"movement, there is a dark, fierce passage in G minor, followed by Haydnesque humor and finally the clock theme once again. Michael Steinberg said, ""Haydn has a gratifying number of different clocks in his shop, offering 'tick-tock' in a happy variety of colors."" In 1793, Haydn had given his employer Prince Esterházy an elaborate musical clock, for which he wrote 12 short pieces, one of them being the basis for the third movement. This movement, a minuet, is one of Haydn's longest. The trio evokes a bungling village band, with more Haydnesque humor, similar to what Beethoven would use in"
"theme. Haydn in particular was fond of using the opening theme, often in a truncated or otherwise altered form, to announce the move to the dominant, as in the first movement of his Sonata Hob. XVI No. 49 in E major. Mozart also occasionally wrote such expositions: for instance in the Piano Sonata K. 570 or the String Quintet K. 593. Such expositions are often called monothematic, meaning that one theme serves to establish the opposition between tonic and dominant keys. This term is misleading, since most ""monothematic"" works have multiple themes: most works so labeled have additional themes in"
"was, literally, spreading the wealth. The nickname (not Haydn's own, but quickly adopted) derives from the opening slow introduction of the opening movement, which clearly depicts sunrise. The remainder of the work is abstract, as, indeed, are the other two symphonies in the series. Because of the initial association, however, the remaining were quickly and complementarily named ""noon"" and ""evening"". Following the sunrise-depicting introduction, the ""Allegro"" kicks off immediately with solo passages for flute and oboe. At the end of the development, a solo horn states the opening flute theme in the tonic, reminding modern listeners of the premature entry"
"opening movement set at a slow pace for its entirety; usually he will begin a first movement with a slow tempo for an introduction but the main body will be at a faster tempo. The slow section also ends on the tonic, an unusual ending for an introduction. The first movement has a structure that corresponds with no formal type, and sharply contrasts with Haydn’s usual style of structuring movements. It is closest to sonata form but only vaguely. The piece quickly reaches the dominant (m. 13), in which the opening ritornello is restated, but soon reverts to the tonic"
"reflect many of the ideas presented in this first theme, this symphony has been termed monothematic. Following the first theme is the transition, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, but in the dominant key. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the tonic key through the closing of the first movement. In the development section, Haydn borrows themes from the exposition, then “develops” and embellishes them. He adds sections of subject change and digression from"
"come from Haydn himself. ""Le Philosoph"" appears on a manuscript copy of the symphony found in Modena dated 1790; thus the nickname dates from the composer's own lifetime. The title is thought to derive from the melody and counterpoint of the first movement (between the horns and cor anglais), which musically allude to a question followed by an answer and paralleling the disputatio system of debate. The piece's use of a muted tick-tock effect also evokes the image of a philosopher deep in thought while time passes by. As Jones notes, the nickname ""becomes less appropriate as the symphony proceeds"
"movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven's conception of this movement. The key is the subdominant of A major, D major. Tovey wrote, ""The slow movement shows a thrilling solemnity that immediately proves the identity of the pupil of Haydn with the creator of the 9th symphony."" A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term ""Scherzo"" is used."
"work of Haydn’s and a symphony. Haydn does this because the opening statement (mm. 1–9) is played only in octaves instead of triads, a contrast with the rest of the piece. The next theme, beginning at m. 10, brings triads into the picture. The octave sonority does not return until the opening theme returns as the coda. As the material does not return in any form during the main body of the piece, the theme in octaves serves as an introduction to contrast with the rest of the movement. As for the body of the movement, the exposition is made"
"been popularly referred to as ""the Bear"". As with the nicknames of all Haydn's symphonies, it did not originate with the composer. Instead, the name derives from a recurring feature from the last movement (including its famous opening), in which Haydn intimates the tonality of a bagpipes or Dudelsack: a low sustained drone, accentuated by a grace-note on the downbeat. This curious tonality prompted an 1829 piano arrangement of the symphony to be entitled ""Danse de l'Ours,"" the earliest known printed appearance of the nickname. This is a reference to the music used to accompany dancing bears — a popular"
"solo). As the number of remaining instruments dwindles, the sound emanating from the orchestra gradually becomes audibly thinner. The first chair violinists remain to complete the work. The ending is a kind of deliberate anticlimax and is usually performed as a very soft ""pianissimo"". The work is probably one of the more familiar and frequently performed of the symphonies from the earlier period of Haydn's career. Haydn himself quoted the opening of the first movement in his Symphony No. 85, suggesting he knew that his audience would recognize it. For the musicologist James Webster, the work deserves its fame not"
"movement opens with a melody in the first violin featuring repeated notes. Grace notes are inserted between the repeated notes which gives the melody a ""birdlike quality"" and hence gives the quartet its nickname. This quartet in B major is numbered in variously as No. 34, Hob. III:40 and FHE No. 73. This quartet in G major, nicknamed How Do You Do, is numbered in variously as No. 29, Hob. III:41, and FHE No. 74. The first theme of the opening movement begins and ends with the same rising four-note cadence that gives the quartet its nickname. When the cadence"
"of the movement is generally not played as part of the symphony as a whole. The nickname, meaning 'people's festival,' comes from Bruckner's autograph. The movement's opening and first theme group are generally the same as the first version. The second group shows substantial differences in rhythm, with the difficult quintuplets replaced with simpler rhythmic patterns (Bruckner rhythm ""2 + 3"" or ""3 + 2""). The actual notes, leaving aside transpositions and differences in accompaniment and articulation, are unchanged. The first theme: <score vorbis =""1""> \new Staff \relative e { \set Staff.midiInstrument = #""piano"" \key c \major \clef treble \time"
"the original theme as well as moments of rest or silence. These qualities of the development are all very characteristic of Haydn. Furthermore, he draws upon the older style of intricate counterpoint to enhance the galant style of the symphony. The second movement is in ternary form with a slow and song-like melody. Haydn, however, adds his own uniqueness to this movement by adding an intense middle section in minor. This minor interlude is based on a motive from the opening section. A shortened return of the major section precedes a section of the movement that features the winds. Haydn"
"is numbered III/49 in the Hoboken-Verzeichnis catalogue. Its movements are: Haydn's choice of D major for this quartet, with the second movement in D minor, optimises the use of open strings and allows for the work to be the loudest and most grandiose of the set. The first movement opens peculiarly: the first violin starts on an E, and proceeds to play a four-measure phrase that concludes with a D major chord. The use of a closing phrase to start the movement is the first of a number of unsettling incidents in the movement. The exposition withholds the expected cadence"
"notable for its long development section and symphonic character. Re-used with reduced orchestration as the first movement of his Symphony No 63, in the opera it finishes on an open cadence. Throughout the opera the key of E flat is associated with the moon; the 18th century often linked the key with darkness and sleep. Critics have particularly praised the noble arias Haydn writes for his serious characters Flaminia and Ernesto and the evocative music for the flight to the moon in act 1. Several numbers (vocal and instrumental) combine triple metre and a slow to moderato tempo. Flaminia's act"
"the opening of this movement resembles the free atonality of the Chamber Symphony No. 1 by Arnold Schoenberg, but this sound was also very much in the air amongst British composers at that time, in particular Michael Tippett's Piano Concerto . The character of this movement rests largely on its springy rhythms, moving at the end to a calm close in F major . The Lento is a slow dirge with a more lively middle section, and the only movement that shows much affinity with the Brahms trio (; ). The long main theme is given first to the horn"
"figure later on in the movement. This opening theme, however, is really an introduction to the main melody of the movement, which is presented by a lengthy clarinet solo, and is a typical Rachmaninoff creation, circling around single notes and accompanied by rich harmony. The second part of the movement is based on the initial motto theme of the symphony, and in many ways is a direct complement to the introduction of the first movement, leading to an impassioned climax in C major. After a transition back to the opening theme, the central melody of the movement is restated, this"
"in B-flat major, is in two parts: an exposition and a recapitulation. The first violin plays the leading role throughout, although the movement is characterised by rich textures between the four parts created by compositional devices such as contrary motion. It is this movement that gives the Op. 50 No. 5 the nickname of ""Der Traum"", or ""The Dream"". The minuet is in F major, but it is not until well into its second half that a strong chord in the tonic arrives. Once again among the Opus 50 minuets, Haydn is unsettling harmonic conventions. Haydn also toys with metre"
"Symphony No. 100 (Haydn) The Symphony No. 100 in G major, Hoboken I/100, is the eighth of the twelve London symphonies written by Joseph Haydn and completed in 1793 or 1794. It is popularly known as the Military Symphony. The nickname ""Military"" derives from the second movement, which features prominent fanfares written for C-trumpets and percussion effects. One reviewer wrote after the premiere that the second movement evoked the ""hellish roar of war increas[ing] to a climax of horrid sublimity!"" The work is in standard four movement form and scored for two flutes, two oboes, two clarinets, two bassoons, two"
"two in G), and strings (violins divided into two, violas, cellos and double basses). There are four movements: The opening movement features a nervously exciting main theme interrupted by frequent pauses. Felix Diergarten has specifically analysed the pauses in the first movement in the symphony, with respect to symphonic form of the time. Both the first and second theme groups begin with the same two bars of melodic material. In contrast to the Sturm und Drang of the opening movement, A. P. Brown describes the Andante as ""one of Haydn's most ""galant"" slow movements, with its small meter signature, sixteenth"
"on the strings. However, there is nothing particularly distinguishing about any of the movements that would make it more impassioned than other symphonic compositions by Haydn during this period. Instead, the nickname almost certainly derives from the use of several movements as accompanying music to a performance of the play ""Der Feuersbrunst"" by Gustav Friedrich Wilhelm Großmann, which was performed at Eszterháza in either (depending on the source) 1774 or 1778. An extant manuscript of the symphony dating from Haydn's lifetime bears the title ""Feueur Sinfonia"". Earlier claims that the symphony originated first as theatrical music (like the Symphony No."
"into the different motifs of the main theme, also playing contrapuntally. The development turns toward conclusion with the secondary theme once more, and ends with a long falling scale. The recapitulation is straightforward, and the triumphant coda finishes this grand movement. The ""Morning Chronicle"" said, ""Nothing can be more original than the subject of the first movement, and having found a happy subject, no man knows like Haydn how to produce incessant variety, without once departing from it."" The second movement, from which the symphony gets its name, begins with plucked strings and a bassoon. Towards the middle of the"
"exposition; the coda reminisces the motivic work of the development before it closes the movement with strongly repeated chords played by the whole orchestra. Due to Beethoven's metronome markings and the addition of the indication of ""con moto"" (""with motion""), the ""Andante"" (in F major, the subdominant of the symphony's home key) of the second movement is played considerably faster than the general concept of that tempo. In contrast to the tradition, Beethoven uses the entire instrumentation of the orchestra (2nd flute tacet) and, consequently, displays a vast spectrum of sound in this movement which, as well, is composed in"
"movement, in sonata rondo form that proceeds at a very fast tempo. (The metronome marking supplied by Beethoven himself is semibreve = 84.) This is the first symphonic movement in which the timpani are tuned in octaves, foreshadowing the similar octave-F tuning in the scherzo of the Ninth Symphony. Antony Hopkins quotes the entire opening theme of the finale “in order to emphasise the outrageous impropriety of the last roaring C sharp”: “All that precedes it is so delicate in texture, so nimble and light-footed.” Donald Tovey cites the abrupt intrusion of the C sharp as an example of Beethoven’s"
"scholars often list it as No. 9. Following the standard symphonic form, there are four movements: The first movement begins with an extensive introduction with its own miniaturised exposition, development and recapitulation. The opening theme is used in a modified form as secondary subject matter in the main section of the movement. The rest of the movement is in sonata form with two periods for each theme and several transition themes and extra material. The opening theme of the introduction is restated in the coda before the final cadences. <score> \relative c' { </score> The second movement is in a"
"Symphonie"".) Haydn distinguishes each section of the sonata form in this movement by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major, modulates through to the parallel minor, and prolongs the German sixth chord (Gr) in G major. He begins the first theme in the tonic but on a dominant seventh chord. This is very unusual of symphonies of the time but it reflects an aspect of Haydn’s unique compositional characteristics. Because the rest of the Oxford will"
"play with mutes. H. C. Robbins Landon calls it ""surely one of the ""settecento""'s supremely original concepts"". Played with all the indicated repeats, it lasts about 10 minutes, almost half the duration of the symphony as a whole. The second movement is extroverted, in very fast tempo, and features virtuosic playing from the string section. As commentators have pointed out, this movement would be too fast and light to begin a classical symphony on its own, but fits well after a slow opening movement. Later in Haydn's symphonic career, the same effect would be achieved by placing a light opening"
"beginning of the twelve-bar ""introduction"" of the first movement is sometimes considered a ""musical joke"". For example, the English musicologist Donald Tovey has called this work ""a comedy of manners"". In fact, Symphony No. 1 can be regarded as a result of Beethoven's bold musical experimentation and advancement which he presents five years after Haydn's last symphony and twelve years after Mozart's final ""Jupiter Symphony"": Unusually, Beethoven's Symphony No. 1 starts with a sequence of repeatedly accentuated dominant–tonic chord sequences, however, in the ""wrong"" key and untouching and leading away from the tonic, so that the listener only gradually realizes"
"opening of the piece whose gestural phrase mimics that of Webern's Op. 24. Stravinsky himself described the harmonic structure of ""Movements"" as ""anti-tonal"". Traditional references to triadic harmonic structures are eliminated in favor of an almost total linear based idiom with conventional ostinati and harmonic considerations replaced with an atonal and highly contrapuntal texture characterized by gestures, inner unity and a strict adherence to serial forms far more pervasive than in previous serial compositions by Stravinsky. Orchestration: 2 flutes (2nd = piccolo), oboe, English horn, clarinet, bass clarinet, bassoon, 2 trumpets, 3 trombones, harp, celesta, strings, and solo piano. Movements"
"not-quite-perfected metronome. This motif is played by the whole orchestra at the end of the coda. <score> \new Score { } (c) } (c f_\markup { } c]) a'(f_\markup { } a f]_\markup { } ) a'-._\markup { } r8 </score> A nostalgic invocation of the old minuet, obsolete by the time this symphony was composed. (A similar nostalgic minuet appears in the Piano Sonata Opus 31 no. 3, from 1802). The style of Beethoven's minuet is not particularly close to its 18th-century models, as it retains a rather coarse, thumping rhythm. Thus, for example, after the initial upbeat Beethoven"
"in 1780. The date of its first performance is unknown, as is the truth with most of Haydn's symphonies. The symphony has long been popularly known as the Feuer or Fire symphony. As with most other monikers attached to Haydn's symphonies, the name itself did not originate with the composer. For a long time, the attributed title was thought to refer to the fiery nature of the composition, particularly the rather unusually spirited first movement (marked Presto, a tempo indication more typical of final movements) and the brief but energetic last movement, which features prominent horn fanfares and corruscating runs"
"movement. \relative c' { </score> \relative c"" { </score> Like most of Schubert's early symphonies, this symphony opens with a slow introduction, which is cast in the key of D minor. Its beginning is somewhat reminiscent of the slow introduction to Haydn's 104th symphony, but it quickly moves into harmonically more remote territory, going as far as the tritone-related key of A major. This moves into a conventional sonata-form movement in D major, with a transition making heavy use of triplets with the second theme in the dominant key of A major, but the sketch terminates at the end of"
"strangely scored and undeniably eerie-sounding slow movement, it was dubbed the 'Ghost' Trio. The name has stuck with the work ever since. The ghostly music may have had its roots in sketches for a Macbeth opera that Beethoven was contemplating at the time."" According to Lewis Lockwood, Beethoven's pupil Carl Czerny wrote in 1842 that the slow movement reminded him (Czerny) of the ghost scene at the opening of Shakespeare's ""Hamlet"", and this was the origin of the nickname. James Keller also attributes the nickname to Czerny, adding, ""You may discard as erroneous the oft-encountered claim that this movement of"