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86:, i. e. a palindrome, though not one specially composed for the occasion, as it first appears in G major in Haydn’s 1772 symphony no. 47 (Hob. I:47), and in the following year in A major as the minuet of his keyboard sonata in that key (Hob. XVI:26), where the trio is also a palindrome. The "Oxford" nickname stuck, though the symphony had actually been written in 1789 for performance in
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101:, himself a graduate of University College and an Oxford doctor of music, who suggested that the degree should be conferred on Haydn and who made all the arrangements. As the composer had arrived from London later than expected, he had to conduct a symphony already familiar to the Oxford musicians, who were to play it at sight.
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section, Haydn borrows themes from the exposition, then “develops” and embellishes them. He adds sections of subject change and digression from the original theme as well as moments of rest or silence. These qualities of the development are all very characteristic of Haydn. Furthermore, he draws upon
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The second movement is in ternary form with a slow and song-like melody. Haydn, however, uses an unusual construction in this movement by adding an intense middle section in minor. This minor interlude is based on a motive from the opening section. A shortened return of the major section precedes a
237:
form with a minuet and trio. Both the minuet and trio are in binary form with repeats. In order to create a more entertaining movement for the listener, Haydn composes the minuet with phrases of six measures as opposed to the normal four-measure phrase and adds syncopations and stops. All of these
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in this movement by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major, modulates through to the parallel minor, and prolongs the German sixth chord (Gr) in G
246:
Haydn’s final movement of the Oxford
Symphony is centered on a feeling of tension and release. In order to convey this quality to the listener, Haydn wrote this sonata form movement slightly faster and shorter than the first movement of the symphony to create a climactic ending. The frequent
189:. This is very unusual of symphonies of the time, and it reflects an aspect of Haydn’s unique compositional style. Because the rest of the Oxford will reflect many of the ideas presented in this first theme, this symphony has been termed monothematic.
104:
As Haydn had agreed to conduct three concerts in Oxford in connection with receiving his degree, a rehearsal was scheduled for the second morning, and the same evening the symphony we now know as the
112:'s concerts in London. (Salomon was the impresario who had commissioned the composition of Haydn's twelve "London" Symphonies, of which however only the last is called by German-speakers
82:. A candidate for this doctorate was required to present a specimen of his skill in composition, and that presented by Haydn was not as is sometimes said this symphony, but a minuet
203:. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the tonic key through the closing of the first movement. In the
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The symphony is called the "Oxford" because Haydn is said to have conducted it at the conclusion of a ceremony in 1791 in which the degree of
90:. The degree was conferred fairly soon after Haydn’s first arrival in England, and as he had not by then finished composing any of the
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J. Peter
Burkholder, Claude V. Palisca, "Norton Anthology of Western Music Volume 2: Classic to Twentieth Century," p. 111-175.
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196:, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, but in the
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which he ultimately wrote for
England, he brought to the Oxford ceremony his most recently completed example in the form.
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J. Peter
Burkholder, Donald J. Grout, Claude V. Palisca, "A History of Western Music Seventh Edition," p. 536-538.
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chromatic inflections in the melodic line, as well as the use of woodwind and brass colour, are reminiscent of
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Haydn's appearance at Oxford is evidence of the international success he attained in his late fifties. It was
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Anthology of Western Music, Volume 2: Classic to Twentieth Century, Burkholder & Palisca, pg. 174
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257:. The symphony, which began with three slow, soft G major chords ends with three loud, emphatic ones.
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qualities were found to be humorous by the audiences of Haydn’s time because they were so unusual.
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The opening theme of the first movement, as commenced by the first violins from measures 21 to 30.
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was played to the same acclaim it had previously enjoyed at
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Joseph Haydn: Critical
Edition of the Complete Symphonies
348:(Oxford and New York: Oxford University Press, 1995).
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225:section of the movement that features the winds.
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38:. Instrumentation for the symphony is:
30:, Hoboken I/92, popularly known as the
289:(Volume 2). Indiana University Press (
253:, and seem to foreshadow the style of
233:Haydn composes the third movement in
7:
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192:Following the first theme is the
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1:
328:Robbins Landon, H. C. (1963)
208:the older style of intricate
332:, Universal Edition, Vienna
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1157:Symphonies by Joseph Haydn
267:List of symphonies by name
92:twelve "London" symphonies
287:The Symphonic Repertoire
78:was conferred on him by
1162:Compositions in G major
16:Haydn's Oxford Symphony
297:), pp. 232-233 (2002).
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114:die Londoner Symphonie
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110:Johann Peter Salomon
963:(In nomine Domini)
833:(Tempora mutantur)
765:(The Schoolmaster)
342:Steinberg, Michael
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1167:1789 compositions
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1032:London symphonies
285:Brown, A. Peter,
216:of the symphony.
80:Oxford University
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212:to enhance the
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214:galant style
210:counterpoint
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36:Count d'Ogny
31:
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20:Joseph Haydn
18:
884:(La chasse)
250:opera buffa
205:development
175:sonata form
84:al rovescio
1151:Categories
1105:(Drumroll)
1084:(Military)
1048:(Surprise)
971:(La Reine)
947:(The Bear)
700:(Farewell)
599:(Alleluia)
450:(Le matin)
391:Symphonies
323:References
295:025333487X
194:transition
150:Allegretto
70:Background
1061:(Miracle)
955:(The Hen)
684:(Mercury)
466:(Le soir)
458:(Le midi)
182:but on a
141:cantabile
133:spiritoso
120:Movements
1113:(London)
1020:(Oxford)
861:(Laudon)
692:(Trauer)
261:See also
198:dominant
146:Menuetto
56:trumpets
48:bassoons
1092:(Clock)
255:Rossini
130:Allegro
64:strings
60:timpani
28:G major
1127:Portal
788:(Fire)
645:(Echo)
352:
293:
155:Presto
138:Adagio
126:Adagio
106:Oxford
62:, and
991:88–92
806:61–81
665:41–60
536:21–40
273:Notes
187:chord
180:tonic
88:Paris
52:horns
44:oboes
40:flute
1111:104
1103:103
1090:101
1082:100
406:A–20
350:ISBN
291:ISBN
54:, 2
50:, 2
46:, 2
42:, 2
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393:by
235:ABA
201:key
116:.)
26:in
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344:,
148::
128:-
66:.
58:,
1129::
472:9
443:5
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428:2
423:1
418:B
413:A
383:e
376:t
369:v
356:.
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