2. Jokes As Art: The Music of Franz Josef Haydn

3. Franz Josef Haydn

4. How can music express humor? How can music be intelligible w/o recourse to words? w/o recourse to words?

5. I.Making Music Intelligible II: Jokes as Art Jokes as Art A. Juxtapose incongruous/contradictory elements B. Establish expected frame of reference, then step outside “frame” C. Violate norms of genre D. Elements reversed or switched E. Displace or replace an element F. BIG IDEA: Absolute music (like jokes) becomes expressive by manipulating conventions

6. II. Haydn’s Biography A. Franz Josef Haydn, b. 1732 B. Esterhazy = Haydn’s chief patrons

7. Esterhaza, Palace of the Esterhazy

9. II. Haydn’s Biography A. Franz Josef Haydn, b. 1732 B. Esterhazy = Haydn’s chief patrons D. 1790s, London Tours; London Symphonies E. Significant Instrumental Works: Symphonies (last 12 = London Symphonies) String Quartets C. Dedications from Mozart; Teaches Beethoven F. Significant Vocal Works: Oratorios = The Seasons & The Creation influenced by Handel’s oratorios

10. III. Haydn Symphony #88 and Conventions of Classical Symphonies A. From Sinfonia to Symphony B. First Movement Conventions C. Second Movements D. Third Movements

11. AB A ||: a :||: b a’ :|| ||: c :||: d c’ :|| | a | b a’ | a a b a’ b a’c c d c’ d c’ a b a’ Minuet & Trio Forms: Haydn Surprise Symph., 3rd Mvmt. (CD 2/7) and Mozart, A Little Night Music, 3rd Mvmt. (2/6) Minuet form=rounded binary within ABA Minuet TrioMinuet Repeated (actually another minuet)

12. III. Haydn Symphony #88 and Conventions of Classical Symphonies A. From Sinfonia to Symphony B. First Movement Conventions C. Second Movements D. Third Movements E. Fourth Movements

13. IV. Haydn Symphony #88, finale B. Opening Theme (A) = Rounded Binary A = |: a :||: b a’ :| A. Surprise Return=Favorite Technique of Haydn b actually = a inverted C. Haydn often works with short motives...... a b

14. IV. Haydn Symphony #88, finale D. Overall form of movement = Rondo A tr B tr A ’ tr C tr A + Coda |: a :||: b a’ :| B= theme A in new key Dominant (V) a b a’ Counterpoint/ Imitation based on a’ a b a’ 567?567? Haydn often uses 1st theme again where you’d expect 2nd theme