Symphony No. 8 (Haydn)
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Joseph Haydn wrote his Symphony No. 8 in G major under the employ of Prince Esterházy in 1761, in the transition between the Baroque and Classical periods. It is the third part of a set of three symphonies - Le Matin (No 6.), Le Midi (No 7) and Le Soir (No. 8).
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[edit] Use of Orchestration
The orchestration used in Symphony No. 8 is very similar to the concerto grosso style of the Baroque period, where a small group of solo instruments was set against a larger ensemble. In Symphony No. 8, the small group consists of a solo violoncello and two solo violins, and the large ensemble contains two oboes, one flute, two horns, strings, bassoon and harpsichord. Haydn’s use of the bassoon and harpsichord is reminiscent of the basso continuo used extensively throughout the Baroque period; however it is not as constantly driving.
[edit] Movements
This symphony has the usual number of four movements for a classical symphony, with the first movement, allegro molto, as a gigue in sonata form. The second movement is andante; the third is a dance-like menuetto. The final movement, also in sonata form, is subtitled La Tempesta, and was intended to evoke the sensation of a thunderstorm.
[edit] Harmonic Structure
Symphony No. 8 opens in G major, and then modulates to the subdominant C major for the second movement, before returning to G major for the third and fourth movements.
[edit] Importance of Melody
In the first movement, the strings start with the main eight-bar melody, a theme which carries throughout the entire movement. Haydn makes use of the concerto grosso format in the second movement, with the melody in the concertino – two solo violins and solo violoncello. The melody of the menuet is fairly conventional, with the bassoon and strings taking up the theme in the trio. In the final movement, La Tempesta (the storm), the strings have a series of descending figures which suggest falling rain, and octave leaps in the solo violin are used to build tension. An interesting anecdote about the theme of the flute in this movement: When Haydn describes a storm in his latest oratorio The Seasons, he uses the same theme as in this movement, with the same orchestration - passage in the flute of descending broken chord.
[edit] See also
[edit] References
- Robbins Landon, H. C. (1963) Joseph Haydn: Critical Edition of the Complete Symphonies, Universal Edition, Vienna
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