Part 10 (1/2)
___________________________________________________________________________ A | B | A'
Exposition | Development | Recapitulation __________________________|___________________________|____________________ | | Introduction (optional) | Free treatment and | First Thee Modulatory bridge-passage |to Second The Theme | presented | in home-key, but (Duality of | Sometimes new material | not always) Key-relationshi+p) | introduced | Closing Theme | (Plurality of Key) | Coda | | (Special stress | | laid on the main | | tonality Unity of | | Key) __________________________|___________________________|____________________
For actual in with the works of Haydn This exclusion of Philip Emmanuel Bach is not meant to minimize e hi the tripartite Sonata structure, with its two the that it was his study of six Sonatas of Emmanuel Bach which laid the foundations for his own instrumental style But on the whole, the compositions of Emmanuel Bach are of interest rather from a historical point of view than from one purely artistic The object of this book, furtherive a complete account of the evolution[103] of the Sonata-For the existence of standard works which eain a more complete appreciation of those works PE Bach wrote in the so-called ”galant style”[104] of the period which has, for our less, rhapsodic passages He made a sincere effort to invent pure instrumental melody, _ie_, musical expression suited to various instruments that should be unhampered by the too definite balance of the dance forms, by polyphonic complexities or by the conventional artifices of operatic style But though he wrote skilfully for his instruh his style has a certain quaint charenuineThese qualities alone keep works immortal[105]
[Footnote 103: Those interested in this development should consult _The Pianoforte Sonata_ by JS Shedlock, and above all, d'Indy's _Course of Musical Co to d'Indy, was so-called because pleasing to the ladies who played an important part in the elaborate court ceremonial of that day]
[Footnote 105: Six of PE Bach's Sonatas edited by von Bulow are readily accessible and sonificant ones may be found in Shedlock (see above)]
In Josef Haydn (1782-1809) we are face to face with a musician of a different type Haydn is popularly known as the father of the Sonata, the Sy to Edward dickinson,[106] this estieration, for ”it overlooks the fact that a large nu with the sa sienius_ of the instrumental writers of his day His works have lived by virtue of the superiority, _ie_, the greater spontaneity and vitality, of their contents He should be called the 'foster-father,' rather than the father of the symphony and quartet for he raised theth and authority”
To hi the types of instrumental composition which became the foundations of modern music
Haydn, moreover, was the first musician since Sebastian Bach who had a real personality which may be felt in his works To speak of a piece ofas to refer to a poetic stanza as ”Miltonic” When Haydn arrived on the scene, h the labors of e of definite expression, with a logical grammar and with principles of structure The tie in a more artistic way, _ie_, for a more intense personal expression and for more subtle treatment of thehis points; and with Haydn, whose heart beat in syins to be a truly popular art
[Footnote 106: See his _Study of the History of Music_, p 154]
The striking features in Haydn's works are three: (1) The wealth of spontaneous and sparkling ift and never had to cudgel his wits for a tune That instruress as we find between the dryness of E a puzzle to scholars, and only recently has the proof been subely of Croatian ancestry Now the Croatians of Southern Austria are one of the s and dances Haydn therefore did not have to ”invent”
melodies in the ordinary sense of the terht
Many of his inal ination saturated with the folk-song spirit[108] For this reason they seem like wild flowers in their perennial freshness and charm (2) The precision and clarity hich his ideas are presented These qualities were due to his well-balanced and logical intellect that impressed everyone hom he came in contact His style, able labor, for he was largely self-taught If the balance of his phrases and the general symmetry of his style seem to our modern taste a bit excessive, we must remember that he was a pioneer and could run no risks in the way of non-acceptance of hismust be so clear that the ordinary ,” ”square-toed”
element so prevalent in Haydn as is commonly supposed In his in--is his fondness for odd rhythms of three, five and seven measures, of which examples abound in the Quartets In his Minuets and Finales there is a rollicking effect of high spirits which could never have been attained byspontaneity which is one of the outstanding exa art” Never do these works smell of the lamp, and let us remember it is far easier to criticize them than to create them[109]
[Footnote 107: See for example the _Salomon Symphony in E-flat_, every ]
[Footnote 108: For a comprehensive account of this whole subject consult the _Oxford History of Music_, Vol V, Chapter VIII, and Mason's _Beethoven and His Forerunners_, essay on Haydn]
[Footnote 109: Witness for example, the attitude taken by Wallace in his _Threshold of Music_, pp 148-153]
(3) The skillful and eloquent manner in which Haydn adapted his ideas to his favorite -quartet Although he wrote a number of pianoforte sonatas, these works, on the whole, do not represent his best thought For they were co influence of the harpsichord and the advent of the pianoforte, not yet come to its own But as for the orchestra, Haydn established[110] the grouping of the three so-called choirs of strings, ind and brass; to which were gradually added the instruin to enjoy orchestral effect for its own sake: the dashi+ng vivacity of the strings, the randeur of the brass Instrumental works had formerly been composed in black and white, but noe have the interplay of orchestral colors No less para of the four solo instru Quartet In his Quartets the voices are so highly individualized that it see a musical conversation Such melodic and rhythmic freedom were hitherto unknown and his style became the point of departure for reat ratitude to Haydn His success in establishi+ng the for-quartet was chiefly due to the inesti, for so many years, chapel-master to those celebrated patrons of music the Princes Paul and Nicholas Esterhazy, at whose country-seat of Esterhaz he had at his disposal, for free experimentation, a fine body of players[112] Here Haydn worked from 1762 until 1790; and, to quote his oords, ”could, as conductor of an orchestra, make experiments, observe what produced an effect and be as bold as I pleased I was cut off from the world, there was no one to confuse or torinal”[113]
[Footnote 110: For the early and significant achievements in orchestral effect of the Mannheim Orchestra under its famous leader Stamitz, see _The Art of Music_, Vol 8, Chapter II]
[Footnote 111: For interesting co Quartets see Hadden's _Life of Haydn_, pp 174-175]
[Footnote 112: _The Oxford History of Music_, Vol V, Chapter I, and _The Present State of Music in Germany_ by Burney present a vivid picture of the tie]
[Footnote 113: For an entertaining account of the two London visits, which took place during the latter part of his career, see the essay _Haydn in London_ by Krehbiel in his _Music and Manners_]
As to the formal side of Haydn's work, he is responsible for several distinct improvements The different divisions of the movement are more clearly defined--soidly--but noto follow easily the main outlines of the forical way and there is little of ”running off into the sand” or of those otherwise aies so prevalent in Emmanuel Bach In his best works, notably in many of the Quartets, there is also h for highly personified and enius of Mozart and Beethoven Whenever we are inclined to call Haydn's style old-fashi+oned we must remember that he wrote before the note of intense personal expression--the so-called subjective element, prominent in Beethoven--had come to the fore The ti-tail period” (Zopf-Periode) in reference to the stiff and precise dress and manners which had their counterpart in formality of artistic expression Only towards the end of his career do we feel that breath of freedoenerated by the French Revolution (beginning in 1791) and by theperiod From Haydn on,of theof the material In all worthy music, in fact, the chief point of interest is the _e of sound and rhythe of form is but a means to an end: for the coly, and for the listener, that he e set forth In Haydn's h of an artless, child-like type, without great depth of eic intensity of a Beethoven Haydn was not a philosopher, or ahis epoch, artists hardly dared to be introspective His ih it was, as freely as the earth puts forth flowers; but, although he wore a wig, he had a heart which was in good working operation even in his sixty-fourth year when, during his London visit, he fell in love with a char , Madame Schroeter, whom he would have married had not his wife been still alive
[Footnote 114: In many cases Haydn's second theme is merely a varied version of the first]
We should acquire the catholic taste to enjoy every composer for what he really was and not criticise him for what he was not--a state which would imply necessarily different conditions In criticism there is no worse error, or oneHaydn because he was not Beethoven; or, in our times, Tchaikowsky because his music does not resemble that of Brahht as well apply that adjective to the antics of a sportive kitten As for the ”aatory way of the fresh, innocent voices of children, though we need not listen to them continually Haydn, in short, is Haydn,[115] and the vitality and sincerity of his works will always keep them immortal In these feverish days we may dwell upon the simplicity of ”Papa Haydn,” as he was affectionately called; ould kneel down before beginning work, and who inscribed his scores ”In nomine Domini” His modest estimate of his oers cannot fail to touch our hearts ”I know,” he said, ”that God has bestowed a talent upon me, and I thank hieneration by my works; let others do the sareat interest in showing the traits which are reflected in his raphy in Grove's Dictionary, Vol II, p 348, and the excellent life by M
Brenet in _Les Maitres de la Musique_]
We shall now make a few comments on the illustrations in the Supplement (see Exs No 41 and 42): the Finale of the _Sonata for Pianoforte in E-flat major_ and the first movement of the so-called _Surprise Symphony in G major_ Haydn, of all composers, needs little verbal elucidation; his music speaks for itself and everyone ret that it is not practical to give examples from the Quartets which, in many respects--especially in the Minuets with their inexhaustible invention[116] and their bubbling spirits--represent Haydn at his best But the real effect of his Quartets is so bound up with idios that in any transcription for pianoforte the h the score, however, that everyone should become familiar, with the contents of the Quartets in C major, op 76, and Done of the supreme examples in all chamber literature[117] of rhythmic vitality