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Minuet & Trio the most common form for the third movement of a symphony in the 18th century

Reflects the style of a French dance in triple metre Rounded binary form (AABB1)

Ternary form minuet-trio-minuet Menuetto Allegro

III

A widely used word but it doesn't exist! It's a long-standing error that arose from composers adding the ending of the Italian word 'minuetto' to the German term 'menuet' 1.

Flauto 1, 2

Section A Oboe 1, 2

1st oboe and flutes double 1st violins at same octave

Clarinetto 1, 2 in A

Melodic embellishment reminiscent of first movement (bar 91)

zu 2

Fagotto 1, 2

Melody is split into two clear 4-bar sections Corno 1, 2 in D

Horns in D

Tromba 1, 2 in D

Trumpets in D

Use of timpani adds to the aristocratic formality of the dance

Timpani in D, A

Rising tonic triad

Drumroll - measured semiquavers

Violino I

Chromatic auxiliary creates diminished chord Violino II Viola

Plagal cadence (IVc-I)

Perfect cadence (V7-I)

Violoncello e Contrabasso

8-bar phrase Anacrusis - upbeat Lighter scoring - only 2 of the 8 woodwinds play this time and only horns in brass - no trumpets 9

Fl. 1.

Winds play a more legato version of the theme

Ob.

Cor.

Timpani are also missing Vln1

Vln2

Dynamics have dropped to provide contrast Vla

Clear enforcement of the tonic pedal (D)

Chord sequence is strongly reminiscent of first movement (bar 32)

Vc+Cb

I

IVc I

I

IVc

I

IVb

Ic II7b

II7 V7

I

8-bar phrase is repeated here but p this time

Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio http://www.musedata.org/haydn/sym-104  2007 Center for Computer Assisted Research in the Humanities (CCARH)

page 1 27 Nov 2007

Section A hasn't modulated - against binary form convention - so a hasty modulation happens here

minorsignalled (relative minor) Section B (a 2) KeyBchange by appearance of A#s 16

Fl.

Close harmonies and then a resolution Ob.

Cl.

Fag.

Use of hemiola

Cor.

Brass in 3rds Tbe. Timp

Same rhythm as in Section A

Vln1

Tonic triad in D major - same as opening

Vln2

Rising tonic triad in a hemiola rhythm (B minor)

Vla

Triadic Vc+Cb

A major (dominant)

dim7 ib

25

dim7 i Vc. V i Perfect cadence

1.

Bassi

Fl. 1.

Backwards circle of 5ths zu 2 to E major (supertonic/secondary dominant)

Ob.

Bb (minor 9th in A major) gives a minor tinge Cl. 1. Fag.

Tonic pedal (A major)/ dominant pedal (D major) Cor.

Tbe.

Pedal on A - ambiguous as to tonic/dominant

Diminished chord (D#-F#-A) Timp

cresc. G naturals - hinting at moving back to D major? Vln1 Vln2

Exploitation of A major triad (plus the dominant 7th) Vla

Triadic Vc+Cb

Neapolitan 6th chord Diminished chord (D-F-G#) (D-F-Bb) of A major resolves onto the tonic Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio (A)

Backwards circle of 5ths to A major (dominant)

http://www.musedata.org/haydn/sym-104  2007 Center for Computer Assisted Research in the Humanities (CCARH)

page 2 27 Nov 2007

D major (tonic)

Minuet's opening is replayed - 8 bars - explains why it wasn't repeated in the A section as is customary

Trill is repeated here - new material with big leap

35

Fl.

Ob.

Cl. zu 2 Fag. zu 2 Cor.

Tonic pedal (D) Tbe. Timp

Vln1

Embellished and decorated version Vln2 Vla Vc+Cb

V7b

G major

High note left hanging in the air

44

Fl.

Ob. Cl. zu 2 Fag. Cor.

Use of silence again drama, impact, atmosphere - Grand Pause

Tbe. Timp

Melody based on original A section material Vln1 Vln2

Vla Vc+Cb

Coda I

10 bars long which is longer than the norm for a Minuet

V7

I

V7 I

V

I

V7 I

Emphatic perfect cadence to end the section Section B is repeated Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio before the Triopage 3 http://www.musedata.org/haydn/sym-104  2007 Center for Computer Assisted Research in the Humanities (CCARH)

27 Nov 2007

Binary form Bb major

Trio

A remote key 52

Simply, another minuet - name comes from the old practise if 6-bar phrases this section being in a three part texture

1.

Ob.

New key's mediant - old key's tonic - feels like it might be in the tonic minor (D minor) Fag. Unaccompanied passage to ease the key change

1.

Bassoon doubling first violins an octave lower

Vln1 pizz.

Long lines of flowing quavers - less emphasis on the downbeat

Vln2

A light texture - no use of clarinets, brass or timpani

pizz

Delicate pizzicato strings

Vla

New tonic chord is finally heard (Bb major)

pizz. Vc+Cb

Section A

I

V7c

63

V7

1.

I

V7 I

V7 I

V7 I

vi

iib

Oboes and flutes carry main melodic material 2. 1st and 2nd oboes alternate

Fl. 1. Ob.

i V7 New key signalled by Ab accidentals Mini-modulation Fag.

1.

C harmonic minor

Vln1

Quavers now become a countermelody Vln2 arco

Use of F#s signal a move to G minor

Bowed

arco

Vla

Section B - C minor - dominant minor of the dominant

arco

Vc+Cb

Shift to F major (dominant key) 72

V7 I

Section is repeated

The F major chord confirms the return to the key of Bb Fl. major Sense of polyrhythm - 6/8 in bassoon and 1st violins but 3/4 in strings

V7

Ob.

Fag.

Use of C minor is only transitory Vln1 pizz. Vln2 pizz. Vla pizz. Vc+Cb

Bb major

I7

Not a perfect cadence due to the use of I7

Becoming the dominant again in C minor

Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio http://www.musedata.org/haydn/sym-104  2007 Center for Computer Assisted Research in the Humanities (CCARH)

page 4 27 Nov 2007

Use of tutti silence

1.

82

Fl.

Descending chromatic scale 1.

Ob.

Ascending sequence Fag.

Vln1

arco Vln2

arco Vla

arco Vc+Cb

IV

iib

Additional section 1.to smooth the transition from Bb major back to D major

Trio tailpiece

93

Fl.

Littered with the rising 3rd idea that started off the trio Ob. zu 2 Fag.

A major chord dominant of D major Vln1

Rising chromatic scale - 2 note motif developed Vln2

Tonic pedal (Bb) Vla

Tonic pedal (Bb) Perfect cadence

Vc+Cb

Minuet to D.C. al Fine - the minuet should be repeated 'da capo' Men. D.C. from the top until the word 'fine' is reached. The custom nowadays is not to play the internal repeats on the second playing Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio page 5

Ic-V7

I

http://www.musedata.org/haydn/sym-104  2007 Center for Computer Assisted Research in the Humanities (CCARH)

27 Nov 2007