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The Story of Great Music

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  1. Introduction

    What You Need to Begin
    5 Steps
  2. The Renaissance and Baroque Eras
    1. Renaissance
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    1 Quiz
  3. 2. Early Baroque
    11 Steps
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    1 Quiz
  4. 3. Handel
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    1 Quiz
  5. 4. Bach
    13 Steps
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    1 Quiz
  6. The Classical Era
    5. Haydn
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    1 Quiz
  7. 6. Mozart
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    1 Quiz
  8. 7. Beethoven
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    1 Quiz
  9. The Romantic Era
    8. Early German Romantics
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    1 Quiz
  10. 9. French Romantics
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    1 Quiz
  11. 10. Masters of the Piano
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    1 Quiz
  12. 11. Romantic Opera
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    1 Quiz
  13. 12. Brahms
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  14. 13. Romantic Nationalism
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    1 Quiz
  15. 14. Russian Romantics
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  16. The 20th Century
    15. French Impressionism
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    1 Quiz
  17. 16. Finland, England, & America
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Early String Quartets

Haydn composed his first string quartet in 1750 at the encouragement of a devoted musical friend. The form so captivated him that during the next few months he created one string quartet after another. This was one of Haydn’s happiest mediums and the form for which (together with the symphony) he was of greatest historic importance.

The earliest of Haydn’s eighty-three quartets are not, strictly speaking, quartets, but small suites for four string instruments. They are usually in five movements, two of them minuets, each movement brief, episodic, and slight in texture.

Musicians

It was not until Haydn had composed almost forty quartets that he began to adopt a four-movement form. Gradually, he filled this quartet structure with ideas that are graceful and charming. He recognized the fact that in the quartet each individual part must not be treated as a solo, nor should the others be made to supply a mere accompaniment to the remaining one. Each must have its role, according to the capacity of the instrument and the balance of the part.

Thus Haydn eventually achieved in his quartet a perfection of form in which transparency, neatness, and clarity dominated. He brought to life each of the four voices, individualizing them, yet unifying them under a common will. Mozart learned a valuable lesson in writing string quartets from Haydn, and profited much from the examples which the older man set for him.

Listen to the first movement of Haydn’s String Quartet Op. 33, No. 5 (6 min)

Listen until 6:00. The first movement is labeled ‘vivace assai’ (‘very lively’). This quartet is one of six quartets in Haydn’s “Russian Quartets” Opus 33. Watch how the Adelphi Quartet members interact with each other as they play; they are clearly having a good time.

Later String Quartets

The later quartets of Haydn fall naturally into two divisions, those which he wrote in the years of his service to Prince Nicholas (while Mozart was still living), and those of his old age, when, no longer the servant of a small court, he was regarded as a master by the whole of Europe.

The first group contains the six quartets of Op. 50, as well as Opp. 54 and 55 with three quartets in each, and the set of six which make up Op. 64 (probably the best known of all). The last group contains Opp. 71 and 74 (three quartets each), Op. 76 of six quartets, and Opp. 77 and 103.

The fine series of Op. 76 is particularly rich in its slow movements, and it is only in Haydn’s increased power of writing broad and deeply-felt melodies that one finds a sign of his increasing age. Op. 76, No. 3, has for the subject of its slow movement the magnificent ‘Emperor’s Hymn.’ Haydn was compelled to compose this so that Austria might have a national anthem worthy to stand beside the one which he had heard in England.

This tune is none the less Haydn’s because it springs out of the native folk-songs he grew up with. To compare it as it is in the quartet with the various versions of the popular song is to realize that all its splendor, in the balance of its rhythm and the sweep of its melodic curves, is the gift of Haydn.

Tavern Musicians

In the quartet, Haydn gives the tune, then four variations upon it. In the first variation, the second violin plays the tune with no other accompaniment than a running counterpoint of the first violin; in the second variation, the violoncello plays the tune surrounded by the other three instruments; and in the third variation, the viola takes it up with more chromatic harmonies wreathed round it. Finally, the tune returns in the fourth variation to the first violin with fresh harmonies and figures supporting it.

This treatment of his own greatest tune, giving each of the four instruments equal rights in it, seems like a profession of Haydn’s artistic faith in the capacity of the string quartet.

Watch the Andante from Haydn’s Quartet No. 76, Op 3 “Emperor” (7 min)

Performed by the Engegard Quartet.

Piano Sonatas

Haydn admired the piano sonatas of Philipp Emanuel Bach, the son of J.S Bach. As a student, he spent his evenings poring over Bach’s music and committing it to memory, “For what I know, I have to thank Philipp Emanuel Bach,” he confessed.

Pianist

Inevitably, he was greatly influenced by Bach’s manner of writing for the keyboard. Haydn’s earliest sonatas openly reveal Bach’s influence. But in the case of the string quartet and the symphony, Haydn did not long remain the imitator. He took the elements of the sonata form as suggested in Bach’s sonatas and developed them into a magnificent structure, fully and completely realized.

Haydn composed forty-two sonatas for the piano. The masterpieces among Haydn’s sonatas astonish by their order, harmony, and delight, as well as their splendid development of the smallest musical ideas.

The best of Haydn’s sonatas are so lucid in their form and structure, and so full of charming ideas, that they require only a single hearing to be appreciated.

Watch Piano Sonata in E flat major No. 59 (5 min)

Performed by the splendid Austrian pianist Alfred Brendel, who loved Haydn’s piano music. Listen to at least the first five minutes of the first movement, although you’re welcome to listen to more or jump to the other movements.

Timing: 1. Allegro – 00:16 | 2. Adagio e cantabile – 08:02 | 3. Finale: Tempo di Menuet – 17:26. Note that one of Mozart’s piano sonatas is included at the end of the performance.

Early Symphonies

In his early years, Haydn’s manner of handling the orchestra was still in its infancy. But his mastery of the quartet led naturally to his mastery of the orchestra. A man who can handle four instruments in such a way as to respect their individuality yet at the same time fuse them into a single scheme, is often able to do the same with forty.

1700s painter

The symphony No. 6 is called  ‘Le Matin’—French for ‘Morning’; it is the first in a set of three symphonies titled after the three parts of a day. It was composed soon after he took up his duties at Eisenstadt (1761). It reveals that Haydn was creating works that fit his character right from the beginning.

First, Haydn loved making music reflect specific moods and situations. The entire symphony reflects the bright joy of the morning. This is why so many of his symphonies received nicknames such as ‘The Philosopher,’ ‘The Bear,’ ‘The Hen,’ ‘Surprise,’ ‘The Clock,’ and others. In comparison, very few of Mozart’s symphonies received nicknames.

Second, he knew that musicians didn’t like to sit for long periods of time only contributing a few notes here and there. His early symphonies sought to employ the full range of the instruments, often giving them solo-type parts where they could both show off their abilities and provide new color to the piece.

Third, the idea of ‘color’ is very clear in Haydn’s symphonies. It’s as if he’s painting with a palate and knows how to use the full range of the musical color scheme. The flute, oboe, and bassoon; the drums; the violin, viola, and cello; the horns—everything gets used appropriately.

Listen to Haydn’s Symphony No. 6, ‘Le Matin’ (The Morning) (6 min)

Play the first movement through 6 min. This performance is led by the world-renown cellist Stephen Isserlis whose delight can be seen in everything he does. Watch as the different instruments pick up different parts, often passing the melody around from one section to another. 

Haydn’s Later Symphonies

Haydn has often been called the father of the symphony. Although symphonies had been written before him, it was Haydn who gave it the form that would last for over 200 years.

It was not until later in his life, however, that Haydn composed his masterpieces in the symphony form. With the “Farewell” Symphony (1772) and the “Maria Theresa” Symphony (1772) we can already begin to discern the hand of a master. Haydn’s mastery becomes even more evident in the set of six symphonies which he composed for a trip to Paris. They are known, rather creatively, as his “Paris” symphonies. These include such wonderful pieces as “The Bear” (No. 82), “The Hen” (No. 83), and “The Queen” (No. 85).

Watch the 1st Movement from Haydn’s Symphony No. 82 “The Bear” (7 min)

In 1790, the impresario(an organizer of concerts or operas) Salomon convinced Haydn to compose several symphonies to conduct in concerts at London. He went in 1791 and remained until May 1792, conducting orchestral concerts and presenting six new symphonies. His success in London was greater than any he encountered elsewhere: he became the man of the hour, and was covered with honors.

In 1794, he returned for a second visit to London, once again composing a set of six symphonies for the occasion. Thus, he wrote twelve symphonies in all for London which remain the greatest of his productions in this field.

The following are representatives of the “Salomon” symphonies:

Symphony No. 92 in G major, “Oxford”: In July 1791 Haydn attended the Oxford Commemoration, where he was awarded with the degree of Doctor of Music. He composed a new symphony for this occasion, but because it proved too difficult for the few rehearsals available, he substituted an earlier work which he had composed for Paris.

1700s Oxford

Symphony No. 94 in G major, “Surprise”: The name stems from the fact that in the slow movement a loud chord suddenly breaks in upon the quiet and gentle opening theme. Haydn injected it in a spirit of playfulness. “There,” he said, “the ladies will scream.”

Symphony No. 98 in B-flat major: In the slow movement of this symphony, Haydn paid graceful tribute to his hosts by writing a beautiful slow movement in which the principal theme is suggestive of God Save the King(the anthem of Great Britain).

Symphony No. 100 in G major, “Military”: There is nothing particularly military about this symphony. It derives its title from the fact that it utilizes certain percussion instruments which were at the time associated with military music.

Symphony No. 101 in D major, “Clock”: The slow movement of this symphony reproduces the relentless ticking of a clock. Haydn uses this as a background for an elegant and flowing melody for the strings.

Symphony No. 103 in E-flat major, ‘‘Drum Roll”: The opening of the first movement has a drum roll which has given the symphony the name by which it is now known.

Watch Haydn’s Symphony No. 103 “Drum Roll” (8 min)

An excellent performance on original/historic instruments led by the iconic Dutch conductor Sigisvald Kuijken and his La Petite Bande. Listen to four minutes of the first movement, then skip to 9:20 and listen to three or four minutes of the second movement. You are welcome to listen to all of it, of course.