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TASK: Familiarise yourself with your Haydn

score and follow this through with the
recording.

Haydn

1732-1809
Prolific composer of symphonies (108)
Most of his working life was spent in service

to the Eszterhazy family (Vienna & their

palace Eszterhaza).
Had the title of Kapellmeister meaning
director of music at the Court.
Rehearsed & directed court musicians in
operas & orchestral music written by himself
& others.

More on Haydn
Haydn supposedly said that his isolation

with the Eszterhazy family allowed and

forced him to experiment with music and
become original.
He became famous all around Europe through his
published music and commissions particularly his
symphonies for Paris (nos. 82-87) composed in 178586.
1790s Haydn had become the most famous composer
in Europe.
Haydns work had spread to London played regularly
by two rival orchestras: The Professional Concert & The
Opera Concert.

London 1700s

The Hanover Square Rooms was

a purpose-built concert hall. It had a raised

platform for the orchestra, with space for a
500+ audience.
Johann Peter Salomon a violinist & leader of
the Opera Concert Orchestra wanted the
best musicians from all over Europe for his
orchestra. As soon as he heard of the death
of Prince Nikolaus Ezsterhazy in Vienna, he
went straight there to try to convince Haydn
to go with him to London.

London continued
Massive array of professional & amateur music in London in the late

1700s.
Music had been kept alive by the aristocracy for a long time through
commissions & patronage by England now had a middle class that was
growing due to the beginnings of the Industrial Revolution.
More wealth in the middle class meant that they could now afford the
prices of a concert ticket they were enjoying the same entertainments
as the aristocratic society.
Professional orchestras were a feature of cultural life theatres, operas,
concert halls. London had become a melting-pot for culture.
Instrumental musicians moved from
Europe to London because they could make
a good living there in a concert or theatre
orchestra. They could easily supplement their
income through teaching & selling/publishing
sheet music.
Sheet music became a growing business with
the growing amateur market the rising middle
classes that could afford pianos in their homes!

More about London!

Haydn visited London twice (1791-1795) and stayed

for more than a year each time he went.

He had little experience of travelling, was a man in
his 60s and managed to get all the way from Vienna
to London in a carriage! He must have been
determined to go and he must have enjoyed it the
first time enough to go back again and to also stay
for 12+ months each time.
The letters that he wrote at the time tells us that he
did enjoy his visits.
He enjoyed the attention of the Londoners and he
received an honorary doctorate from Oxford
University.

Even
more
about
London
Salomon managed to get Haydn to sign contracts with him

he had to produce 6 symphonies with each visit that he

made.
He was right amongst the rivalry between the two London
orchestras.
Haydns association with the Opera Concert Orchestra
meant that the Professional Concert Orchestra had to
disperse because they lost popularity a lot of these
musicians joined the Opera Concert Orchestra instead!
Orchestral music had really taken off and Haydns last three
symphonies including the Drum Roll was written
for an over-sized orchestra of approx.
60 players.
The concerts were played at the
Kings Theatre this seated 800+
people and was purpose built.

The Drum Roll symphony

A lot of Haydns symphonies have nicknames

sometimes related to the characteristics of

the piece.
Some examples include: no. 38 Echo, no.
101 The Clock, no. 103 Drum Roll.
So why is it called the Drum Roll symphony?
For a London audience, this would have been
a striking effect and enjoyable novelty.
Haydn typically wrote symphonies for
orchestras consisting of just strings, oboes &
horns and structured them in 3 movements
no. 103
is on a much larger scale.

More about the symphony

Four movements in total we are just looking at

movement IV.
1st movement = slow & serious
2nd movement = variation on 2 folksong
melodies, violin solo leads
3rd movement = minuet
4th movement what form do you think its in?
The first performance took place on 2nd March, 1795.
No. 103 was the penultimate symphony to be
composed in London. No. 104 is called the London
symphony however, nos. 93-104 are also known as
the London Symphonies or the Salomon
Symphonies.

Haydns London Orchestra

2 of each woodwind instrument

2 trumpets
2 horns
2 timpani
Flutes always play in unison (divide in the

slow movement) give a bright sound above

the orchestra.
2 clarinets in Bb these were new to Haydn
he only used them in his last three
symphonies!

The dying piano

The piano had usurped the harpsichord in the

Classical period (c.1750-1850).

Typically the harpsichord (and later, the piano) lead
the orchestra. However, the idea of the basso
continuo was becoming unfashionable and with the
increased orchestra, the piano was no longer needed
to support the harmonic structure of music.
Haydn most certainly would
have played the piano in the
performances of his music in London
particularly the London
Symphonies.
Modern performances often leave
out the keyboard part.

Brass instruments

Modern brass with valves (as we know them

today) still didnt exist and the current brass

could only play a set amount of notes based
on the harmonic series.
There are natural brass.

TASK: Write a paragraph that discusses how the

limitations of brass instruments limited the
music.

The Limitations of Brass

No. 103 is in Eb major so the instruments

are crooked to Eb.

Brass musicians were equipped with crooks
detachable tubing so that they could
change the key of the instrument.
Whenever you see a written note of C it
sounds like an Eb.
Horns in Eb sound a major 6th lower than
written.
Trumpets in Eb sound a minor 3rd higher.

The Structure

Typically Haydn & Mozart would write the last

movement (finale) of a symphony/sonata as

upbeat and lively to raise spirits. It was
usually tuneful.
Previous movements usually required more
concentration from the audience.
The Drum Roll ends with a fast movement,
which follows the typical structure.

TASK: What is the overall structure of the

4th movement?

Sonata-rondo form!

A hybrid combination of sonata form and

rondo form.
The movement is also monothematic
meaning only one theme.

TASK: Think of the two structures of rondo and

sonata form and the fact that the
movement only has one theme.
How would this fit together as a structure?
Write a brief plan of how these two
structures might be combined.

Recap
1.Who was Haydn and what was he employed to do in

Vienna?
2.What was the significance of London for music?
3.What was happening to the middle classes & music?
4.Who was Johann Salomon?
5.What is the structure of the 4th movement?
6.Why is the collection of symphonies that no. 103 is in
also known as the London Symphonies or the
Salomon Symphonies?
7.What does monothematic mean?
8.What was the significance of Haydns brass?
9.Why is symphony no. 103 known as the Drum Roll
symphony?
10.What was significant about Haydns orchestra?

Directed Study

Look at your Haydn score and analyse the way

that Haydn uses/writes for his instruments also

known as orchestration. Complete the
worksheet.

Watch the rest of the BBC documentary

The Birth of British Music: Haydn. Using this and
your knowledge of the historical context to the
symphony, produce a written article that details the
circumstances in which Haydn created this piece.
A good word count is around 1000 words.

Please make sure that you bring this to our next

lesson for submission.

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TASK: Using your knowledge of Haydns

orchestration, how did Haydn write for his
flutes?

What did you discover?

Last lesson, you were instructed to analyse the
way that Haydn uses and writes for
instruments.
You were also asked to produce a written article
that details the circumstances in which Haydn
created his Drum Roll symphony.

Structure
Rondo form

Tonality

Sonata form

A
Theme
(1-107)

TONIC
Exposition
Eb major modulates to dominant Bb First subject
major

B
Episode
(107-157)

DOMINANT
Bb major through dominant minor
Bb minor ends on dominant

Second subject

A
Theme
(158-182)

TONIC
Eb major

First subject

C
Episode
(182-263)

RELATIVE MINOR
C minor through to Db major,
F minor, Bb major, C minor

Development
First subject

A
Theme
(264-316)

TONIC
Eb major

Recapitulation
First subject

B
Episode/Coda
(316-386)

TONIC
Eb major modulates to tonic minor
Eb minor, ends on tonic.

Second subject
Coda

Rondo Form

Both Haydn & Mozart used rondo form for

their finales.
Rondo form consists of episodes and
principal sections (A).
ABACADA (Coda) the episodes could be
used to change the mood (e.g. minor key),
introduce a new theme, etc.

Sonata-Rondo Form

The dramatic & expressive possibilities of

sonata form comes from:

the use of contrasting themes using
tonic/dominant tonality.
the development of material passing through
a variety of keys.
return to the tonic. Repetition of material.

The function of rondo form is that the main

theme returns numerous times in the tonic
key.

Combined

Haydns finale combines features of both:

Sonata form where the 1 subject returns in
st

the tonic before the development,

Rondo form with a longer opening section.
The coda brings an episode section instead of
the main theme.
This movement is also monothematic
meaning one theme.

Experimentation

This movement is a perfect example of how

Haydn experimented with forms during his

isolation with the Ezsterhazy family.
The London audiences loved how Haydn
could develop simple musical material into an
imaginative & intellectual way.
English newspapers at the time referred to
Haydn as the Shakespeare of music.

The Theme

The main theme in the violins comes from a

Croatian folk song.

The horn call at the beginning (bars 1-4) is repeated
in bars 5-8. This means that the first violin phrase
becomes a countermelody to the horns.
The second phrase (bars 9-12), played by the 1st &
2nd violins, begins in 3rds and is accompanied by the
clarinets.
This then modulates to the dominant key of Bb
major.
The full version of the theme with horn
countermelody is heard five times in the
fourth movement. Each time it returns it is
played in the tonic (Eb major).

The appearance of the

theme

TASK: The theme appears five times in its full

state throughout this movement. State the bars
numbers of the places where this happens.

The appearances of the main theme

Bars 5-12: opening theme

Bars 45-52: exact repeat of the opening
Bars 73-76: full orchestra, fifth phrase only,

theme in the lower parts

Bars 158-165: exact repeat of the opening
Bars 264-271: exact repeat of the opening

The episodes (sections B & C of the rondo

form) only use the first phrase of the theme

(bars 5-8).

Section A the theme (bars 1-107)

The horn call at the start of the movement is a call to

attention.
There arent any dynamic marks but they are normally
played loudly.
After a short pause the horn call is repeated, now as an
important part of the main theme.
The violin theme is broken into several motifs.
Composers often take a particular feature such as pitch,
rhythm or harmony which characterises the motif.
Repeating or developing a motif is a common way of
driving the music on while bringing a sense of unity to
the piece.
The rhythm & repeated notes of this theme gives the
movement intensity and momentum drives the music
along.

Continued

Bars 12-15 lower & upper strings exchange

a motif from the opening notes of the second

phrase.
This motif is shortened further at bars 18-20.


Haydn makes the audience wait for the full orchestral

sound at bar 73.

A series of long sustained notes (pedals) contribute to a
sense of suspense that is built up this is used throughout
the A/Exposition section.
Bar 65 it feels like a tutti is being reached but Haydn
reduces the texture to three parts and the dynamics are
lowered. This heightens the impact of the tutti forte at bar
73.
As the music begins to modulate to Bb major, the theme is
extended by using motifs from the main theme. Haydn
creates an imitative texture by passing the two-bar motif
around the orchestra. A rich polyphonic texture is created.

Section B 1st episide/2nd subject (107157)

After the climax of the opening section the B

section becomes less hectic.

Strings now have repeated crotchets instead of
melodic interest.
Dynamics have dropped to piano.
Texture reduces to strings + occasional woodwind.
The episode has 3 melodic ideas.
Examples of double stopping can be seen at bar 141142, with triple stopping at 143-144. This adds
emphasis to the cadential chords.
Link passage (bars 146-157) brings the piece back to
the tonic, using a Bb pedal under shifting chromatic
chords until a dominant 7th chord is reached.

The return of the theme (158-182)

The main theme returns in a shorter form

25 bars.
Almost identical to the first appearance at
bars 5-26 apart from an inverted motif in
the clarinet at bar 172.

Section C the 2nd episode/development

(182-263)

A development section in sonata form often explores the

exposition material in a variety of keys this does still happen

in this movement.
The use of the relative minor key of C minor makes the imitation
of the motif more dramatic the overlap of the two-bar motif
being passed around becomes almost every bar.
Some of the entries are harmonised in 3rds.
This section shows up some of the limitations of the brass and
timpani sections when moving to distant keys.
The brass section can support the orchestra by playing repeated
notes on G & Eb but C (written as an A) is not available.
The timpanis Eb and Bb are not much use in the key of C minor
but the Eb is available for the Eb major passage in bar 190.
Moods are changed quickly from soft & legato upper strings
(198) and full powerful orchestra (208).

Recapitulation (264-end)

Abrupt return to the tonic key

1 subject material = bars 264-316
The theme is played once
2 subject material = bars 316-350
The coda has a virtuosic style shows the
st

nd

expectations that Haydn had of his London

musicians.
High G in the violinists 6th position (379-383)
is unusual in orchestral writing at this time
but popular in solo violin music.

Further Analysis
TASK: Work through the exercises based on
Haydns Drum Roll symphony. They are
designed to help you to look a little bit
deeper at the score a skill that you will
need in the Summer examination.

Recap
1.Which bar number does the first section A end?
2.Which harmonic & compositional feature does the oboe
play in the first section?
3.Which bar number does the recapitulation start?
4.What does monothematic mean?
5.Who commissioned Haydn to work for them in London?
6.Which year was the Drum Roll symphony written in?
7.What did Haydn claim to feel when in service to the
Ezsterhazy family?
8.What does the horn call appear to be at first and what
does it morph into?
9.Why was London so significant in the late 1700s?
10.How many players featured in the orchestra that

Directed Study

Continue to work through the Haydn score

exercises until the booklet is completed.

Read through your analysis and contextual

history notes in preparation for an end of
unit assessment.

Please prepare this for submission in our

next lesson.

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TASK: 1. How many times does the theme appear in its full
state in the 4th movement?
2. What is the opening horn section described as?

What did you discover?

Last lesson, you were instructed to continue to
complete the Haydn score analysis booklet.
You were also asked to revise your Haydn notes
in preparation for the end of unit assessment.

Lights, Camera, Haydn!

TASK: In small groups, produce a short theatre
piece that portrays the circumstances in which
Haydn created his Drum Roll symphony. These
will be filmed and will become a revision aid for
your Summer examination.

Recap - end of unit

assessment

Please put all notes away and prepare for

the end of unit assessment.

This will consist of some general

knowledge questions on Haydns Drum

Roll symphony and also some deeper
analysis questions, focusing on specific
areas of the piece, which will involve
listening and score analysis.

Directed Study

Listen to two different recordings of Haydns Drum Roll

symphony. Compare and contrast the key features of each

recording, using similarities and differences to guide your
response.

You may wish to refer to aspects such as:

Tempo
Balance
Articulation
Pitch
Dynamics

This could be produced as a written article or in a table

format.
A good word count is around 700 words.

Please prepare this for submission in our next lesson.

Further Reading
An important part of A-level studying is
reading around your subject and allowing
yourself the time to research and investigate
away from what is covered in lessons at
college.

Haydn by David Wyn Jones.

Haydn: A Creative Life in Music by Karl
Geiringer.

Further Listening: Haydn

The Creation (1796-1798)

The Paris Symphonies, no. 82-87 (1785

1786)
The Prussian quartets (1787)
The London Symphonies, no. 93-104
(1791-1795)