HAYDN - NELSON MASS

    This page was last edited on 16/01/06

Topics To Research

1. Haydn - Life, Works, Style
   
2. Haydn's Importance
   
   • in developing the classical style
   • as a symphonist
   • his influence on Mozart and Beethoven
3. The classical orchestra
   
4. Characteristics of Haydn's choral music
   
5. Structural patterns used in Haydn's late masses
   
6. Mass
   
7. Symphonic Mass
   
8. Homorhythmic
   
9. Heterophony
   
10. Fugato
    
11. Redundant entry
    
12. Secondary dominant

Bibliography

Grout - pp.476-497
Cambridge Music Guide - pp.230-242
Haydn - New Grove Biographies - Larsen
The Classical Style - Rosen
Haydn: Chronical and Works - Robbins Landon

Questions

1. Identify precisely the following:-
   1. a passage of heterophony
      
   2. a Ic V I cadence
      
   3. a tonic pedal
      
   4. a melodic sequence
      
   5. syncopation
      
   6. a descending sequence in the bass
      
   7. a melisma
      
   8. use of the cycle of fifths
      
   9. a secondary dominant
      
   10. a melodic appoggiatura
       
   
   
2. What is stretto? Identify 3 examples in this extract.
   
   
3. What is fugato? Identify the principal thematic figures of the fugal section of this extract and show how they are used.
   
   
4. Consider Haydn's setting of his text. How does the music underline the meaning of the text? By what means does Haydn generate excitement? Consider the use of harmony, tonality, rhythm, texture and the employment of forces in your answer.

 

 

Stylistic Features Rhythm

• Athleticism.
• Anacrusic, off-beat - very alert, jumpy.
• Dotted rhythms - martial and strong.
• Longer notes for emphasis - "Jesu", "Sancto Spiritu".
• Note the rushing semiquavers (b.9-12) and syncopation (b.13 + 17-18) in the violins, which underlines the joyful nature of the text.
• Firm rhythm for the Fugue Subject = very measured.
• The continuous quavers create a sense of firmness and strength in a very happy, joyous manner.
• The rhythm for "Amen" creates a sense of breathless excitement.
• The overlapping of different rhythmic patterns also builds excitement in contrast to the homorhythmic nature of the opening of this extract.
• Note the greater complexity of rhythmic patterns at the end, especially in the alto part - drawing out the cadence.
• Counterpoint of rhythm is very important.

Melody

• Largely diatonic.
• Strongly tonal.
• Note tonic insistence of "tu solus" (helps word paint).
• Sense of wonder and importance to underline "Jesu".
• Change of register for "Sancto Spiritu".
• "In Gloria" - triadic shape, sequential, motivic, short, all around tonic = strength.
• CS1 = motivic and sequential, patterned (more baroque) and chromatic (melodic richness). Also scalic.
• CS2 = sequential, motivic, bright and breathless.
• Accidentals offen move to sharp keys (b.36-37 - A maj.)
• Or are chromatic sharpenings which resolve upwards (e.g. D sharp b.13 soprano).
• This creates a bright effect - in keeping with the text.
• b.9-22, part one of the extract - the most important melody is in Vln.1 - florid.
• b.22-49 fugato - melodic interest is divided evenly - each voice doubled by strings - triadic and sequential subject.
• Notable modification of the subject in sop. b.40-41 - the triadic figure rises sequentially.
• All of the melodic material is derived from the subject and counter-subject.
• The opening displays periodic phrasing defined by cadences.
• Note the use of typical classical forms of melodic decoration:-
• Note the diatonic appoggiaturas b.10 + 11.
• Turn b. 11.
• Passing notes and auxiliary notes b.12.

Harmony

• Uses classical procedures.
• Simple diatonic progressions.
• Predominant use of tonic and dominant chords in all inversions.
• This simple diatonic harmony is enriched to be very interesting.
• Note the use of
• Chords of subdominant function are used more sparingly and are sometimes preceded by a secondary dominant. (b.9-10 and b.11-15)
• Tonic pedal b.15-21.
• In the fugato a wider range of chords is used and these are often associated with the cycle fifths - used to harmonise the sequential subject and counter subject.
• Haydn's harmony helps to convey a sense of strength.
• The rate of harmonic change is generally slow in the first part of this extract.
• The rate of harmonic change speeds up in the fugato creating more excitement.

Tonality

• Typically classical use of closely related keys.
• D maj. used until phrygian cadence in b min. b.31-32.
• A maj. b.36-37.
• b min. b.43
• Ends with a perfect cadence in G major.
• Movement to the dominant is very important
• Key is used for brightness of effect.

Texture

• This is a symphonic mass - therefore the chief focus of interest is in the orchestra.
• The first section displays bold homophony which helps to underline the conviction in the text.
• However, even here there is a contrapuntal tension between violin 1s' decorated melody and the angular bass part (with the other parts providing harmonic filling).
• The choral parts are obviously chordal.
• Note the soprano is a simplification of the violin 1s' melody - heterophony!
• Here the texture displays melody dominated homophony.
• "Cum Sancto" - here the slightly staggered parts give a smoother effect, more even, suitable for these words.
• Elaborate counterpoint of the fugato b.22... on a short, pithy, motivic subject.
• All elements (FS,CS,CS2) are clearly defined in character.
• The entries rise through the voices contributing to the sense of excitement.
• The texture constantly alternates between two-part counterpoint (e.g.b.37+38), three-part counterpoint (b.139-140) and four-part counterpoint (b.48-49).
• Haydn here displays intellectual fireworks!
• There is also a variety in voice groupings e.g. b.22-23 = basses and orchestral bass instruments, b.26-27 = lower three voices, b.33-34 = highest three voices.
• In the fugal exposition (b.22-31) each voice announces the subject (beginning on A) or the tonal answer (beginning on D) in turn.
• Each is accompanied by a regular counter subject.
• There is also a regular second counter subject, motivically related to previous material.
• Note the redundant entry in the bass b.30-31.
• At only two points (b.28 + 30) are all four voices heard together.
• The texture becomes busier and often thicker once the key changes and stretti begin (b.33+).
• Stretto helps to build excitement.
• In the final stretto (b.44-48) voices enter in quick succession - tenors following basses after only two beats, the altos 1 1/2 bars later, the sopranos after a bar and the tenors after another bar.

Timbre

• S.A.T.B. choir.
• Orchestra consisting of 2 clarino trumpets in D, timpani, strings and organ.
• This somewhat usual scoring suggests war.
• As a symphonic mass the orchestra is of prime importance. It bears the burden of the musical argument throughout all of the movements.
• In the first section of the extract the sopranos and first violins carry the melody.
• The sound is very homogenous.
• There is a different timbre (lower and darker) for "Cum Sancto Spiritu".
• The fuagal section it is more exciting using brighter, higher timbres as it goes on.
• The orchestral accompaniment is bright and adds additional excitement.
• In the fugue the orchestra doubles the voices for strength.
• Brass and percussion are used to reinforce cadences in b.9-15.

Structure

• The text of the Gloria divides into three sections, the outer parts being joyful acclamations and the central part a more prayerful plea for mercy.
• This structure is reflected in Haydn's tripartite musical structure. Haydn employs grand symphonic design, consisting of:-
  • a homophonic allegro
  • a bass aria-cum-slow movement
  • a concluding allegro, including an extended fugato.
  
  
• To give greater coherence Haydn recapitulates the music from the beginning of section 1 ("Gloria in excelsis Deo") at the start of section 3 ("Quonium Tu solus sanctus") - b.9-15 of our extract.
• Our extract is in 2 sections.
• The construction of the first part displays periodicity, with two bar units contributing to a sense of breathless excitement.
• There is also some asymmetry of phrase structure, which is typical of Haydn.
• The construction of the fugal exposition has a classical regularity about it.
• Form is underpinned by tonality.
• Notes is the dovetailing of sections, creating a sense of continuity.

A final note

• Haydn was criticised by some of his contemporaries for writing in a secular symphonic style for the church. His answer "every time I think of God my heart leaps up for joy". For him there was no clear distinction between his secular and sacred music.