Understanding Haydn's Style

Students learning Haydn must first understand the style of Haydn as a composer. While they may vaguely understand that he was a figure from the past, many students do not know his actual position in music history, so we begin there. In this case, while it is certainly fine to explain music history in detail, the crucial point is to explain what kind of music Haydn's music is.

Key Elements of Haydn's Music

• Optimism: First, his optimism. This is crucial. There is no serious mood whatsoever; Haydn's music is simply bright and joyful.
• Instrumental Background: Explain that instrumental music, particularly string quartets, was in the background. Many students do not know what a string quartet is. Have them learn the instruments, and actually show them a performance of a string quartet on a tablet or PC during the lesson. This will help students grasp the idea. Then, at key points in the piece, teach them that this is a violin bowing, and therefore it should be played short and light, staccato.
• Symphonic Master: Haydn is also a master of the symphony. Also teach them that an orchestra was in the background.
• Humor: Explain that Haydn's music is full of humor, as if gentlemen in wigs at court were telling elegant jokes (this is very important).

Detailed Analysis of the Piece

Let's look at the opening 8 measures. The phrase D E F# A G F# E in measure 3 is one of the motives of this first movement. It also appears in measure 5, and explain that measure 6 is even more emphasized than measures 3 and 5 (with a nuance like saying the same words more strongly).

Then, a sudden octave forte appears in measure 9. This is Haydn's favorite style of surprising people. Since it descends as G F# E D C B, play it similarly, in octaves. While it would be fine to descend as E D C B A G, it now changes into light, fast triplets as it descends. This area is also full of Haydn's characteristic surprise and humor.

Measures 12-16 are a variation of measures 1-4. The second beat of measure 21 has the same notes as the second beat of measure 3, but the rhythm is twisted. This is also characteristic of Haydn.

The peak point of the exposition is measures 43-51. It is the peak of joy. There are many sequences before reaching this point, so add variations to prevent the music from becoming flat.

In measure 58, the development section begins; let's consider up to measure 73 as one section. Indeed, the same melodic shape appears repeatedly. Add variations to each of these units as well. Also consider harmony, and give more volume to chords with strong impact (for example, measure 71 is an Italian Sixth chord. Since it is a dramatic chord, give it more volume).

As for the concept of the development section, imagine a slight panic occurring on an opera stage. It is a section where various lines and emotions intertwine. However, this is still the Classical era, so it quickly returns to an optimistic scene (from measure 87, the recapitulation). Always play it joyfully and with plenty of humor.