Symphony No. 51 (Haydn)
Sometimes described as "a concertante piece featuring the two horns, which are given parts of staggering difficulty." The second, slow, movement contains high notes for the first horn (including a notated F6 which is considered the highest note ever written for the horn) and very low notes for the second horn. Heartz has noted the character of the fourth movement as reminiscent of the French rondeau. The first contrasting section is an oboe solo in E♭ major and the second contrasting section is fortissimo and in G minor. The scherzo movement actually contains an even higher note for the first horn—a concert high B♭6[clarification needed] (the second movement contains a concert high A♭6, i.e. the previously discussed notated F6).[clarification needed] CORRECTION: The highest horn note in the second movement is a written F6 for horn in Eflat. That sounds as concert Aflat5, not 6. The highest horn note in the scherzo is a written C6 for horn in Bflat alto. That sounds as concert Bflat5, not 6. The latter is the highest horn note in the standard orchestral repertoire.
- James Webster & Georg Feder, The New Grove Haydn. New York: Macmillan (2002): 64. Haydn's symphonies of the years around 1770 ... are widely described as exemplifying his Sturm und Drang style; those of 1773–4 (nos.50, 51, 54–7, 60, 64), while less extreme, have many points of contact with it."
- Daniel Heartz, Haydn, Mozart, and the Viennese School, 1740–1780. W.W. Norton & Company (ISBN 0393965333), pp. 363-364 (1995).
- Antony Hodgson, The Music of Joseph Haydn: The Symphonies. London: The Tantivy Press (1976): 78
- H. C. Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976– ) v. 2, Haydn at Eszterhaza, 1766–1790.[page needed].
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