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247:, of a C major symphony of Michael's, dated 19 February 1788. Here no doubt is possible: Ex. 8 And if this should still be thought an accident, there is the rhythmic motive, which appears at first in the horns: Ex. 9 or a counter-motive to the principal theme: Ex. 10 —further, the play of syncopation, the introduction of groups of rapid eighth-notes; the juxtaposition of all these motives."
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243:, translated to English by Arthur Mendel & Nathan Broder. Oxford: Oxford University Press (1945): 127 - 128. "And it is quite certain that we would not have possessed the finale of the 'Jupiter' Symphony in its particular form, in its contrapuntal texture, had it not been for the finale, entitled
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changes in store for the players: in the second movement, the first horn switches to horn in E while the second player switches to horn in D, "a clever use ... to increase the range of notes available on instruments without valves." Robbins Landon also points out that in the
Andante of this symphony
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2 (2003): 183. "Mozart's knowledge of another C major
Symphony of Michael Haydn, P.31/MH 478, finished on 19 February 1788, is more open to question. The sources do not indicate a Viennese distribution, though this does not rule out Mozart's access to the work through his sister Nannerl. In any
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for most of the work even though the cellos occasionally are independent of the bassoons and basses in the first movement. Close to the beginning of the third movement it becomes necessary to split the cellos and basses on to different staves as the cellos switch to
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The first movement is notable for its use of horns in G instead of the usual horns in C (compare Haydn's earlier C major symphonies and those of his brother Joseph), so that the horns can participate in the
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ranks among the convinced, because of comparisons of the music. As in the first movement, in the last movement the two horns again begin in G and switch to in C for the recapitulation.
189:, Michael Haydn considered continuo to be essential even for his most fully instrumented works. Yet only one recording of Symphony No. 39 uses harpsichord continuo, Pál Németh with
193:; the bass line for the figured bass realization is the bassoons' and not the celli's. Neither Johannes Goritzki nor Hans-Peter Frank have continuo in their recordings.
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which Mozart certainly studied. Unlike the "Jupiter" Symphony, in this symphony the fugal theme is at its first instance accompanied by its usual countersubject:
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230:, here using the diminished seventh harmony, and 3) ... the more general manner of combining sonata form functions with contrapuntal procedures."
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Robbins Landon speculates that Mozart also studied Haydn's No. 39 before writing his No. 41, since he "often requested his father
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The last movement is a vigorous fugato, something else this work has in common with Mozart's
Symphony No. 41 and Haydn's own
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event, three distinctive traits of this finale are replicated in K.551: 1) the dotted note fanfares, 2) a moment of
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to send him the latest fugue that Haydn had written." (Robbins Landon, 1967) Whether Mozart knew Haydn's later
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H. C. Robbins Landon, Foreword to score of
Sinfonia in C, Perger 31 Vienna: Doblinger K. G. (1967)
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C. Sherman, Foreword to score of
Sinfonia in F, Perger 30 Vienna: Doblinger K. G. (1988)
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Johann
Michael Haydn (1737 - 1806), a chronological thematic catalogue of his works
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Peter Brown, "Eighteenth-Century
Traditions and Mozart's "Jupiter" Symphony K.551"
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and double the violas, leaving the bass to the bassoons and basses.
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symphony has not been proven conclusively by historical means, but
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symphony he wrote, the sixth of his final set of six symphonies.
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of Haydn's uses the low C of the second trumpet, something
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for Verlag
Doblinger has the cellos and basses on the same
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107:of ii chords. The music begins straightaway with a
283:. Stuyvesant, New York: Pendragon Press (1993)
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8:
23:, Perger 31, Sherman 39, MH 478, written in
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279:Charles H. Sherman and T. Donley Thomas,
276:London: Garland Publishing (1982): lxviii
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272:C. Sherman, "Johann Michael Haydn" in
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647:Die Schuldigkeit des ersten Gebots
122:in the second violins and violas.
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147:also did later when he wrote his
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569:Missa in honorem Sanctae Ursulae
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241:Mozart: His Character, His Work
274:The Symphony: Salzburg, Part 2
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34:The symphony is scored for 2
732:Symphonies by Michael Haydn
575:Missa tempore Quadragesimae
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602:Serenade in D major, P. 87
156:Symphony No. 28 in C major
149:Symphony No. 41 in C major
21:Symphony No. 39 in C major
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74:The three movements are:
663:Symphony No. 37 (Mozart)
151:(also written in 1788).
737:Compositions in C major
145:Wolfgang Amadeus Mozart
118:, offset by half-beat
220:Journal of Musicology
27:in 1788, is the last
327:List of compositions
209:Robbins Landon, 1967
60:H. C. Robbins Landon
629:Klafsky-Verzeichnis
623:Perger-Verzeichnis
79:Allegro con spirit
742:1788 compositions
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558:Deutsches Hochamt
239:Alfred Einstein,
58:. The edition by
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586:St. Francis Mass
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114:and bass on the
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136:recapitulation
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105:harmonization
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653:Joseph Haydn
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97:Molto vivace
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120:syncopation
726:Categories
616:Catalogues
334:Symphonies
264:References
69:tenor clef
679:Category
134:For the
48:trumpets
40:bassoons
25:Salzburg
690:Portals
639:Related
581:Requiem
176:C major
172:Leopold
109:triadic
88:G major
84:Andante
56:strings
52:timpani
29:C major
631:(1925)
625:(1907)
550:Choral
245:Fugato
93:Fugato
716:Music
595:Other
197:Notes
140:crook
112:theme
86:, in
64:staff
44:horns
36:oboes
116:beat
54:and
46:, 2
42:, 2
38:, 2
19:'s
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310:e
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