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The Rise of Concert Life and the Rise of

the Concert Symphony

Haydn in Vienna &

London (and Oxford);
Haydns Symphonies

The Public Concert & Concert Series

in the 18th Century
LONDON, a center for concert societies and
concert hall
Academy

of Ancient Music, 1726 J.C. Bach and Carl Friedrich Abel concert series,
1765-81
Johann Salomon concerts, beginning in 1791
PARIS

Concert spirituel, 1725-90

Hanover Square Rooms

London (locale for Haydns London Symphonies)

Hanover Square Rooms

18th-century Symphony:
Forms & Plan of Movements
Symphony in 3 movements (FSF):
Mvt. 1: Fast tempo, w/ option of slow intro
Binary or expanded binary form
Introductory nature; majestic, dynamic character
Mvt. 2: Slow
Slow Often simple in form: simple binary or ternary, etc.
Lyrical, elegiac
Mvt. 3: Fast
Forms included dance forms (minuet, gigue), rondo
Light, brilliant

18th-Century symphony in 4 movements:

Mvt. 1: Fast tempo, w/ option of slow intro
Expanded binary form (1st movement form); sonata form
Majestic, dynamic character, often most complex and weighty
movement
Mvt. 2: Slow
Simple binary or ternary, theme & variations
Lyrical, elegiac
Mvt. 3: Moderate to Fast
Minuet & Trio
Graceful, in spirit of the dance
Mvt. 4: Fast
Forms included rondo, sonata rondo, sonata form
Light, brilliant - became increasingly weighty from late 18th to 19th

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Minuet - a graceful Baroque dance in triple meter

originating from the French courts of Louis XIII & Louis XIV
which circulated to other European courts; still popular as
music and dance in the Classic period; a symbol of the
court
Minuet

Trio [often change of

[Minuet]

key/mode/instrumentation]

A
a [repeated]
b a [repeated]

da capo

c [repeated]
d c [repeated]

Follow repeat marks in score!

Notice: binary division within each main part (minuet & trio),
but movement is an overall ternary form with repeat of minuet

[A]

Haydns 12 London Symphonies

Composed 1791-92 (for 1791-92 visit)
No. 93 in D Major
No. 94 in G Major
No. 95 in c minor
No. 96 in D major (Miracle)
No. 97 in C Major
No. 98 in Bb Major
Composed 1793-95 (for 1794-95 visit)
No. 99 in Eb Major
No. 100 in G Major (Military)
No. 101 in D Major (Clock)
No. 102 in Bb Major
No. 103 in Eb Major
No. 104 in D Major

Joseph Haydn
Symphony No. 92 in G Major

(Oxford), Hob. I: 92

composed in 1789 for Paris; later performed at Oxford,

1791

Example of 4-movement symphony

Plan or arrangement of movements that became standard:

Mvt. 1: fast/allegro mvt. in sonata form (i.e, 19th-c.

description) or first-movement form (18th-c. description) with optional slow introduction
Mvt. 2: slow, often lyrical movement in related key
(common forms include ABA, theme & variations)
Mvt. 3: minuet & trio in same or related key(s) (M & T
form)
Mvt. 4: fast/very fast finale in key of Mvt. 1 (common
forms include sonata form, rondo form, sonata-rondo)
See in anthology, NAWM 112, p. 111

Listening Example:
Joseph Haydn, Symphony No. 104 in D Major,
Hob. I: 104 - the last London symphony
Movement 4 (Finale): example of Haydns light, bright finisher to symphony
Represents Haydns popular style
prominent use of folk tune over drone bass (musette style)
opera buffa effects in quick repeated motives (mm. 69-72, bassoon & cello, e.g.)
Use of learned style in fugal/fugato treatment (mm. 84-98 in Expos.; mm. 167-92 of Dev.)
Movement in sonata form, but with variation of Theme 1
used & varied in second key area, instead of contrasting second theme
Compare this movement to Mozarts finale of Symphony No. 41, which combines a number of
contrasting thematic ideas and styles, including learned style, with fugal or fugato treatment
(see NAWM 116, with diagram & descriptions on pp. 246-48).