Notes On Haydn 100
Notes On Haydn 100
100 in G major
● Written in 1794, and subtitled the ‘Military’ Symphony. Haydn had 60 players
available to him in his original orchestra, a huge number compared with the 40 or
so he was accustomed to working with in Austria. It is the 8th of the 12 London
symphonies. Your main set work, Symphony no. 104, is the last of these, as well
as being Haydn’s final symphony.
● As in Symphony 104, 100 has a slow introduction which alludes to the
forthcoming Allegro thematic material. It is interesting to compare bars 1-2 of the
intro with bars 1-4 of the Allegro.
● The double-dotted rhythms frequently used in the intro are a reference to the
French overture, which had a big influence on the development of the symphony.
● The Allegro is in sonata form. It is interesting to compare this movement with the
monothematic Allegro of 104. Whilst there is clearly a monothematic repeat of S1
in the dominant at bar 75, it is followed shortly afterwards by a contrasting 2nd
theme at the upbeat to bar 95. The development begins in a very unconventional
manner. After the exposition has ended in the dominant D major, completely as
would be expected, the development begins with 2 bars of silence (G.P.)
followed by an unprepared modulation to the bVI key of Bb major.
● The 2nd movement of this symphony was extremely popular on its 1st
performance, and remains so. It has only one theme, and is an example of
Haydn’s infrequent use of clarinet. The movement also features an emphasis on
Turkish-influenced percussion with its use of triangle, cymbal and bass drum
(which first come in in bar 57), as well as timpani of course. The trumpet fanfare
which begins at bar 152 is part of the reason for the nickname of the piece.
● The 3rd movement is a fairly conventional Minuet and Trio.
● The 4th movement Finale is a Presto in 6/8, and is set in sonata rondo form. This
means that elements of sonata form and rondo form are combined. Here we see
the frequent recurrence of the theme which opens the movement (rondo - notice
how the S1 section opens and closes, at the upbeat to bar 42, with the main
theme), but also combined with a contrasting secondary theme (sonata), which
first appears at bar 86. A couple of other thumbprint Haydn features in this
movement are the empty bars Haydn sometimes inserts (G.P.), such as at the
start of the development section (bar 117), which is shortly followed by a
surprising (solo!) forte interruption from the timpani at bar 122. The 2 bars of
silence gesture again precedes the beginning of the recap at bar 218.