Minuet & Trio - Ternary form - Reflects the style of a French dance in triple

the most common minuet-trio-minuet metre Rounded binary form (AABB1)

form for the third III
movement of a A widely used word but it doesn't exist! It's a long-standing
symphony in the Menuetto Allegro error that arose from composers adding the ending of the
18th century Italian word 'minuetto' to the German term 'menuet' 1.
Flauto 1, 2
Section A
Oboe 1, 2
1st oboe and flutes double 1st violins at same octave
Clarinetto 1, 2
in A
zu 2 Melodic embellishment -
Fagotto 1, 2 reminiscent of first movement
Melody is split into two (bar 91)
clear 4-bar sections
Corno 1, 2 in D
Horns in D
Tromba 1, 2 in D
Trumpets in D
Use of timpani adds to the aristocratic formality of the dance
Timpani in D, A
Rising tonic triad Drumroll - measured semiquavers
Violino I
Chromatic auxiliary creates diminished chord
Violino II

Viola
Plagal cadence (IVc-I) Perfect cadence (V7-I)
Violoncello e
Contrabasso 8-bar phrase
Anacrusis
- upbeat Lighter scoring - only 2 of the 8 woodwinds play this time and only horns in brass - no trumpets
9

Fl.
Winds play a more legato version of the theme
1.
Ob.

Cor.
Timpani are also missing
Vln1

Vln2

Dynamics have dropped to provide contrast

Vla
Clear enforcement of the tonic pedal (D) Chord sequence is strongly reminiscent of
first movement (bar 32)
Vc+Cb

IVc I I IVc I IVb Ic II7b II7 V7 I

I 8-bar phrase is repeated here but p this time
Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio page 1
http://www.musedata.org/haydn/sym-104
 2007 Center for Computer Assisted Research in the Humanities (CCARH) 27 Nov 2007
 Section A hasn't modulated - against binary form convention - so a hasty modulation happens here
Section
16
B (a 2) KeyBchange
minorsignalled
(relative minor)
by appearance of A#s

Fl.
Close harmonies and then a resolution
Ob.

Cl.

Fag.
Use of hemiola
Cor.
Brass in 3rds
Tbe.

Timp
Same rhythm as in Section A
Vln1

Tonic triad in D major

Vln2 - same as opening
Rising tonic triad in a hemiola rhythm (B minor)
Vla
Triadic
Vc+Cb

A major (dominant)
dim7 ib dim7 i V i Vc. Bassi Backwards circle of 5ths
Perfect cadence 1. zu 2
25 to E major
Fl. (supertonic/secondary
1. dominant)
Ob.

Bb (minor 9th in A major) gives a minor tinge

Cl.
1.

Fag.

Tonic pedal (A major)/ dominant pedal (D major)

Cor.

Tbe.
Diminished chord (D#-F#-A) Pedal on A - ambiguous as to tonic/dominant
Timp
cresc.
G naturals - hinting at moving back to D major?
Vln1

Vln2
Exploitation of A major triad (plus the dominant 7th)
Vla
Triadic
Vc+Cb
Neapolitan 6th chord
Backwards circle of 5ths Diminished chord (D-F-G#)
(D-F-Bb) of A major
to A major (dominant) resolves onto the tonic
Haydn: Symphony No. 104 in D Major ("London"),
(A) H I:104. Mvmt. 3: Menuetto and Trio page 2
http://www.musedata.org/haydn/sym-104
 2007 Center for Computer Assisted Research in the Humanities (CCARH) 27 Nov 2007
 Minuet's opening is replayed - 8 bars - explains why it
D major (tonic) Trill is repeated here
wasn't repeated in the A section as is customary
- new material with
35 big leap
Fl.

Ob.

Cl.
zu 2

Fag.

zu 2
Cor.
Tonic pedal (D)
Tbe.

Timp

Vln1
Embellished and decorated version
Vln2

Vla

Vc+Cb
V7b
High note left hanging in the air G major
44

Fl.

Ob.

Cl.

zu 2
Fag.

Cor.
Use of silence again -
Tbe.
drama, impact, atmosphere
- Grand Pause
Timp

Melody based on original A section material

Vln1

Vln2

Vla

Vc+Cb

Coda I V7 V7 I V I V7 I
10 bars long which is longer
I
Emphatic perfect cadence to end the section
than the norm for a Minuet Section B is repeated
Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio
http://www.musedata.org/haydn/sym-104
before the Triopage 3
 2007 Center for Computer Assisted Research in the Humanities (CCARH) 27 Nov 2007
 Binary form
Simply, another minuet - name comes from the old practise if
Bb major this section being in a three part texture 6-bar phrases
A remote key Trio
52 1.
Ob.
New key's mediant - old key's tonic - feels 1.
Fag. like it might be in the tonic minor (D minor)
Unaccompanied passage to ease the key change Bassoon doubling first violins an octave lower
Vln1
pizz. Long lines of flowing quavers - less emphasis on the downbeat
Vln2
A light texture - no use of
clarinets, brass or timpani pizz Delicate pizzicato strings
Vla
pizz. New tonic chord is finally heard (Bb major)
Vc+Cb
Section A I V7c V7 I V7 I V7 I V7 I vi iib
63
1.

Fl. Oboes and flutes carry main melodic material

1. 2. 1st and 2nd oboes alternate
Ob.
i V7
New key signalled by Ab accidentals 1.
Mini-modulation
Fag.
C harmonic
minor
Vln1

Quavers now become a countermelody

Vln2
arco Bowed
Use of F#s signal a move to G minor arco
Vla
Section B - C minor - dominant minor of the dominant arco
Vc+Cb
Shift to F major V7 I V7
Section is repeated The F major chord confirms
(dominant key)
72
the return to the key of Bb
Fl.
major
Sense of polyrhythm - 6/8 in bassoon and 1st violins but 3/4 in strings
Ob.

Fag.
Use of C minor is only transitory
Vln1
pizz.
Vln2

pizz.
Vla

pizz.
Vc+Cb
I7 Bb major
Not a perfect cadence
due to the use of I7 Becoming the dominant again in C minor
Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio page 4
http://www.musedata.org/haydn/sym-104
 2007 Center for Computer Assisted Research in the Humanities (CCARH) 27 Nov 2007
 Use of tutti silence
1.
82

Fl.
Descending chromatic scale
1.
Ob.

Ascending sequence
Fag.

Vln1

arco
Vln2

arco
Vla

arco
Vc+Cb
IV iib
Additional section 1.to smooth the transition from Bb major back to D major
93 Trio tailpiece
Fl.
Littered with the rising 3rd idea that started off the trio

Ob.

zu 2

Fag.
A major chord -
dominant of D major

Vln1

Rising chromatic scale - 2 note motif developed

Vln2
Tonic pedal (Bb)

Vla
Tonic pedal (Bb)
Perfect cadence
Vc+Cb

Ic-V7 I Minuet to D.C. al Fine - the minuet should be repeated 'da capo' Men. D.C.
from the top until the word 'fine' is reached. The custom nowadays
is not to play the internal repeats on the second playing
Haydn: Symphony No. 104 in D Major ("London"), H I:104. Mvmt. 3: Menuetto and Trio page 5
http://www.musedata.org/haydn/sym-104
 2007 Center for Computer Assisted Research in the Humanities (CCARH) 27 Nov 2007