1.

Digli ch'io son fedele from Cleofide Hasse

"da capo" aria
Opera seria

2. Symphony no. 32, in F major, 1st movement Sammartini

Scored for four-part strings,
and probably included B.C. for conductor
3 movements (fast-slow-fast) each of which is relatively short.
First movement is in binary sonata form and follows Kochs description
of sonata-form movements.

3. Symphony no.3, in F major, H. 665, W. 183, 1st

movement C.P.E. Bach
Strum und Drang symphony

4.Sonata in A major, H. 186, W. 55/4, 2nd movement

C.P.E. Bach
5.Symphony in Eb, op. 11 no. 3 Stamiz
This symphony, like many others by Stamitz, influenced Joseph Haydn and Mozart. It is
approximately fifteen minutes in length, and demonstrates Stamitz's late symphonic
style. It demonstrates the culmination of the Mannheim school of orchestral playing
which emphasized extended techniques for the instruments among them an attention
to detail of dynamics. The concept of "Strum und Drang", German for approximately
storminess, or a very angular sharp contrast musically can be seen in this work with
very sudden dynamic changes and a sharp texture change, presented when the oboes
enter with the Beta Theme, or "B" theme. This work is significant in that it is one of the
earlier symphonic works and begins to establish the genre of the Symphony, which
would then be expanded upon by Mozart and most Notably Hadyn, who is the "Father of
the Symphony"

6.Son imbrogliato io gi from La Serva Padrona

Pergolesi

Intermezzo Paris 1752

Debate Querelle de
Bouffons
"da capo" aria

7. Che faro senza Euridice? From Orfeo ed Euridice

Gluck
Glucks reformed opera

-
Ornamentation Virtuosity
expressiveness text (Balance
between music and drama)
- musical form aria Dramatic
situation Da capo aria
- sharp contrast reicatative & aria
recitativo secco recitativo

accompagnato
- Overture drama (
thematic relationship)
8.Stabat mater dolorosa Pergolesi

Tension
dissonance
Jean-

Jacques Rousseau the most perfect and touching

duet to come from the pen of any composer
9. Concerto for Piano or Harpsichord in Eb major, Op. 7
no. 5, 1st movement J.C. Bach

1770 ( London 1756-1781 J.C. Bach

concert series Carl F. Abel)
Instrumentation trio sonata
Classical concerto form Baroque
rittornello form sonata style

Style Galant, refined keyboard writing

Keyboard

10.

Symphony no. 6 Le Matin, 1st movement

Haydn

- Symphony Haydn Esterhaza

- Concerto principles (ripieno & concertino,
solo passages)
- flutes, oboes, bassoons, horns, strings
- wind instruments solo
passages wind
Esterhaza Haydn

- solo double bass Minuet and trio

11.
Symphony no. 45 Farewell Symphony, 4th
movement Haydn
It was written for Haydn's patron, Prince Nikolaus Esterhzy, while he, Haydn and the
court orchestra were at the Prince's summer palace in Eszterhza. The stay there had
been longer than expected, and most of the musicians had been forced to leave their
wives back at home in Eisenstadt, so in the last movement of the symphony, Haydn
subtly hinted to his patron that perhaps he might like to allow the musicians to return
home: during the final adagio each musician stops playing, snuffs out the candle on his
music stand, and leaves in turn, so that at the end, there are just two muted violins left
(played by Haydn himself and the concertmaster, Luigi Tomasini (it)). Esterhzy seems

to have understood the message: the court returned to Eisenstadt the day following the
performance.

12.
Symphony no. 55 The Schoolmaster, 1st
movement Haydn
This period was one of experimentation. Already a masterful composer, Haydn
struggled with the notion of creating something new and exciting with every
composition. Some compositions serve as a testing ground for new techniques. Though
relatively conservative as a whole, the opening movement contains a relatively new,
and successfully executed, technique of false recapitulation; after 31 measures of
development, Haydn appears to begin the recapitulation of the first theme, but, in the
witty style which would typify late Haydn, he deviates back into development for an
extended period (over 30 measures) before bringing the true conclusion. Excepting
this, however, the movement lacks somewhat in thematic/melodic material as well has
the bold harmonic excursions found in contemporaneous works (such as Symphonies
#52 and #54).

13.

Symphony no. 83 La Poule, 1st movement

Haydn

- grace notes dotted rhythm

Second subject

1st subject style strum und drang

Dramatic change of dynamics
first & second subjects development
musical ideas exposition
Counterpoint development

- opening motive development

Symphony no. 92 Oxford, 1st movement

Haydn

14.

The symphony is called the "Oxford" because Haydn reportedly conducted it at a

ceremony in 1791 in which he was awarded an honorary doctorate by Oxford
University. The name is something of a misnomer, because the symphony was actually
written earlier for performance in Paris. Haydn was awarded his degree fairly soon after
his first arrival in England, and as he had not yet finished composing any of the twelve
"London" symphonies he ultimately wrote for England, he brought to the ceremony the
most recent of his completed symphonies.

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 and modulates through to the parallel minor and then to
the dominant. 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
Haydns unique compositional characteristics. Because the rest of the Oxford
will 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 dominant 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 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 galante style of the
symphony.

15.

Symphony no. 103 Drum Rolls, 1st movement

Haydn

- London 1795
- Slow introduction symphony
Haydn

- Thematic materials Introduction

development coda

- Melody introduction
sense Meter ( 4 Dies irae
chant )

- 1st 2nd subjects Melody

- kettle drum

- development exposition

Introduction

1st subject

16.

2 nd subject

String Quartet, op.9 no.2, 1st movement Haydn

- Monothematic sonata ( transition

Haydn dominant key theme

virtuosic

passages )
- Virtuosic display on Violin I
-
part
development

- Exposition Bb7 development

dramatic G major chord c minor

17. String Quartet, op.9 no.4, 1st movement Haydn

- Haydns first quartet in minor key
- Monothematic sonata (2nd subject based on the 1st
subject)
- Virtuosic display Violin 1
- Dramatic pauses interrupt momentum
2nd subject

- rhythm
- Extream dynamic contrast

- Empfindsamer stil (deep emotion)

18.

String Quartet, op.20 no.1, 2st movement

Haydn

String Quartets op. 20 "The Sun Quartets (6 )

Reconciliation of Galant style and counterpoint
4-voice texture, Part
Fugal finales (no.2, 5, 6)
Cello Main theme No. 2 (Violin

quartet 30 )

19.

String Quartet, op.33, no.2, 1st movement

Haydn

- written in an entirely new manner (

publisher )
Smaller in structural scale and lighter in texture than
op.20
- Op.33 no.2 The Joke 4th movement

- Rondo
- Coda 148 rest
fermata
chord theme

20.

Prelude, Die Vorstellung des Chaos (The

Representation of Chaos) from The Creation Haydn

- Oratorio Handel
1796-1798

Prince Schwarzenberg 1798

- Salieri conductor Vienna 1808

- Greatest oratorio of the second half of 18th century
- Die Vorstellung des Chaos (The Representation of
Chaos) Haydn technique
Harmony Prelude

ambiguity of tonality
dramatic surprises
use of deceptive cadences
interruption of rhythmic flow or movement to
cadence
- diminished harmony