Ludwig van Beethoven
Symphony No. 1 in C Major, Op. 21
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F165165
(accessed 14/01/18)
Theme extracts from first movement:
Theme 2
Haydn, Franz Joseph
String Quartet No. 1 in B-Flat Major, Op. 1, No. 1, Hob.III:1
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F6559
(accessed 14/01/18)
I find it interesting to note that there are 2 minuet movements in this string quartet.
The adagio sounds more Baroque than Classical – could be Vivaldi.
Mozart, Wolfgang Amadeus
Piano Concerto No. 21 in C Major, K. 467, “Elvira Madigan” (cadenza by M. Uchida)
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F5891293
(accessed 14/01/18)
There’s a brief string sequence and another piano motif in the first movement that actually reminds me of a song by Elton John!
Rather an understated performance by everybody concerned.
Also listened to a slightly more robust performance conducted by Claudio Abbado
Piano Concerto No. 21 in C Major, K. 467, “Elvira Madigan”
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F4360915
(accessed 14/01/18)
Beethoven, Ludwig van
String Quartet No. 1 in F Major, Op. 18, No. 1
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F1596
(accessed 14/01/18)
Particularly like the first movement with the imitation / call & response between the parts, and the transformation and development of the main motif.
Some thoughts that spring to mind comparing Beethoven with Mozart:
More DRAMA with Beethoven.
Mozart has ‘prettier’ melodies.
Very broadly speaking I would say that there is more interest in all the parts in Beethoven, with more polyphonic like texture with passages where the parts imitate and contrast / develop each other, whereas Mozart is broadly more homophonic in texture with more melody and accompaniment style passages.
I haven’t listened to enough Haydn to justify a comparison although Haydn’s first String Quartet is vastly different to Beethoven’s first strings quartet in that it is closer to the Baroque era in terms of the names of the movements and style of the pieces.
Mozart, Wolfgang Amadeus
String Quartet No. 17 in B-Flat Major, K. 458, “Hunt”
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F9620
(accessed 14/01/18)
Dedicated to Haydn.
The texture is generally thinner than Beethoven. There are similarities with Beethoven in the way the parts imitate each other, but there is less going on, to the point where the instruments imitate each other at times as ‘solos’ – with no harmony – which in itself provides some interest.
Mozart, Wolfgang Amadeus
String Quartet No. 6 in B-Flat Major, K. 159
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F9623
(accessed 14/01/18)
Some of the violin lines almost ‘swing’ in the first movement.
Life and Works – Haydn
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F39898
(accessed 15/01/18)
Over 4 hours of Haydn’s music and narration by Jeremy Siepmann.
Work your notes up into a set of listening notes for someone who has no musical knowledge – perhaps a child or someone who has only ever listened to jazz or popular music. Avoid specialised musical terminology – the idea is to get you to listen to and describe the music at an elemental level, experiencing it as early concert-goers might have done. For your first effort, it’s probably best to concentrate either on composition or instrumentation.
I concentrated on instrumentation when writing this up:
Haydn, Franz Joseph
Symphony No. 94 in G Major, Hob.I:94, “The Surprise”
http://manchesterlib.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=101977%2Fmancheslibnml11%2F6666
(accessed 15/01/18)
This symphony is divided into 4 movements.
The first movement starts with a gentle conversation starter by the woodwinds, followed by a reply by the strings. After a minute or so the music becomes livelier and you can hear the double-bass, cello, and timpani more prominently. There are then sections where the oboe can be heard. Notice a solo oboe playing a trill accompanied by a flute and oboe at about 3 minutes in, before the strings come in again. A lot of prominence is given to the violins that have the most ‘exciting’ lines, though there is a moment when the woodwinds get a word in, with a cheeky bassoon at the bottom end accompanying flute and oboe. The horns can be heard more obviously in the louder sections.
The second movement starts with violins quietly playing a very simple nursery-rhyme tune which is interrupted by a brief ‘oi!’ from the orchestra, particularly timpani and horns. Gradually the flutes join in, the violins start playing other little motifs on top, with the winds joining in. Strings and oboe play the nursery-rhyme theme in livelier fashion, then a bit later the strings and horns, until the strings, horns, and winds play the simple motif towards the end of the movement. The nursery rhyme tune is quietly played at the end by the woodwinds – listen for the bassoon, oboe and flute in particular at the very end of piece.
The third movement is a waltzing dance-like movement. Listen to the lyrical winds between the more rhythmic string sections, and the addition of the winds and horns on beats 2 and 3 of the dance theme. Also listen to how the orchestra sometimes all play the same thing together, and in contrast, how one instrument will play an idea only for it to repeated by a different one.
The strings and violins start the lively fourth movement. Haydn varies the instrumentation: there’s the addition of a flute, then a bassoon and flute, sometimes just a basson, until the horns and remaining woodwinds are added and play long held notes whilst the strings whirl around underneath. Big timpani roll towards the end of the movement. Lots of fast playing by the violins creates a sense of movement throughout.
Haydn, Franz Joseph
Symphony No. 6 in D Major, Hob.I:6, “Le matin”
http://imslp.naxosmusiclibrary.com/streamw.asp?ver=2.0&s=167137%2Fimslpcomp01%2F6591
(accessed 16/01/18)
This symphony is divided into 4 movements.
I don’t know for sure, but I imagine this is groundbreaking music in the sense of the quiet, evolving start to the symphony, something that would have been unusual back in Haydn’s day when it was customary to start with a bang, so to speak. Beautiful beginning to the first movement evoking the sunrise, the dawn chorus, until things start chugging along with some lively violins. Love the banter between the winds. Frequent changes of texture and instrumentation. Still using harpsichord at this time.
Slow movement opens with a solo violin playing lyrical lines, contrasted at times with the orchestra playing more halting passages.
Prominent flute in the menuet contrasting with the strings of the prior movement, occasionally joined by the oboe and bassoon. The bassoon has some prominent moments too.
Lively final movement with lots of call and response phrases initially introduced by the flute and answered by the strings who then ‘steal’ the motif the flute had started with.
Some comments and analysis of Beethoven’s Fifth symphony.
https://www.khanacademy.org/humanities/music/music-masterpieces-old-new/ludwig-van-beethoven-music/v/ludwig-van-beethoven-part-1
(Accessed 18/01/18)
Jim Mennell Music 