Haydn: Symphony No. 101 in D Major, Second Movement

The section explores the composition Symphony No. 101 in D Major, Second Movement by Haydn.

Overview of Symphony No. 101 – "The Clock"

• Composer: Franz Joseph Haydn (1732-1809), a key figure in the Classical period.
• Composition: Symphony No. 101 was written in 1793 and completed in 1794. It is part of Haydn’s set of twelve symphonies composed for his second visit to London.
• Nickname: The second movement of this symphony gave the work its nickname, "The Clock", due to the prominent ‘tick-tock’ rhythm that runs throughout the movement.
• Context: Haydn was working under the patronage of the Esterházy family and had become internationally renowned by the time he composed Symphony No. 101. The work received great acclaim at its premiere and is considered a masterpiece in Haydn's symphonic output.

Musical Description of the Second Movement

Form and Structure

• The second movement of Symphony No. 101 is in theme and variations form, a common structure in Classical music. It begins with the main theme and then varies it in different ways throughout the movement.
• The movement consists of two sections (A and B), with the theme being explored and altered in multiple ways as the movement progresses.

Melody

• Theme A is characterised by the ‘tick-tock’ rhythm, which gives the movement its nickname. This rhythm is created using staccato bassoons (fagotti) and pizzicato strings. It provides a steady and repetitive accompaniment throughout the movement.
• The main melody is played by the 1st violins, and it contrasts with the ‘tick-tock’ accompaniment. The melody itself is simple and elegant, reflecting the balanced nature of Classical music.

Tonality and Harmony

• The movement is primarily in G major, with occasional modulations to other keys.
  • Section A1 begins in G major, with a dominant pedal on D played by the oboe in bar 7.
  • In section B, the tonality changes dramatically to G minor, creating a contrast in mood.
  • As the movement progresses, the tonality modulates through various keys, including B♭ major, D major, and E♭ major. This shifting of keys adds complexity and interest to the movement.
  • Dissonant harmony is introduced with a diminished chord in bar 48, beat 2, adding tension before resolving to more stable chords.

Texture

• The texture is mainly melody and accompaniment, with the main melody played over a constant rhythmic accompaniment in the lower strings and bassoons.
  • There are moments of unison texture (where instruments play the same notes), such as between bars 21 and 23.
  • Antiphonal writing occurs between the 1st violin, 2nd violin, and viola from bar 42, where these instruments alternate playing the melody.
  • Monophonic texture (one melody without accompaniment) is heard in bars 63-64 and again in Section A2.
  • The movement ends with homophonic texture (melody and accompaniment) in the final three chords.

Dynamics and Articulation

• Haydn uses a wide range of dynamics to create contrast and drama within the movement:
  • The dynamic starts piano (p) in Theme A and alternates between piano (p) and forte (f) in Theme B, which adds variety and excitement.
  • When Theme A returns at bar 26, the dynamic softens to pianissimo (pp), creating a delicate effect.
  • Section B begins at bar 36 with a sudden forte (f) dynamic, and the tutti (full orchestra) is heard for the first time.
  • There is a striking contrast in dynamics, with sforzando (sf) accents heard at bars 50-51, and the dynamic gradually softens through the movement.
  • A sudden shift from pianissimo (pp) to fortissimo (ff) between bars 136-137 adds drama before ending the movement with pianissimo (pp).

Instrumentation

• Haydn employs a typical Classical orchestra for this symphony, consisting of:
  • Woodwind: Two flutes, two oboes, two clarinets.
  • Brass: Two French horns, two trumpets.
  • Percussion: Timpani.
  • Strings: First and second violins, violas, cellos, double basses.
• The ‘tick-tock’ theme is initially played by the bassoon, second violins, cellos, and double basses, using staccato articulation, while the first violins play the main theme.
• No brass or percussion are used until Section B, where the full orchestra plays together (tutti) for the first time. This change adds dramatic effect, contrasting with the previous lighter sections.

Impact of Haydn’s Music

• Franz Joseph Haydn is known as the ‘father of the symphony’, having established many conventions of the symphonic form during his lifetime.
• Symphony No. 101, with its unique use of the ‘tick-tock’ rhythm and inventive orchestration, showcases Haydn’s mastery of form, harmony, and dynamics.
• The symphony also illustrates Haydn’s ability to balance complexity and clarity, a hallmark of the Classical style. His music was both accessible and sophisticated, making it popular with both aristocratic patrons and the growing middle-class audience.
• The second movement, in particular, demonstrates Haydn’s skill in creating a musical narrative through the use of a simple, repeated motif, while also experimenting with contrasting moods and tonalities.

Summary

The second movement of Haydn’s Symphony No. 101, known as "The Clock", features the iconic ‘tick-tock’ rhythm, which is built into the movement’s melody and accompaniment. Through his use of dynamics, articulation, and tonal shifts, Haydn creates a balance of simplicity and complexity that is characteristic of Classical music. The movement’s contrasts in texture and dramatic shifts in tonality showcase Haydn’s ability to manipulate musical elements to evoke both light-hearted and dramatic effects.