A comparison of Haydn and Beethoven Essay

Franz Josef Haydn and Ludwig van van van van Beethoven atomic number 18 two of the greatest classical composers in the history of music, rivaled solitary(prenominal) by the masterful Wolfgang Amadeus Moz blind. Beethoven, who was much younger than Haydn, moved to Vienna when he was young to study under Haydn. However, delinquent to Haydns increasing age, and Beethovens increasing temper, the lessons further lasted for a little over a year. The lessons, if only for a short period, clearly left a define on Beethoven, as can be seen in his compositions. Make no mistake, however,Haydn and Beethoven were non carbon copies of virtuoso another. When study compositions of the two composers, that is to say Haydns unison No. 95 in C kid and Beethovens philharmonic No. 5, the two composers differ in various areas, including stimulate, theme, tonality, orchestral structure, and the overall effect their work had on the audience. The only way to truly meet the similarities of these tw o legendary composers is to delve into their music, comparing them exertion-by- causa of the two aforementi integrityd fragments. Only then will we truly understand what makes Haydn and Beethoven so similar, yet so different.The number one safari of twain pieces start out in their own special way. Haydns piece starts out loudly with a quick timpani strike come with by the strings, followed by an almost somber sounding melody in C-minor. The blink of an eye theme of Haydns first campaign is much to a greater extent cheerful sounding as it is in C-major(ip). After the exposition is finished, Haydn goes through and through an eventful developmental period followed by recapitulation. Beethovens first driving force starts out with the infamous short-short-short-long, which is then repeated. This becomes the motive of Beethovens piece, which can found intertwined end-to-end the entire piece.The intertwining of this single motive creates a consistency throughout the entire unis on making all foursome movements feel as one. Although Beethoven may have not designedly tried to do this, as it was never in reality done before, it really gives the symphony a special sound as a whole, something that Haydns symphony no. 95 lacked. Beethovens first movement is sonata form, something that he inherited from Haydn, and starts out in C-minor, just as symphony no. 95 does. The first theme of Symphony no. 5 is made up of imitations and sequences of those first 4 bars, which give off a tense, conflicted feel. The mho theme ofBeethovens first movement is much much lyrical than the first theme. Here Beethoven completely changes keys to E-flat, rather than exclusively switching to a major tonality like Haydn does.In the support movement, however, Haydn starts out in E-flat major. The second movement, as per usual, is a much dilatory piece to contrast the strong, fast, first piece. Haydn uses a series of variations in this movement to keep the audience attentive, swi tching between major and minor tonalities from beat to time. The amount of variation in this second movement is extensive, and really adds a lot to the movement. Beethovens second movement is in A-flat major and opens with two themes being presented, which are then varied in alternations. The second theme of this movement incorporates a harmony that features the clarinets, which are present due to Beethovens expansion of the orchestra over Haydn. Other instruments that Beethoven uses that Haydn does not in these symphonies are the piccolo, contrabassoon, and trumpets.By expanding his orchestra, Beethoven is able to create a larger, more diverse sound than Haydn is able to do. Beethovens second movement includes a 3rd theme that has thirty-second notes play by the strings with a counter phrase being vie in the winds simultaneously, and the movement ends loudly in fortissimo, with many crescendos. Although these two composers first movements were middling similar in form and style, it is clear in the second movement that were starting to see the similarities morph into differences between the two composers, which continues into the third movement.Haydns third movement follows the prototypical minuet, trio, minuet form. However, this is a stylized dance piece, rather than an actual dance piece due to Haydn get toing in little twists that would throw off any attempted ballroom dance. The minuet returns to the original tonality of C-minor, spot the trio switches to C-major.The trio form consists completely of even eighth notes played by a solo cello, which Haydn included to satisfy his audience in London. Beethoven does something very different in his third movement, as he forgoes the typical minuet-trio-minuet form for the scherzo-trio-scherzo form. Scherzo, which translates to joke in Italian, is derived from the minuet. The main difference is that scherzo form is played much more playfully and somewhat humorously, like a joke. Beethoven, like Haydn, returns to the starting tonality of C-minor for this movement. At the end, the short-short-short-long motive from the beginning of the symphony returns, and begins to take over the piece as it moves directly into the fourth movement without any hesitation.The fourth movements of these two symphonies also differ in form, as Haydn chooses to go with a rondo form while Beethoven chooses a variation of the sonata form. Haydns rondo form allows the music to transition attractively into the finale. Haydns finale consists of loud, furious music including brass fanfares that is starkly different than a normal classical finale. Beethovens fourth movement is a fast, unusual sonata that begins immediately following the third movement. His finale is played in C-major, and consists of 29 bars of chords played in fortissimo. These chords allow Beethoven to conclude the symphony by ending the tension that has been furiously create throughout the entire piece. Beethovens incredible finale, as with Haydn s, are perfect endings to these two monumental symphonies that surely leave a fixed effect on their respective audiences.As can be seen throughout Haydns symphony no. 95 and Beethovens symphony no. 5, the two composers were very similar, yet very different from one another. Beethoven uses a lot of what he learned from his time with Haydn, precisely is able to expand on those ideals and create something of his own being. His ideals, however, are exhaustively built off of the foundations that Haydn paved for him, which is a benefit from being the scholar rather than the teacher. Even through all of the differences in the two symphonies, such(prenominal) as Beethovens expansion of his orchestra or Haydns refusal to straggle form minuet form in the third movement, these two composers share one main thing in common, and that is their ability to create beautiful pieces of art that wont be soon forgotten in the minds, and the hearts, of their listeners.