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Haydn: Symphony No. 100 in G major "Military" (with Score)
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- Опубліковано 17 сер 2024
- Franz Joseph Haydn:
Symphony No. 100 in G major, Hob. I/100 "Military" (with Score)
Composed: 1793-94
Orchestra: Hungarian State Orchestra
Conductor: Ádám Fischer
00:00 1. Adagio - Allegro (G major)
08:50 2. Allegretto (C major)
15:10 3. Minuet - Trio. Moderato (G major)
20:24 4. Finale: Presto (G major)
The Symphony No. 100 in G major, Hoboken I/100, is the eighth of the twelve London symphonies written by Joseph Haydn and completed in 1793 or 1794.
The nickname "Military" derives from the second movement (and the end of the finale), which features prominent fanfares written for C-trumpets and percussion effects. One reviewer wrote after the premiere that the second movement evoked the "hellish roar of war increas[ing] to a climax of horrid sublimity!"
The first movement is in sonata form with a slow introduction that hints at motifs that will appear later in the movement. The Allegro begins with a dancing theme which is unexpectedly scored only for flutes and oboes. The strings respond by repeating the theme an octave lower. The tutti then transitions the music to the dominant key for the second subject area, which begins with the first theme transposed to D major. This theme is briefly developed in D minor before a new subject in the dominant is stated with a rocking motif in the violins. Haydn's use of themes and keys here demonstrates an important point about sonata form: the second subject is defined by the new key , not (only) a new theme. The repetition of the 1st subject in the dominant in this movement, at bar 75, is therefore the beginning of the 2nd subject area, even though the new theme does not appear until some twenty bars later.
A tutti codetta brings the first movement exposition to a close. Following a repeat, the development begins with a grand pause of two measures, the rocking motif appears in the distant key of B♭ major and is developed upward through several keys. The first theme then returns in E major and is development in tandem with the rocking motif back towards the tonic for the recapitulation. In the recapitulation, the response to the dancing flute/oboe theme is by the full tutti instead of just the strings. The rocking motif returns several times and a full tutti brings the movement to a close without a coda.
The "Military" second movement is derived from a movement from an earlier Concerto for Lire Organizzata in G, Hob. VIIh/3, which Haydn had composed for Ferdinand IV, King of Naples. The movement is in ternary form with central section in the minor. The instrumentation is richer than the other movements of the symphony. It is the only movement that uses divided violas and clarinets, but most importantly is the use of "Turkish" instruments (triangle, cymbals and bass drum) which make their first appearance in the central minor section. The movement concludes with an extended coda featuring a bugle call for solo trumpet, a timpani roll, which was a revolutionary adaptation of the instrument, and a loud outburst in A♭ major.
In contrast to Haydn's trend of speeding up his minuets, here he slows the pace back to Moderato providing a more old-fashioned aristocratic minuet.
The finale is in sonata rondo form. The primary theme became a popular tune in its time. In the center of the movement is a development-like section which contains a surprise timpani strike followed by a traversal of many distant keys. Near the end of the movement, the "Turkish" instruments return coloring the tutti sections for the rest of the way.
absolutely love seeing everyone here before music GCSEs
Yessirr!
heyy i’m new to this syllabus, can someone help me understand what we’re gonna be asked to do for this piece? 😭
hey!! >:) I recently did the may/june gcse music examination and here's some info about it ( fyi, the syllabus that my batch got was movement 1 and 2, but if I'm not mistaken the new batch has to do movement 3 and 4. so do check on that with your teacher )
- the paper asked about key changes, type of cadences in different highlighted parts and just general theory stuff about the extract of the piece played
- they will DEFINITELY ask you what section and/or what movement the extract played is from, so do memorise the names of each section + what they sound like
- something that appeared in my paper which didn't appear in all the past papers I've done is "how does the extract show features of the French Baroque?" ad if I remember correctly, the answer had something to do with its rhythm??? I forgot so pls ask your teacher about it HAHAH
- they will most likely ask you general info about the piece: when and where this piece was performed in, why the piece was named "Military" etc. so do read up on that
I believe that's about it, if you have any other inquiries or if you need notes ( movement 1 and 2 only + general info about the piece ) do feel free to email me ( jaymielww@gmail.com ) or dm me on instagram ( @jehmeheh ). have a great day and all the best in your exams!!
@@sniffers6600 ahhhhhh omg tysm, ive got mocks in ab 3 weeks and didnt get any of this in class, thanks for the info:)
musik student cris in pAiN
Movement 4
EXPOSITION
A
1st subject (bar 0-49) 20:25 - 21:52
- G major, E minor, D minor, D major, G major, V7 in D major
- Bar 25 - 26 perfect cadence on D
- Imitation
- Pedal on D
Transition (Bar 49 - 66) 21:52 - 22:08
- V7 broken chord on D
B
2nd subject (Bar 67-97) 22:08 - 22:37
- D major
- starts with 1st subject in dominant
- wind & string staccato
- 2nd subject idea: octave leap & grace note
Codetta (Bar 98 - 116) 22:37 - 22:52
- Octave leaps
- Chromaticism
- ends in alternating tonic and dominant chord on D major
DEVELOPMENT
C (Bar 117-216) 22:54 - 24:25
- D major, D minor, F major, C major, Ab major, Db major, C# minor, E major, E minor, V7 in G major
- starts with 2nd part of 2nd subject
- Imitations
- Inversion
- Perfect Cadence on Db major 23:30
- Modal shift Db major to Db minor, but using enharmonic C# minor
- Perfect cadence on E major 23:47
RECAPITULATION
A First subject (Bar 217-234) 24:25 - 24:41
B Second subject (Bar 234-303) 24:41 - 25:41
- triangle and cymbal
A (Bar 303-334) 25:41 - end
Thanks for the help with help for our music igcses. You’re a true hero
@@namastay9106 lol yes torturing myself by listening to this on repeat
thank you soo muchhhh im having the exam tmr 😭
@@starcookie9424 it was awful wtf hardest paper I've ever seen from cie. Brutal
@@dominikclarke6545frr part D was horrible ;-;
1st Movement:
0:06 - Slow Introduction - starts in G Major
Exposition:
1:58 - 1st Subject - starts in G major
2:54 - first (repeat of 1st subject but in dominant key) 2nd Subject - starts in D major
3:16 - second (new) 2nd Subject - starts in D major
3:33 - Codetta - starts in D major - finishes perfect cadence in D major
{repeat}
Development:
5:44 - Development (modulates through lots of different keys) -starts in Bb Major
Recapitulation:
7:10 - 1st Subject - starts in G major
7:36 - 2nd Subject - starts in G major
8:28 - Coda - starts in G major
2nd Movement:
8:47 - A section - starts in C major
10:47 - B section - starts in C minor
12:00 - A' Section - starts in C major
14:01 - Coda - starts in C major
Movement 3: Menuetto/Menuet 15:12
Minuet
a
15:12 - 15:36 (Bar 1-16)
- G major
- Starts with an anacrusis (up-beat)
- Motifs heard in First Violins
- End on perfect cadence in G (V-I)
b
15:36 - 15:53 (Bar 16-27)
- G Major, D Major
- Starts with descending sequence
- In D Major at bar 22 (C# added)
- End b on a perfect cadence in D (V-I) A major to D Major bars 27-28
Link
15:53 - 16:16 (Bar 27-42)
- D Major - Pedal passage
- Notice the dominant pedal (D) in the timpani from bars 28-35
- Hemiola in Bars 29-31 (Bar-lines feel displaced)
a
16:16 - 16:37 (Bars 42-56)
- G major (repeat of the opening)
Once this a section finished, Haydn repeats b, the Link, and a (16:37 - 17:38)
Trio
c
17:38 - 18:03 (Bar 56-64)
- G Major
- 4 bar phrases x2
- Feels syncopated
- This section is repeated
d
18:03 - 18:17 (Bar 64-72)
- G Major, D Major, G Minor
- Military Reference bar 68
- Pedal of D in timp. over a G minor harmonic scale (flattened 3rd, sharpen 7th)
- Ends on D a bar 72
c
18:17 - 18:30
- G Major
- Repeats c
- Only difference that it ends with an ascending major scale leading to V-I (D-G)
Menuet da Capo 18:30
Minuet 18:30 - 20:22
- Minuet is played through once.
Do you have one for the 4th Movement?
Introduction
00:00 - 01:58 (Bar 1 - 23)
- Slow introduction in G major
Exposition
01:59 - 02:15 (Bar 24-39)
- First subject in G major
02:16 - 02:55 (Bar 39-74)
- Transition from G major to D major
02:56 - 03:32 (Bar 75-108)
- Second subject in D major, briefly in D minor and back to D major
03:33 - 03:50 (Bar 108-124)
- Codetta in D major
Development
05:43 - 07:10 (Bar 125-201)
- B flat major - D minor - E minor - F major - E minor - D major (V in G)
Recapitulation
07:11 - 07:28 (Bar 202-217)
- First subject in G major
07:29 - 07:36 (Bar 218-226)
- Transition in G major
07:37 - 08:27 (Bar 226 -272)
- Second subject in G major - E flat major - D major (V in G)
Coda
08:28 - 08:50 (Bar 273-289)
- Coda in G major
2nd movement
08:51 - 10:47 (Bar 1 - 56)
- Section A in C major
10:48 - 11:58 (Bar 57 - 91)
- Section B in C minor - E flat major - C minor
11:59 - 14:02 (Bar 92-152)
- Section A in C major
14:03 - 15:07 (Bar 152-186)
- Coda in C major - A flat major - C major
My exam is in 3 days I love u sm
@@xuan9542 me literally too. good luck!
@@londyn_lee may we both get A*s 🛐
O my god thank u!
Haydn composed this work with the mehter, the music of the Ottoman troops during the siege of Vienna. It is an honor to see the Ala Turca effect in this great master. Respectfully.
Wrong info bro. Haydn lived about 200 years later than the Siege of Vienna. But he knew the history, so the Turks definetely inspired him.
The star of this symphony is the TRIANGLE!!
I'm playing this for symphony orchestra at school as bassoon. This helped a lot, thanks!
Movement 2: Numbers Nursery Final Puppet Show before the credits
Movement 4: Numbers Nursery Ending
The second movement is the cutest thing I've ever listened to😅
bro doing this for GCSE and im trying to follow through anD like read the notes as i hear them. the first movement was the worst 8 minutes of my LIFE
SAME this is my setwork for IGCSE and I have a test on Thursday - dying :(
rllyyy same but i think 2nd movement is worse HAHAH
dying rn over mocks 😔
@@wongjunbutty mocks??? I’ve the exam in 2 weeks roughly and had the mocks 4 months ago oOf
@@rattusrattus5257 1st movement: sonata form (Exposition Development Recapitulation)
2nd movement: rondo form (A-B-A-coda)
I like the part starting at 5:07 a lot
I like that part 10:45
The start of the developement (5:44 in the first movement) is só delightful Haydn. The change in key is staggering, abrupt. But if you listen very closely to the introduction you will see that the key change is predicted and prepared. What a great cunning bastard Franz Joseph was 😉 It makes me grin to think of the amusement he must have felt when all the aristocrats in the audience were baffled.audience
하이든 - 교향곡 [100번] [군대]
[트럼펫]과 [팀파니 도입]
[터기악기]로 여겨지던 [트라이앵글], [심벌], [큰북]등의 타악기 음향 도입
15:10
20:24
14:02 Man Mahler just took this part for his fifth
Believe it or not music hasn't changed too much from the late classical era up to the beginning of the modern age. Preferences have changed but you can find everything from the beginning of the modern age in the late classical era as well. Vice versa same
It's a trumpet fanfare, not exactly the most original musical idea in the world.
@@korhonenmikko
Exactly. You can point to dozens of other pieces that have moments/openings like that.
@@korhonenmikko
You’re quite right that the use of a trumpet fanfare - actually an Austrian army military call - was not uncommon.
What was unusual was the way it was worked into a movement that was Haydn’s biggest hit symphony whilst in England.
The reason for this, as recorded in the spectacular London newspaper reviews, was that the movement tuned into - absolutely and completely - the fears of a nation under a serious war threat from revolutionary France*.
Up to Trafalgar in 1805, there was a real danger of invasion, and it was probably the biggest threat as such to the security of the British Isles between the Spanish Armada in 1588, and the German Luftwaffe of 1940.
It is this historical context that actually makes the trumpet call rather more original than you suggest.
* Haydn was well aware of the war situation; he had seen thousands of French prisoners on a trip to review warships in Portsmouth, and on his return to Vienna in August 1795, rather than take the normal shorter route across the English Channel to Calais, had had to take the longer North Sea crossing to Hamburg.
@@FreakieFan
The historical context is important - as I have explained above - if interested.
19:21
19:49 20:40 21:37
24:55 MILITARY
15:36 Measures 16-28
I think this was the first Symphony to use percussion other than timpani. I thought it was Beethoven's 9th. But I was actually wrong this whole time.
could anyone possibly post the sections in mv 3 + 4 like some people have for 1 + 2?
I did one for Mvt 3. I will do the 4th one soon. It's in the comments!
0:00 - 0:27
He couldn't resist to inject a joke. The second part of the first movement starts with to measures of silence!
It is absolutely not a joke, it’s a highly effective and dramatic pause.
Really not sure why so many people imagine they hear jokes and humour in every other bar of Haydn - the most misunderstood of all the great composers.
@@elaineblackhurst1509 and what about symphony 93 basoon fart and 94 fortissimo surprise in the second movement? There is also a string quartet with several endings and the farewell symphony where the musicians leave the stage one by one. Yes, he was a prankster.
@@miguelsuarez8010
Most composers had humorous moments, my point is that Haydn was no different from any other and that he seems to be the only composer where it’s highlighted even when it doesn’t exist as in two further examples you quote.
Haydn was clear when asked about the ‘Surprise’ moment that it was a special effect, whilst the exiting musicians at the end of the ‘Farewell’ symphony (1772) is a moment of incredible poignancy and power as it is the apotheosis and final - and only - resolution of the music in the entire work into an ethereal F# major in what is the single greatest work of through-composition and cyclic integration before Beethoven’s 5th (1808).
The pantomime of the exiting musicians is not supposed to be funny and is a distraction from what is going on musically in one of the greatest symphonies of the 18th century.
Much of the so-called humour in Haydn is actually better described as playful ingenuity, the rest being derived from opera buffa; then there are a few genuine humorous bits as well like any other composer.
The Eszterhazy princes paid a fortune for their musical establishment - they were the wealthiest aristocratic family in the Habsburg empire - and Prince Paul Anton and Prince Nicholas (Haydn’s employers from 1761-1790) were sophisticated men of education who had a passion for music; they did not waste that money on someone you have dismissed and devalued as ‘…a prankster’.
The surprising and unexpected bassoon entry in Symphony 93 is no more crude or funny than Mendelssohn’s braying donkeys his Midsummer Night’s Dream overture or any number of similar prankster moments you find in music.
There is humour in Haydn, but overstating the point caricatures the composer, and - like the ‘Farewell’ example noted above - usually leads one to miss the point.
@@elaineblackhurst1509I usually agree with all your comments, but this went too far. Your way of thinking here is totalitarian. Why can't a musical moment be at the same time a joke, a dramatic pause, a call to make some unaware audience to focus again, a formal/tension necessity? What is to 'be' in music? It can be that, and a lot more things at the same time, you can not absolutely deny something like this; no matter how many books or diaries (written by other people) you may read. The tone in your comment is against the most basic musicological practice and good art criticism. If you are tired of people reducing Haydn's music only to humour, try to do other things instead of using that tone in a comment. On the other hand, I think your strategy (to say that Haydn's humour or irony is not especially more developed or interesting than in other composers) seems to me also wrong, and an attempt to solve this 'interpretation' problem in a wrong way. If society thinks that jokes, irony, the expression of enjoyment , excitement or innocence are less valuable than passion, romanticism, heroism, sadness or drama (and because of that some of them considered Haydn somehow 'inferior' or a 'caricature') it is not only that they are misunderstanding Haydn's music. To be unable to find the complexity or deepness in experiences of enjoyment, humour and pure happyness, is also part of the sickness this world has. And this has not an easy solution I am afraid.
@@elaineblackhurst1509 my word, you can't make a comment without someone going to the extreme. I'm no debasing Haydn or anybody else, just praising the remarkable talent of someone that can inject drops of color in whatever they do. Beethoven's "rage over a lost penny", Mozart's "musical joke", etc.
24:26 24:41 25:44
20:24 IV część
4th mvmt is best fight me
Is the measure at 8:41 a printing error? There are 5 beats in it
Yes. That is odd.
I don’t see it
@@Nico27901 fourth to last bar has three quarter note rests and two quarter notes
0:05
10:46
14:00 Mahler anyone?
Mahler must have been inspired by Haydn military symphony for his 5th symphony