A Comparison of Haydn's Symphony No 95 With Beethoven's Symphony No 5

Beethoven’s Sixth Symphony, the “Pastorale Symphony” or “Recollections of Country Life”, Op. 68, was composed in 1808 and was premiered in concert along with Beethoven’s Fifth Symphony, although two completely different symphonies. Beethoven’s Sixth Symphony is in the key of F major and is composed of five movements, which is his only symphony to have five movements. The second movement of Beethoven’s Sixth Symphony, “Scene by the Brook”, is in a slow sonata form and is in the key of Bb major, the subdominant of the “Pastorale Symphony”. Tone painting, the musical technique of composing music that reflects the literal meaning, is interpreted so much within the second movement of Beethoven’s Sixth Symphony, that listeners can visualize the simplicity of the beautiful scene of nature.

The development of symphonic music during the Classical Period is greatly responsible for shaping today’s orchestral music landscape. Beethoven’s Fifth Symphony is often considered to be the cornerstone of the symphony genre evolution. While his grand gem is somewhat revolutionary and unique to a certain extent, such as ‘expanding the brass section in the final movement.’ [1] On the other hand Berlioz’s Symphonie Fantastique is filled with minor references to Beethoven’s Fifth Symphony

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

the longest gestation periods of any Beethoven work, the first in which all movements are

2 No.1 in f minor is considered as one of Beethoven’s earliest work dedicated to Haydn. The use of extreme dynamics such as fortissimo from measures 144-147 is one of Beethoven’s method to create a sense of drive throughout the movement. In my opinion the development is the most dramatic section leading to the recapitulation (m.101) in forte rather than in piano dynamic marking which is from measure 1-2 at beginning of the piece. The short motive in the transition section (m. 13-14, m.50-51, m.95-100, m.111-114) is almost like a motive from Haydn’s string quartet. I think that Beethoven was thinking of Haydn while composing and decided to dedicate the small ideas in string quartet style. The pianist has imagined themselves passing the idea from one string instrument to

In classical music, the structures emphasize more the grace of proportion and balance, moderation and control; polished and elegance in character with expressiveness and formal structure held in perfect balance. Furthermore, the forms do not vary as much as the Romantic era, they had forms like sonatas, symphonies etc. The melodic phrases are usually balanced and symmetrical made up of two phrases of the same length. For an example, in Mozart's Clarinet Quintet, the music is very symmetrical and well balanced, in a variation form. However, in Romantic music, they rather emphasize on the emotional content than trying to sound balanced and symmetrical, and expanded their use of forms and created new forms, like impromptu, ballade, etude, nocturnes etc,. Moreover, the melodies normally have either really long or short phrases, increased in range, but also increased in chromaticism. For example in Mahler's symphony no.1 in D major "Titan", we can see that except it is in a ABA form, the whole movement was not as symmetrical and well balanced as the Mozart, although it is in a variation form, the melodic phrases have increased in range, are either really long, for example in the first 18 bars, or really short, where the melody can be hardly seen in bar 134-137.

Haydn was visionary composer from the classical period, he decided to implement something different during his symphony No. 94 second movement, and this instrumental piece have variations, and cool solos creating a surprise effect for the public. He created this symphony in London, and that’s the reason is called one of the “London Symphonies”. The way he did this pieces, with his common style, adding jokes on his symphonies was criticized, but he never went over the edge of what was considered appropriate at the time, and people actually loved the way he composed. The piece had Strings, winds, brass and percussion. This movement doesn’t have crescendos or decrescendos from dynamic to dynamic, when it begins it has mezzo piano and goes to piano

The first movement of both pieces start off in their own unique way. Haydn’s work begins stridently with a quick timpani strike accompanied by the strings, then is followed by a toned-down melody in C-minor. The second theme of Haydn’s first movement is more jovial sounding and is in C-major. After the

The development of sonata form into a subtle and flexible mode of musical expression, which became the dominant force in Classical musical thought, was based foremost on Haydn and those who followed his ideas. His sense of formal inventiveness also lead him to integrate the fugue into the classical style, and to enrich the rondo form with more cohesive tonal logic.

Haydn wrote more than 80 string quartets during his long career. By the early 1770s, "the four-movement format was standardized" in Haydn's quartets (548). After an exciting first movement in sonata-allegro form, Haydn often used a minuet for the second movement. The third movement was usually a slow piece and the fourth movement was usually another up-tempo form like the first movement. This order of movements differed from the traditional order, in which the second movement was a slow piece and the third movement was a minuet. By changing the order, Haydn expressed an element of the classical style, because the four movements are balanced in terms of their "expressive weight" (Rosen, 280).

The first movement of Beethoven’s 9th is quick, driving forward and at times giving the feeling of rushed urgency, while maintaining a composed majesty beneath the surface. This is reflected in the original tempo marking of allegro ma non troppo, un poco maestoso, meaning literally “quickly but not too fast, a little majestic”. The movement begins with a the strings playing intervals over a quiet string tremolo, reminiscent of an orchestra tuning themselves before a performance. This crescendos to a loud and bombastic introduction of the first movement’s main theme and the introduction of the brass section. The first movement also makes heavy use of dynamic contrast, with large crescendos that swell in time with the music and diminuendos that quickly reign in the impressive power of the full symphony orchestra. The first movement also follows a traditional sonata form, with the main theme having variations throughout the roughly 18 minutes of play time. Personally, I found the ending of the first movement

The majority of Haydn's keyboard compositions are sonatas. His other keyboard works include piano trios, theme and variations, dances, fantasias, and capriccios.

The formal structure of the movements, while generally adhering to the Classical models, charted new territory. The first movement, although in Classical sonata form, confounds listeners first by rising to a fortissimo climax in the harmonically unstable exposition section and then by delaying a return to the home key. The scherzo is placed as the second movement, rather than the customary third, and the third movement is a mostly restful, almost prayerful adagio. The last movement builds from a gentle beginning into a brazen finale, while recalling some of the themes from earlier movements and once the “Ode

Franz Joseph Haydn was an Austrian composer of the Classical Era. Apart from being considered as one of the most influential and significant composers of the Western classical music, he was also known as one of the three composers part of First Viennese School composers, which also included Mozart and Beethoven. He composed The Piano Sonata in E-flat major, Hob. XVI:49, and dedicated it to Mrs. Maria Anna Edle von Genzinger. This piece is rather representative of works written in his late period since it is one of his last piano sonatas. Composed for the fortepiano, this piece can be described as incorporating the Viennese keyboard style, as well as, many other musical ideas gathered by Hadyn in England. The sonata is divided into 3 movements: Allegro, Adagio e cantabile and Finale: Tempo di Minuet. He opened his first movement with a theme in a question and answer style that evokes a dialogue. In this movement, the sense of humour and seriousness expressed at the same time, makes the contrast more distinct. It also reflects the introspection and determination. The second movement is in the ternary form (ABA) and it has a singing style. It is in B flat major with highly decorated thematic material, and the lyrical phrasing makes the piece tranquil and peaceful. The theme is repeated in a more expressive manner and as it progresses to the middle of the movement, it becomes contrasting. Touches of the tonic minor add a melancholic feel to it, causing the mood to become dark.

The composition of classical music is said to be derived from the emotion of the composer. When aficionados of classical music are introduced to new music, it is expected to ‘move’ them. Emotional expression and communication, often exerted through the compositions of Ludwig Beethoven are said to have changed the composition of symphony forever. To quote Beethoven, “Coming from the heart, may it go to the heart”. Beethoven said this when expressing the emotion it took to compose and accept his music. Beethoven is also viewed as innovative through his workings, as it has impacted music of the past, present, and future. Philip Clark (2014) agrees “Nearly 200 years after his death and no one expects Beethoven’s pieces to settle down any time