strings start by running up the scale at a rate of one octave per measure and a half. The growling’ pedal notes of the bassoon (which give the piece its nickname the “Bear” symphony) lighten after the string runs bringing with it dissonance and the horns right before the recapitulation.

Another theory on the nickname of the symphony begins with the finale where a flute plays a happy tune over the accompaniment of a ingle drum stroke with a bass note resonating underneath. This theory bases off of traveling performers who had dancing bears that would dance to the sound of the performer playing on a pan style flute. It ends with a typical Haydn move where the timpani enter at fortissimo while the rest of the performing group is only at forte. [9] Symphony number 83 is keyed in g minor and is scored almost the same way that number 82 is, yet for a minor setting and without timpani.

This movement is more geared as homage to universal peasantry. The finale is kind off hunting style piece, even though it is not an appropriate key for this period. However, the orchestration makes this symphony high drama, which helps it along. [10] In number 84, the bold interjection of the horns and other wind instruments are not as easily brought off. This symphony is in the key of E flat, which is considered Heyday’s “comfortable” key. Generally ensembles tend to shy away from this key with Haydn symphonies because it is his comfortable key.

The work sometimes seems superficial because it is either rushed off, or the dynamics are downplayed. The texture remains sad even with the lighter texture of the trio. [1 1] Symphony 85 is one of the more popular of the Paris Symphonies. It is keyed in B flat and is reportedly one of the favorites of Marie Antoinette. When Haydn writes to please his intended audience, it is because he has something original to say. The Vice tone has a long, smooth line accompanied by a driving string rhythm.

The only problem with the finale of this symphony is trying to fugue out if its form is close enough to a rondo to be called such, since it breaks the rules and develops rather than introducing new themes. [12] When Haydn wrote symphony 86 it was the first time that he incorporated trumpet and drum parts during composition. It was also one of only five symphonies that Haydn had written at this point that were keyed in D major. The others include Include the trumpets and the timpani. After a slow introduction the Allegro Spirits comes in rather quickly.

The effect of repeated notes is played up very well here. It gave the trumpets a crystal clear and extremely brilliant sound over the small string sections of the Prince’s Band. Being played by this ensemble rather than the Paris Orchestra is thought to have been better for it because of the cautious and detached open notes that lead to incredible moving progress. This symphony gets its phrases room dances practiced by the Austrian culture. With the addition of the words of a Christmas Carol the bassoon and string lines that make up this particular symphony are accented and made very popular.