Haydn Symphony No II Analysis

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Written Commentary
Haydn’s Symphony No 45 F# Minor
For this assignment, we were asked as a group to compile a resource pack which would facilitate a discussion on Haydn’s Symphony No 45 in F# Minor and Mozart’s Fantasy No 4 in C Minor.
One of the tasks we received on Haydn’s Symphony No 45 in F# Minor was to complete a tabular analysis. For this, we had to identify the bar number, the section of the movement, the thematic/motivic content, the key signature, the harmonic progressions of exposition and the instrumentation in a structured table which shown below.

Bar no.
Section

Thematic/motivic content
Key
Harmonic progressions of Exposition
Instrumentation

By completing this tabular analysis on Haydn, we, as a group, were able to break
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When we analysed and compared the two recordings we found that

It’s known that Haydn was the central unit to the establishment and development of the symphony, overall he composed 104 symphonies. Those that were composed early in his career reveal the influence of the four movement Baroque church sonata, which follows the layout of slow – fast – slow – fast. An example of this is found in Symphony No. 22, which uses the layout andante – allegro – minuet – presto.
From studying this piece, we learnt that Haydn composed this piece in sonata form; therefore, the piece has three defined parts;
1. Exposition – presents the basic thematic material of the movement
2. Development – often sounds like it belongs to a completely different piece composition as it moves through various key
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4 in C Minor was composed in 1785 for solo piano. The piece modulates through numerous key signatures as it starts in C minor, moves through D major, A minor, G minor, F major and then to F minor within the first section of the piece. However, the key changes come to a surprise to many as the music is composed with no flats or sharps presented in the key signature and uses accidentals. Mozart’s Fantasy No. 4 in C minor, like his other works, is presented quite technically demanding for the pianist.
A Fantasia refers to music in free form. This therefore means that there is prominent use of the ambiguous keys and unusual structure.
The piece begins in the key of C minor and presents the first subject of the movement. Mozart, as we can see, has included accidentals in order to conform to the ley of C minor, a feature which relates the music to being a fantasia. Mozart later uses F# and Ab spellings in order to point out that the dominant has now changed to C

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