Path 01
Understanding sonata form
The form behind most first movements, heard six times, from a small sonata to a symphony.
Mozart → Haydn → Beethoven → Schubert
Listening paths · Path 02
Haydn in London
The last five of the twelve symphonies Haydn wrote for London audiences, 1794–95.
Haydn travelled to London twice, in 1791–92 and 1794–95, and wrote twelve symphonies for its concerts. These five come from the second visit. Each opens with a slow introduction, and each plays with what its audience expected to hear next.
HaydnSymphony No. 100 in G majorThe “Military”: triangle, cymbals and bass drum join in the second movement, and a trumpet call sounds near its end.
- HaydnSymphony No. 101 in D major
The “Clock”: in the second movement bassoons and plucked strings tick under the melody.
- HaydnSymphony No. 102 in B-flat major
No nickname of its own. The story of a chandelier that fell at a premiere without hurting anyone belongs to this work, but the name “Miracle” went to No. 96.
- HaydnSymphony No. 103 in E-flat major
It begins with a roll on the timpani alone, and the slow opening returns near the end of the first movement.
- HaydnSymphony No. 104 in D major
Haydn's last symphony. The finale's tune sits over a long held bass note, like a drone under a folk song.
More paths
See all →Path 03
Ten minutes or less
Short, complete works for a single sitting.
Mozart → Beethoven → Haydn → Ravel → Bach → Mendelssohn
Path 04
The string quartet, 1772 to 1917
Four players across a century and a half: Haydn shapes the conversation, Bartók breaks it open.
Haydn → Reger → Bartók