Haydn 104.4 week 31 recapitulation and coda

Aim: To continue exploring the last movement

Objectives

1 To listen to the movement

2 To do a quiz on the development

3 To do some melody dictation

4 To describe the recapitulation and coda

Transcribe the Bassoon part

There will be a series of questions on how material from the exposition and development have been used in the recapitulation.

We will be using the wheel of fortune to select each of you for an answer

You will all have some time to think about the question and you can work with others if you prefer

Bars 195-202

We hear the  return of the 1st subject from the exposition, how has it been changed?

This section is orchestrated more fully,what has been added?

Bars 195-202

The return of the 1st subject is based on bars 11-18 with the first 8-bar phrase being omitted. This makes this section 8-bars shorter.

This section is orchestrated more fully, with the addition of flutes, a 2nd oboe and an expanded string section on the score.

Bars 203-220

This part of the return of the 1st subject is based on bars 19-26. 

How does it change given that we are in the recapitulation and a transition between the first and second subject?

Bars 203-220

This part of the return of the 1st subject is based on bars 19-26. A change is made here so that the music remains in the tonic key (we are in the recapitulation).

The second part of the Transition (bars 31-35) are omitted. This makes for a shorter Transition but the initial passage was long (35 bars in total), as opposed to just 18 bars long in the Recapitulation.

Bars 221

This passage is based on bars 55-62  

Who plays main theme ?

The counter theme used in S2a is not present here in its original form, how has it been changed. 

What idea from bar 41 returns at  bar 228? 

Which Figure is  brought back at bars 232?

Second subject Bars 221

This passage is based on bars 55-62  with the main theme now in horns, bassoons and lower strings. 

The counter theme used in S2a is not present here in its original form. The first two bars have been changed from an ascending dotted minim crotchet pattern to a crochet, minim, crochet pattern ascending as a broken A major triad in root position in the first bar and an ascending D major 2nd inversion chord in the second bar. The theme is still played in the first vioins

From bar 228 the octave idea from bar  41 returns and figure Z is also brought back at bars 232

Bars 247

This passage is based on bars 84-101 and is the second half of the 2nd subject Subject 2b).

What is the same in this recapitulation of subject 2b and what is different? 

What is left out from from the Recapitulation section after subject 2b that is in the Exposition?

Bars 247

This passage is based on bars 84-101 and is the second half of the 2nd subject. It is exactly the same length as the corresponding section in the Exposition section.

Instead of it being in F# and moving around a circle of fifths (F#, B, E, A)

It now starts on a B(7) and moves around the circle of fifths to E(min) A and then D

The codetta from the Exposition section is omitted from the Recapitulation section.

How many bars are in this section?

Where has the material ( bars 265 and 266) similar to that used at the beginning of the coda) been used before? 

What do we hear at bar 276 and in what other movement has this type of idea been used before?

This section lasts for 70 bars, which is quite a substantial conclusion to his last symphony. The coda features a variety of material that has already been heard. It begins with thematic material that is similar to that found in the codetta from the Exposition (bar 102). 

At bar 276,we hear a woodwind trio – flute and two oboes – as the imitation continues for 11-bars. This is highly reminiscent of a similar move in the Recapitulation of the 1st movement.

When the full orchestra returns tutti in bar 287, what material is it using from the development and how has it changed key?

At bar 295 another idea is recapitulated, what is it and where have we heard it before?

When the full orchestra returns tutti in bar 287, there is another interesting shift as the music plunges into a f rendition of the quaver momentum from bar 147 – this time, in the key of D minor. 

At bar 295 the octave leaping idea from bar 41-3 from the transition in the Exposition is brought back

The continuous quaver idea from bar 76 returns above a sturdy homophonic texture of sustained harmonies at bar 307; the minim motif punctuates the passage to aid a return to the home key. 

The return to the home key of D major at bar is heard in a tutti ff, with a sustained pedal in the horns and bassoons, as the violins deliver their final reference to the 1st subject material (bars 311 to 318). The material from bars 5-6 are repeated several times to conclude the movement, over a tonic pedal. The movement ends with the ‘stamping’ rhythm extended into a ff perfect cadence, played tutti by the orchestra.