Talk:Symphony No. 75 (Haydn)

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Grave[edit]

The "serious indication" line was a paraphrase of what AP Brown wrote in his book: "The slow introduction to the first movement is headed by Haydn's most serious affective indication: Grave." At the time I was editing several of these symphony articles and looking for random tidbits to distinguish all the symphonies from each other. I think its his only use of "Grave" in all his major works (I hesitate to say "only" but I can't find another). Its not a big deal that another editor removed that note, but thought I'd add a note on the talk page explaining why I added it in the first place.DavidRF (talk) 00:56, 31 May 2012 (UTC)[reply]

In the discussion of I, "the second theme is omitted" certainly, but as Rosen in particular makes clear in "The Classical Style", in its place something else, quite original, happens. From two bars after cue 133(Landon edition,1966 Philharmonia 596 p 66) Haydn begins a long descending canonic cadential development of the first theme of the Presto over what he suggests is a dominant pedal which after 20 bars (including one narrow escape) finally resolves on the tonic D, four bars from the end of the movement. Rosen notes the two passages"otherwise so unlike,have the same harmonic elements, their shapes emphasising the same dissonances". Haydn obviously had no idea of how the textbooks thought he ought to proceed in recapitulating a second subject in the tonic, and developed a coda instead. Rosen again: "Its more explicit reference to the opening theme rounds off the form more strikingly". This is the kind of thing which makes these symphonies differ from one another, whatever the books say.Delahays (talk) 23:17, 1 May 2020 (UTC)[reply]

As a footnote, it's also surely the case that the melodic half-step mentioned in I also crops up in the trio of the minuet and 6 bars after 148 on the penultimate page of the finale.Delahays (talk) 23:35, 1 May 2020 (UTC)[reply]