Once the secondary theme arrives, we find that it is really a varied restatement of the first theme, but on the dominant. Even the traditional tutti restatement and transition are not heavy the orchestration is transparent with the horns working on the periphery. One of the longest Haydn ever wrote, the main theme is unabashedly lyrical and slow moving, underpinned by an unusual harmonic progression. The thematic material at beginning of the symphony does not fall into the typical groups of two-, four- or eight-measure ideas. Dating from the composer's years in the service of the Esterházy family, it was most likely composed between the years of 17. Haydn would merge these characteristics to a great extent in his later symphonies, but this relatively early work maintains a distinct chamber quality. This type of symphony is usually of a lighter texture, with more lyrical themes than the so-called "grand" symphonies. 43 (called "Mercury" in the nineteenth century - no one knows exactly why) is one of Haydn's "chamber" symphonies-indicating not only the absence of drums and trumpets but also the style of writing. Scored for two oboes, two horns and strings with a bassoon continuo, Symphony No.
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