Aims and Objectives

Aim: To start revising the last movement

Objectives

1 To listen to the last movement and follow the score

2 To identify the structure and motifs used throught the piece

3 To identify some of the development techniques used

Please listen and follow the score

Raise your hand when you are finished

Philharmonia Orchestra

Presenter Paul Rissmann describes the final symphony from the remarkably prolific composer, Joseph Haydn.

Oj, Jelena, Jelena, jabuka zelena - KroaTarantata

The main themes

With the fourth movement being in Sonata Form you would expect a first and second subject. As in the first movement, Haydn again uses the same musical idea for both the first and second subject. Other sources refer to this movement at "monothematic" however, eduqas in their teachers notes never fully commit to this idea instead saying "Haydn’s practice of using the same thematic material for both subject groups has been well documented – and has already been noted as the case in the first movement of this symphony. However, there are some differences: the theme is now played by the 2nd violins, accompanied by the counter-theme which is now in the first violins – so the parts have been swapped."

Subject 1

This theme is 8 bars long, consisting of a four bar idea which is then repeated with a variation in the final 8th bar

Subject 2a (Bar 54)

The theme is now played by the 2nd violins, accompanied by the counter-theme which is now in the first violins – so the parts have been swapped. The pedal note is still firmly evident in the texture (timpani quavers as well as the sustained string bass), this time supported by both tonic and dominant pedals sustained in brass.

Subject 2b (Bar 84)

This is the second part of the second subject section. This material has not been heard previously, and is clearly contrasting. Firstly, the key has moved to B minor and the instrumentation has been reduced to just strings and first bassoon. Rhythmic variety is at a minimum, with just minims and

semibreves being used

The main figure elements

• Figure X (the stamping phrase)

• Figure Y (from the countermelody used in S 1 )

• Figure Z played by the first violins first in Bar 44

Three questions. What is a?

• Subdominant chord in second inversion

• Tonicisation of E minor

• Secondary dominant 7th in first inversion

Pedal 64

Pedal 64

Secondary dominant 7th in first inversion

A secondary dominant is a dominant seventh chord other than the dominant of the key centre.

Think about where you have heard a lot of dominant harmony within the piece.

Secondary dominant 7th in first inversion

A secondary dominant is a dominant seventh chord other than the dominant of the key centre

In first inversion because it then allows the bass and cello to step down a semitone for dramatic effect 

E to B7 (D# in the Bass) first inversion (we are in the key of A major after the transition for S1)

What to do now

Using the resources I sent you from the teachers notes Zig Zag study guide and annotated score, revise the features in terms of texture, development and harmony used in the exposition of the fourth movement. There will be a quiz on this on Thursday.