Matthew Riley

The Viennese minor-key symphony in the age of Haydn and Mozart

Acknowledgements Tables, figures and music examples 1 The Viennese minor-key symphony 2 Imperial court composers: Wagenseil, Gassmann, Ordonez 3 Va?hal to 1771: five first movements 4. Two subgeneric conventions: the contrapuntal minuet, the stormy finale 5. Studies in Haydns minor-key symphonies 1763-1772 6. Va?hals new paths: four later symphonies 7. Modal reversal and characteristic symphonies 8. Mozart and the minor-key symphony Glossary of analytical terms Appendix 1 Thematic catalogues consulted for the information in Table 1.1 Appendix 2 Sources of the symphonies used for analysis CD recordings Bibliography Index

HERMENEUTICS AND THE NEW FORMENLEHRE : AN INTERPRETATION OF HAYDN'S ‘OXFORD’ SYMPHONY, FIRST MOVEMENT

This article establishes a dialogue between twenty-first-century music theory and historical modes of enquiry, adapting the new Formenlehre (Caplin, Hepokoski/Darcy) to serve a historically oriented hermeneutics. An analytical case study of the first movement of Haydns Symphony No. 92 (1789) traces the changing functional meanings of the opening ‘caesura prolongation phrase’. The substance of the exposition consists largely of things functionally ‘before-the-beginning’ and ‘after-the-end’, while the recapitulation follows a logic of suspense and surprise, keeping the listener continually guessing. The analysis calls into question Hepokoski and Darcys restriction of the mode of signification of sonata-form movements to the narration of human action. The primary mode of signification of the recapitulation is indexical: it stands as the effect of a human cause. This account matches late eighteenth-century concepts of ‘genius’.

The Sonata Principle Reformulated for Haydn Post-1770 and a Typology of his Recapitulatory Strategies

ABSTRACT Haydns ‘recomposition’ of the recapitulation is well known, but this article proposes, against received wisdom, that Haydn composed as though following a rule in the recapitulations of fast sonata-form movements from the 1770s onwards. The article extends William E. Caplins functional theory to the Haydn recapitulation in order to revive the ‘sonata principle’, restated and limited to fast movements in Haydns instrumental cycles. It then lays out a typology of Haydns recapitulatory strategies that unfold within the constraints of the sonata principle.