Page 152 - ESSENTIAL LISTENING TO MUSIC

l
li
i
s
s
t
te
en
n
i
i
n
n
g
g
C
Cu
ue
e
Franz Joseph Haydn, Symphony No. 94, the “Surprise” Symphony (1791)
Download 7
Second movement, Andante (moving)
Genre: Symphony
Form: Theme and variations
what to listen for: A charming, tuneful theme followed by four variations (1:06, 2:14, 3:23, 4:29) and a coda (5:51)
130
read . . . a detailed Listening Guide of this selection online.
listen to . . . this selection streaming online.
watch . . . an Active Listening Guide of this selection online.
do. . . Listening Exercise 8.2, Haydn, Symphony No. 94, the “Surprise” Symphony, II, online.
Listening to this theme and variations movement by Haydn requires hearing discrete units of music. Each block (variation) is marked by some new treatment of the theme. In the Classical period, all the units are usually the same size—that is, have the same number of measures. The variations become progressively more complicated as the composer applies more ornamentation and transformation, but each unit remains the same length. The addition of a coda after the last varia- tion gives extra weight to the end, so the listener feels that the set of variations has reached an appropriate conclusion. If such extra bars were not appended, the audience would be left hanging, expecting yet another variation to begin.
Rondo Form
Of all musical forms, the rondo is perhaps the easiest to hear, because a single, unvaried theme (the refrain) returns again and again. The rondo is also one of the oldest musical forms, having originated in the Middle Ages. The Baroque era made frequent use of rondo principles, and even contemporary pop songs oc- casionally employ this form (see Figure 8.9). A true Classical rondo must have at least three statements of the refrain (A) and at least two contrasting sections (at least B and C). Often the placement of the refrain creates symmetrical patterns such as ABACA, ABACABA, or even ABACADA. When Haydn and Mozart set about writing a rondo, they brought to it some of the same musical processes they used when writing in sonata–allegro form, specifically transitional and developmental writing. They thereby created a more elastic, flexible rondo in which the refrain (A) and the contrasting sections (B, C, or D) might develop and expand dramatically.
chapter eight classical forms
Copyright 201 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s). Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
56797_ch08_ptg01.indd 130 29/08/14 3:35 PM