The Appreciation of Music - Vol. I (of 3) — Part 67-Cedar Herald Index

Among the most important advances made by Haydn over the practice of his predecessor, as we saw it illustrated in the last chapter, were (1) the greater importance and individuality given to the second theme[26]; (2) the abolishment of merely rhapsodical passages, and the substitution of successions of chords marking off unmistakably the various sections of the movement; (3) increased definition at the end of the exposition section, in the "codetta," which, in some instances, even has a definite theme or themes of its own, called conclusion-themes; (4) greater clearness in the key-system of the whole movement, according to the principle of Duality-Plurality-Unity already discussed; (5) increased importance and extent of the coda, which sometimes grows to the proportions of a fourth section to the movement; (6) use of an introduction, generally in slow time and of a stately character, preparing the mind for serious attention. It will be noted that all these advances are in the direction of making the form more definite, clear-cut, and readily intelligible, as it was most important that it should be made in its early existence until it was perfectly familiar to the audience. Increased _variety_ came later, in the work of Mozart and Beethoven, and could come only after the typical structure was thoroughly understood by the public. Thus Haydn's function was that of a systematizer, an establisher of sure foundations on which more elaborate and free superstructures may later be built; and for this work his clear, simple, well-disciplined mind and his thorough rather than brilliant artistic technique admirably fitted him.

These points will be made clear by an analysis of an example of sonata-form, taken from the "Surprise" Symphony which he wrote for London audiences in 1791, toward the close of his career.

The Appreciation of Music - Vol. I (of 3) — Part 67