• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Analysis of Haydn's Piano Sonata in E Flat, Hob XVI/49

Extracts from this document...

Introduction

Write a detailed harmonic and formal analysis of the development section from the first movement of Joseph Haydn's Piano Sonata in E Flat, Hob XVI/49, focusing on the interaction of motive, texture, scoring and harmony. Sonata in E Flat major, Hob XVI/49, can be said to embody both the Viennese keyboard style and many of the musical ideas that Haydn gathered in the cosmopolitan capital of England. Written in 1789, it is one of his last piano sonatas and is quite representative of works composed in his late period. Most importantly, Haydn's mastery of the standard sonata form was unquestioned in this sonata and it provides a template by which to judge divergence and innovation. The development section in the first movement in this particular sonata begins at bar 65 and ends at beat 3 of bar 131. It serves as a contrasting and linking section that connects the exposition to the recapitulation though the transformation and juxtaposition of motives, with the harmony going through distant keys. This essay will attempt to analyse bar 65 to bar 131 of the first movement of Haydn's Piano Sonata in E Flat, Hob XVI/49 in three aspects, namely motives, harmony and scoring and pianistic writing. Motives The development section acts as a segment in the sonata to develop motives. Through different techniques such as sequences, augmentation, diminution, fragmentation and repetition, original motives presented in the exposition are being transformed and altered. ...read more.

Middle

is juxtaposed with the detached, rhythmically driven motive E in the L.H. These two superimposed motives create contrast and unfamiliarity and thus heighten the anticipation to allow a flowing entry of the recapitulation. He constantly highlights the use of motive by attaching various functions to this motive. For example, although the harmony goes through several tonicisations and modulations, the 4-note rhythmic motive still remains present. Because of the above examples, we can see that Haydn is indeed a master at transforming motives through compositional techniques such as repetition, sequences and fragmentation. His ability to reuse thematic material and create interest and variety for those reappearances of them is unrivalled. Harmony The development uses secondary dominants extensively with some chromatic harmony to allow the tonality to go to different keys. Continuing from the home key of the sonata which is Bb major at the end of the exposition, the development begins with a Bb major tonality, the dominant relation to the tonic Eb. The three voice contrapuntal texture begins at bar 66, resulting in tonicisation to various related keys through the use of suspensions and sequences. After going through the cycle of fifths, the tonal centre stabilises at C. From bar 80, Haydn manages to increase the harmonic rhythm to once every bar as compared to the exposition's slower harmonic rhythm typically found in Classical period pieces. ...read more.

Conclusion

One would expect the resolution or rather the tonic to be in the same register as the cadential chord. However, Haydn shifts the resolution two octaves down the keyboard to amplify the contrast between the cadential chord and the resolution. Also, the variations in register, which is a characteristic of pianistic writing, create points of interests for the listener. As the fortepiano is not able to sustain notes for a long duration, the motives and themes may seem boring and uninteresting after a while. Shifts in register can compensate by constantly attracting the listeners' attention to details and hence keep their interest in the music. For example in bars 95, the shift from the lower F to the higher F in the R.H. grabs the listeners' attention and keeps them listening. Another part of the development which demonstrates Haydn's pianistic writing would be the cadenza at bar 131, which is used to showcase the pianist's virtuosic capabilities. The scalic and chromatic passage is intended for the performer to showcase his virtuosic skills. These elements of pianistic writing are present in the development section of this movement. In conclusion, various techniques such as such as repetition, sequences and fragmentation are being employed to develop motives while the harmony delineate the motives and creates the anticipation for sudden changes in the register or timbre. The pianistic writing and scoring of this development section further attracts the listeners' attention and causes listeners to anticipate the return of the recapitulation. Word count: 1807 ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our University Degree Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related University Degree Music essays

  1. Analysis of Prokofiev Sonata No. 7

    opening theme by prolonging the suspension between the first and second segment. The underlying rhythmic figure from the "fate motive" is reproduced with an extension of two bars in b. 32 - 35. This time, being no longer in the background, the motive is roughly shifted an octave higher with the suspension in the previous occurrence removed.

  2. Timbre as a form-building property in the music of Kaija Saariaho

    led her to conclude that there is no apparent universal method of generating form; however, tensions generated by timbre remained central to her technique. To Saariaho, timbre is a quality, a non-specific term, that refers to a synthesis of parameters including the purity and texture of a sound.

  1. Avant-Garde Techniques.

    (1989). John Cage at Seventy-Five (1st ed.). Cranbury, pp.249 - 261). Cage's most remembered chance piece is 4'33" (pronounced four minutes thirty three seconds). Often mistakenly referred to as Cage's "silent piece", it is quite the opposite. 4'33" technically has three 'silent' movements, but really it is full of sound.

  2. The Works of W. A. Mozart for the Basset horn: An Annotated Bibliography ...

    411 (440a, 484a) Adagio68 * AMA: X, p. 80 [R 25] * NMA: VII/17/2, p. 223 [Pb 17] Example 5: K. 411, mm. 1-869 The Adagio in B-flat-major K. 411, or K3 440a, K6 484a is for two clarinets and three basset horns. It was probably written around 1782 or 178370.

  1. "A notation should be directed to a large extent towards the people who read ...

    With Ferneyhough, what he wishes is effectively equivocal, due in part to his documented changing views of his own output. Frederic Rzewski concludes that '...it is not the notation but the compositional position that presents the performance problem.'14 We must additionally consider the example of those composers of equally complex,

  2. FUTURISTIC MINDS: GILLESPIE & McLAUGHLIN Essay on the development of jazz.

    This had as an effect that jazz gradually lost most of its mainstream audience turning to other new and emerging styles such as Rock and Roll. Bebop also gave birth to a multitude of different styles following it. Some of these styles are Cool Jazz, Dixieland, Hard Bop and later Free Jazz and Fusion.

  1. Sonic Arts Repetoire Essay- Poeme Electronique

    This says a lot about the flexibilities of the sound. So it can filter out from a slightly distorted initial struck of a bell, to a more cleaner sound with time. Varese may have chosen a bell to start the piece off as a substitute for not having a motif to tell his 'movie-like' story.

  2. Short Analysis of "Five Pieces for Orchestra op. 16, mvt. 1" by Arnold Schoenberg

    ?A prolation canon or mensuration canon is a type of canon, a musical composition wherein the main melody is accompanied by one or more imitations of that melody in other voices. Not only do the voices sing or play the same melody, they do so at different speeds.? Schoenberg uses

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work