22009042
Symphony No. 44 (Trauer)
22009042
22009042
22009042
Copyright Material for Preview Only - Sheet Music Plus
Piano solo
SKU: HH.HH508-SOL
Composed by Franz Joseph Haydn. Edited by Sarah Jenner. Arranged by C.D. Stegmann. Classical. Playing score. Duration c.24:00. Edition HH Music Publishers #HH508-SOL. Published by Edition HH Music Publishers (HH.HH508-SOL).
ISBN 9790708185185. 8.27 x 11.69 inches.
Symphony No. 44 is one of a number of Haydn’s middle period works often regarded as representing the so-called Sturm und Drang (‘Storm and Stress’) style of melodramatic realism taken over from contemporary German literary and dramatic models. The symphony is monotonal – each movement being in the same key, with contrast provided by excursions into the tonic major. Contrapuntal writing pervades the whole work; the second movement, unusually, is a minuet and is a strict double canon at one bar’s interval (‘Canone in Diapason’ is Haydn’s term) which itself is contrasted by the lyrical Trio section in the tonic major. The third movement, an Adagio in the tonic major, prompted the symphony’s long-adopted soubriquet, ‘Trauer’ (‘Mourning’) as it was said to have been requested by the composer himself to be played at his own funeral.2 The monothematic contrapuntal Finale reverts to the tense emotional level of the opening Allegro.
Piano solo
SKU: HH.HH508-SOL
Composed by Franz Joseph Haydn. Edited by Sarah Jenner. Arranged by C.D. Stegmann. Classical. Playing score. Duration c.24:00. Edition HH Music Publishers #HH508-SOL. Published by Edition HH Music Publishers (HH.HH508-SOL).
ISBN 9790708185185. 8.27 x 11.69 inches.
Symphony No. 44 is one of a number of Haydn’s middle period works often regarded as representing the so-called Sturm und Drang (‘Storm and Stress’) style of melodramatic realism taken over from contemporary German literary and dramatic models. The symphony is monotonal – each movement being in the same key, with contrast provided by excursions into the tonic major. Contrapuntal writing pervades the whole work; the second movement, unusually, is a minuet and is a strict double canon at one bar’s interval (‘Canone in Diapason’ is Haydn’s term) which itself is contrasted by the lyrical Trio section in the tonic major. The third movement, an Adagio in the tonic major, prompted the symphony’s long-adopted soubriquet, ‘Trauer’ (‘Mourning’) as it was said to have been requested by the composer himself to be played at his own funeral.2 The monothematic contrapuntal Finale reverts to the tense emotional level of the opening Allegro.
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