Symphony no.26 in D minor ‘Lamentatione’: mvt.

Essay

The Classical Period started in 1730 and ended in 1820, and had many aspects and
musical features, such as sonata form. Symphony no.26 in D minor “Lamentatione” was
composed in the Classical Period by Haydn, one of the Viennese School composers. The first
movement, Allegro assai con spirito, is played by 2 oboes, bassoon, 2 horns, violins, which are
separated into 1st violin and 2nd violin parts, a viola, and a cello. This movement exhibits some
typical aspects of the Classical Period, but also explores other musical devices and styles that
are atypical for the Classical Period.

There are reasons why Haydn’s symphony can be exemplified as a piece from the
Classical Period. Firstly, the piece uses sonata form. The sonata form was one of the main
features of Classical Period, which identified musical pieces into three distinct sections; the
exposition, the development, and the recapitulation. In this movement, the exposition section is
from bar 1 to bar 44, the development section is from bar 45 to bar 79, and the recapitulation
section is from bar 80 to bar 133. The second subject in the exposition section modulates to the
relative major instead of the dominant. This is typical for the Classical Period, as sonatas in
minor keys normally modulate to the relative major. Additionally, Haydn also uses several
musical devices in this movement, such as arpeggiation and scalic passages, which were also
defining features of the Classical Period. An example of arpeggiation can be found when the 1st
violin plays broken chords from bar 17 to 34. Haydn’s use of broken chords in this passage
drives the piece forward. An example of scalar motion can be found from bar 57 to 64 in the first
and second violin parts. Furthermore, Haydn uses 8-bar phrases in this piece, which is a
common aspect found throughout most Classical Period pieces. Haydn also composed parts to
be played in unison; specifically the first and second violin parts. An example of this can be
found from bar 1 to bar 8. The cello and viola play some parts in unison, and some parts are an
octave apart. An example of this can also be found from bar 1 to bar 8. Furthermore, Haydn’s
piece exhibits a homophonic texture, which is typical for the Classical Period. Overall, Haydn’s
symphony can be exemplified as a piece from the Classical Period through the use of sonata
form, arpeggiation, scalar motion, 8-bar phrases, parts in unison, and a homophonic texture.

On the other hand, there are also reasons why Haydn’s symphony cannot be
exemplified as piece from the Classical Period. In this piece, Haydn explores different musical
techniques and devices that are atypical for the Classical Period. One musical device that
stands out in Haydn’s symphony is his emphasized usage of syncopation. An example of this
can be found in the 8-bar phrase in the first 8 bars in the oboe part. Haydn’s emphasis on the
offbeat with the oboe melody creates rhythmic dissonance with the bassoon, viola, and cello
parts, which are played in unison. However, the first and second violin parts are played in
unison for the first 8 bars, which complements the oboe part’s rhythmic drive. This syncopated
melodic motif is used throughout the piece by Haydn, essentially implanting the rhythm in the
listener’s brain. Another aspect that is atypical for the Classical Period is that the melody is
played mostly by the oboe throughout the piece. Typically, it would be played by a first violin or
a flute in a symphony. Additionally, Haydn modulates the piece into the parallel major in the
recapitulation section, which is extremely uncommon, as the recapitulation tends to stay in the
tonic key rather than modulate further. Haydn’s inclusion of the bassoon as a single instrument
is also atypical for the Classical Period. Brass and woodwinds in the Classical Period usually
come in pairs, and this piece only uses one bassoon. A reason for this could be that Haydn
would want to use the bassoon part as a pedal point. An example of the bassoon being used as
a pedal point can be found from bar 32 to 36. Overall, Haydn’s symphony cannot be exemplified
as a piece from the Classical Period because of the usage of syncopation, the oboe playing
most of the melody, the modulation to the parallel major in the recapitulation section, and
Haydn’s inclusion of only one bassoon.

In conclusion, Haydn’s symphony exhibits many characteristics from the Classical

Period, but also explores other concepts that would be abstract for the Classical Period. The
main musical device that Haydn uses in the movement that would be atypical for the Classical
Period is his repetitive usage of syncopation, especially in the melodic motif in the first 8 bars in
the oboe, first violin and second violin.