EDUQAS
AS Level Resources
Set Work: Haydn’s ‘London’ Symphony
Jan Richards
1
WCT Set work
Haydn: ‘London’ Symphony No. 104
Choose a Task
Choose a task based on Movement 1.
Activity A –
Background Information
Activity C –
Tonality
Activity E –
Structure / Themes
Activity G –
Harmony
Activity B –
Structure
Activity D –
Texture
Activity F –
Thematic development
Activity H –
Instrumentation
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Activity A – Background Information
This symphony is the twelfth and last of the symphonies specifically composed for a series of concerts in
London. It was written in 1795 and first performed in the same year at the King’s Theatre, Haymarket.
Complete the following paragraph by inserting the correct information from the given list.
Haydn (1732-1809) was one of the most important composers of the
era
in music, having written at least
symphonies illustrating the development
of this genre. After many years in the employment of the
family, an
invitation came in 1790 to compose twelve symphonies for London, for the British audiences
that hailed him as the “greatest composer in the world”. He had been contacted by the
German-born violinist Johann Peter
who was working as a concert
manager in London at that time. Haydn was to be impressed by the rich musical life, the
cosmopolitan atmosphere and the very fine, large orchestras there.
Answers
strings
Esterhàzy
adventurous
drums
orchestration
score
bassoons
As such, he was determined to live up to expectations, and the resulting
are appreciated as the crowning glory of his prolific work as a symphonic composer. While
they show no radical departure from his previous works, there were a number of
outstanding features that contribute to their special character. They are works on a
‘grand’ scale, giving a broader presentation of musical ideas, more brilliant
utilising often simplistic but effectively appealing thematic material with the occasional use
of
, more
use of harmony and more purposeful
content.
D
Classical
Salomon
keyboard
In terms of the scoring, Haydn’s earliest symphonies were usually written for two oboes,
two horns and
, though there were exceptions to the rule with occasional
use of a flute,
and an additional horn.
London symphonies
Folksong melodies
trumpets
104
clarinets
rhythmic
timpani
It was only in these last twelve symphonies that
and
were used regularly, with
making an appearance in five of the last set of six
symphonies.
Symphony No 104 is scored for: 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in
, two trumpets in D,
and strings. The première was
extremely successful; and as was usual at the time, Haydn directed the performance himself
from a
instrument, though his part was not written down in the
.
For further consideration:
♫ Explain the difference between the early 18th century Baroque orchestra and the orchestra used by Haydn at
Esterhàzy.
♫ Find out why the following symphonies were given their well-known titles: the Surprise Symphony, the Clock
Symphony, the Drum Roll Symphony. Write a paragraph on each, and listen to the works, following the scores if
possible. (Scores are available on IMSLP). Working in pairs, note down any features of particular interest.
♫ Haydn once said of his time at Esterhàzy “I was cut off from the world… I could make experiments… try new
things… so I was forced to become original”. Undertake some research to see whether you can find out what he
meant by this.
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Activity B – Structure
The first movement is in Sonata Form.
Task 1: Rearrange the section headings in the correct order, then match the sections with the
correct bar numbers.
Task 2: In pairs, explain to each other the function of each section within the overall form. Some of
these sections are main sections, others subsidiary sections.
[Bar numbers correlate to the Eulenberg Audio + Score edition]
Section
Bar
numbers
65-98
193-276
50-64
99-123
1-16
124-192
17-123
17-49
277-294
Development
First Subject Section
Introduction
Exposition
Codetta
Coda
Recapitulation
Second Subject Section
Transition Passage
The correct order would be:
Section
Bar
numbers
Function of the Section
For further consideration:
♫ How does Haydn achieve variety in this movement?
♫ How does the music reflect the ‘Classical’ style?
♫ How important is the material of the Introduction section? How effectively, in musical
terms, does Haydn ‘introduce’ his symphony? How does he create the anticipation of the
Exposition section?
4
Activity C – Tonality
Complete the following paragraph about the key changes in the first part of this movement
by inserting the correct information from the given list.
As with many of Haydn’s symphonies, this first movement begins with an introductory section
– in this case in the key of
. The first two bars set the scene with a solemn,
commanding fanfare-like motif using the
and
notes of the
key. This is followed by four bars of a contrasting, quieter phrase which starts in
, and modulates to
in bar 7 via a
in that
key. In bar 14, the opening dotted motif is heard once more in
, before
chord in bar 153 – though the last beat of bar 15 brings a
moving to the
chord, followed by the cadential progression
.
The Exposition proper then begins with a change of mode to
section has the function of
. The Transition
between the first subject and
and in this case, as expected, the music
,
to the
key of
. Here, Haydn uses the same theme, but
into the dominant
key. The following section is more elaborate in harmonic terms, and the outcome is enriched
through some
content. In bar 80, the phrase rather surprisingly ends with an
, though from bar 92 the
perfect cadence in
changes: one in
on E in the bass leads to a
Answers
dominant
perfect cadence
interrupted
cadence
I6/4  V5/3
modulates
D minor
major
dominant pedal
A major
A major
F major
E major
changing key
transposed
D minor
D minor
Neapolitan 6th
chromatic
A major
dominant
S2
F# minor
tonic
subdominant
in bar 99. The final section includes two further key
in bar 109, and another in
Exposition finally concludes in bar 123, firmly in the key of
in bar 111. The
.
For further consideration:
♫ Working in pairs, discuss and note all the key changes seen in the Development section of this
movement.
♫ How do the key changes / modulations relate to the home key? Are there any features of particular
interest?
♫ In terms of the overall key structure, what are the main differences between the Exposition
section and the Recapitulation section?
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Activity D – Texture
What does the word texture actually mean?
Working in pairs, discuss the meaning of the musical terms listed below.
Monophonic
Imitation
Counterpoint
Unison
Antiphony
Heterophonic
Stretto
Homophonic
Fugal
Now, identify and describe the types of texture found in the sections as indicated by the bar
numbers below.
Bar Nos
1-2
3-6
7-8
17-31
145-9
247-257
Identification/description of the texture
277-294
For further consideration:
♫ Listen to another first movement from a different Haydn symphony (e.g. the Military,
Clock or Drum Roll) and note the different types of texture used in the different sections.
♫ Write a short essay on Haydn’s use of texture in the first movement of the ‘London’
symphony. Give special attention to the relationship between the instruments.
♫ Sometimes, the following terms are used when describing the texture of a section of
music. Find out what they mean: spacing of parts, countrapuntal, countermelody,
chordal.
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Activity E – Structure / Themes
Sonata Form
has three main sections in which
TWO themes or subjects are
explored according to set key
relationships.
•
a theme is the
melodic
material upon
which part (or
all) of a
composition is
based
•
a theme is
usually a
complete
phrase
However, there seem to be four sections in the first movement of Haydn’s ' London' Symphony.
Insert the names of these sections, in the order they are heard in the table below. The first letter of
each has been given for you.
E
I
D
R
Within this structure, it is possible to track the main themes as they are presented, developed and
then returned. Identify the following melodic ideas and motifs (S1 or S2 etc), state where they are
first introduced (section / bar nos.), and in what keys they are heard.
THEME
SECTION
BARS
KEY
Task:
Explain what is meant by ‘monothematicism’, supporting your
observations with reference to the first movement of the ‘London’
Symphony.
7
.
Activity F – Thematic development
Describe the musical features of the first subject, and then discuss and note down how the theme
has been treated and developed in subsequent passages as indicated.
S1
Treatment/development from bar 124  144:
Musical features:
Treatment/development from bar 172  192
Identify and explain two ways in which contrast has been achieved in the
second subject section of the Exposition.
(i)
(ii)
How does Haydn achieve further variety when S2 appears in the
Recapitulation section?
♫ Identify the devices heard in the following bars:
Bars
3-6
32-39
80-82 (lower strings)
150-155
Devices
Bars
46-48 (violin 1)
73-79
277-280
109
Devices
♫ Working in pairs, list the different ways that Haydn develops the thematic material in this movement.
8
Activity G – Harmony
What is a cadence?
(i)
Consider the following definitions and decide which is the correct one:
- the final chord of a piece of music
- the opening progression of chords in a phrase
- a progression of (at least) two chords that concludes a
phrase, or piece of music
(ii)
There are four main types of cadence. What are they made up of?
Type of Cadence
.....consisting of:
1)
2)
3)
4)
Task 1. Referring to your score of the first movement of the ‘London’ Symphony by Haydn, give bar
numbers where the following cadences may be located.
Cadences
Interrupted cadence
Cadence in B minor
Perfect cadence in A
Perfect cadence in E minor
Imperfect cadence in D major
Bar numbers / location
Task 2. Identify the keys, chords, and cadences in the following bars:
Bars
49-50
15-16
155-158
160-163
219-220
264-266
Key
Chords
Cadence
♫ Working in pairs, map out the entire structure of the Exposition section, and list as many cadences as
you can. For further understanding, the process could be repeated with the remainder of the
movement.
♫ Write a variety of cadences (for four parts e.g. S.A.T.B) in the same key as this movement,
contrasting both the arrangement and the positioning of the chords.
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Activity H – Harmony: Chords
When studying the music of the Western Classical Tradition, you must learn and understand about
the different types of chords and the way that they are used in a piece of music.
Task 1. Many Western harmonic styles are based on the triads built on each degree of the scale.
Using roman numerals, identify the primary triads, the secondary triads, and state their technical
name. (The first one has been done for you).
Type of triad
Identification Technical name
of triad
(roman
numerals)
I
Tonic
PRIMARY TRIADS:
SECONDARY TRIADS
Task 2. Complete the following table, identifying the position of the chord (e.g. 2nd inversion) and
giving the accepted figuring (e.g 6/4)
Position
A chord with the root in the bass is called a .....
A chord with the 3rd in the bass is known as a .....
A chord with the 5th in the bass is called a .......
A chord with the 7th in the bass is called a .....
Figuring
(
)
(
)
(
)
(
)
..chord.
..chord.
..chord.
..chord.
Task 3. Complete the following sentences by identifying the chords in the first movement of the
‘London’ symphony.
(i)
(ii)
(iii)
(iv)
(v)
(vi)
(vii)
(viii)
The first chord in bar 3 is........
The last chord in bar 4 is ........
The first chord in bar 17 is........
The last chord in bar 32 is ........
The first chord in bar 44 is........
The last chord in bar 75 is .........
The chord in bar 76 is ........
The chord in bar 172 is ........
Task: Describe the
harmonic content of
bars 124-130.
→ to bar 130
Using the D major triad as a starting point, follow the instructions to create a different chord each time.







Add a 4th note to create the dominant 7th of G major.
Add an accidental to change this to the tonic minor in D minor
Add an accidental to create an augmented chord
Add a 4th note and an additional accidental to create a diminished chord
Take away a note to leave a perfect 5th
Rearrange the notes to write a tonic first inversion chord
Take away a note to leave a minor 3rd
10
Activity I – Instrumentation
In his 'London' symphonies, Haydn was anxious to create works on a grand scale.
1
This work has been scored for a_______________________________.
2
For the time, the amount of performers was ______________________.
3
Note that ____________________ were included – this was a relatively
new practice for Haydn!
4
In this orchestra, the clarinets, horns and trumpets are the
________________ instruments. This means that their music appears to
be in a different _______.
5
In the first performance, the direction of the orchestra was divided
between the ______________ of the orchestra, and the ___________,
who would probably have been playing the ______________. This would
have been omitted in later (and more modern) performances.
6
The opening of the Introduction section was noteworthy for the dramatic
contrast between the ______________ and the __________________.
7
S1 is initially introduced by _____________, with______________playing
the theme.
8
Only one pair of drums would have been used by Haydn. They are called
____________ and they would have been tuned to the ___________
and _____________ notes of the home key. In the Development, the
timps do not join in until bars ______________ when their notes fit in
with the music.
Though the theme is the same for S2 as for S1, there is a contrast of
_______________ in bar 64 as the ____________joins in with the theme,
to be followed by the first _________ and then the first
______________.
9
Answers:
bars 172-3
leader
unusually large
an octave lower
the strings
flute
key
keyboard
fanfare tutti
timpani
bassoon
tonic
clarinets
cellos
standard symphony
orchestra
sonority
oboe
dominant
composer
quiet strings
transposing
violin 1
10 The ______________ and double basses play from the same part in the
score, but the double basses sound ________________.
In pairs, discuss the meanings of the following symbols and directions as
seen on the score:
ff
Cb.
[Tutti]
fz
Soli.
Cor.
Pizz.
Fg.
[a2]

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