| Joseph Haydn's late instrumental works are universally considered to be among the greatest achievements in Western music. His sonata forms, in particular, are characterized by development sections of unprecedented length and dramatic intensity. This study investigates the harmonic and linear structure of Haydn's late developments, based on analyses of approximately 70 sonata-form movements (mostly first movements) from symphonies, string quartets, piano sonatas, and piano trios written in 1787 or later.;Chapters 1-3 deal with various aspects of the late developments in all four genres, while Chapters 4 and 5 focus on four of the London symphonies. Chapter 1 begins with a survey of theoretical accounts of the development section from Koch to Schenker as well as C. P. E. Bach's discussion of the free fantasy. A typology of middleground plans provides a general frame of reference for the discussion of specific aspects of structure and design in subsequent chapters.;Chapter 2 deals with selected characteristics of later (more foreground) structural levels in Haydn's late developments, including many of the unpredictable harmonic techniques which are hallmarks of his style. Chapter 3 focuses on Haydn's important use of augmented sixth chords in developments. Two related issues stand out. One is that, very often, the chord to which an augmented sixth resolves has the potential to act as a dominant, but does not actually function as a dominant. The most prevalent such chord is III;The most striking harmonic patterns in Haydn's developments are those which deceive or keep the listener in suspense--whether by enharmonic means or through the avoidance of an expected cadence. These patterns almost invariably involve chromatic tones, which often have a motivic significance that relates the development to other parts of the movement, especially the slow introduction (in the symphonies) and the recapitulation.;Chapter 4 presents comprehensive analyses of the first movements of Symphonies Nos. 93, 100, and 102, with special attention to the developments and to aspects of structure, rhetoric, and motivic design. Chapter 5 focuses on cyclic integration in Symphony No. 103 ("Drum Roll"), particularly the way the development sections of the outer movements relate to each other and shape the four-movement cycle. The study concludes in Chapter 6 with a brief epilogue on the historical significance of Haydn's developments, especially in relation to the music of Mozart, Beethoven, and Schubert. |
