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

Both Haydn and Beethoven are known as two of the greatest classical/romantic composers in the history of music. Haydn is identified as the father of modern symphony, as well as the father of the string quartet. He has played an essential role in developing the piano trio and the sonata form. Beethoven is also a widely recognized composer in Western music, his style joined the lull between the Classical and Romantic eras. Beethoven traveled to Vienna when he was young to study under Haydn. However, due to disputes and differences between the two composers, lessons only lasted for a little over a year. The teachings, if only for a short period, left a mark on Beethoven, and can be observed in his compositions.

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

For the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th movement.

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

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.

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.

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

The early piano sonatas of Beethoven deserve special mention. Although his first published examples of concertos and trios and the first two symphonies are beneath the masterpieces of Mozart and Haydn, the piano sonatas bear an unmistakably Beethovian stamp: grandiose in scope and length, and innovative in their range of expression. The sonatas were able to move expression from terrible rage to peals of laughter to deep depression so suddenly. Capturing this unpredictable style in his music, a new freedom of expression which broke the bounds of Classical ideals, was to position Beethoven as a disturbed man in the minds of some of his contemporaries. Furthermore, he was to be seen as the father of Romanticism and the single most important innovator of music in the minds of those after him. (Bookspan 27).

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

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.

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).

Since the early 19th century, Haydn, Mozart and Beethoven have been venerated as the first of the three Viennese classics. Franz Joseph Haydn (1732-1809) was an Austrian composer who began his career in the traditional patronage system of the late Austrian Baroque and ended as a free artist within the burgeoning Romanticism of the early 19th century. He was one of the most celebrated composers of his time and a culture hero throughout Europe. He is familiarly known as the “father of the symphony”. Beethoven (1770-1827) was a German composer and a pupil of Haydn’s.

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