Symphony No. 62 (Haydn)
The first movement contains material which Haydn reworked from an earlier Sinfonia (Overtura) in D, Hob. Ia/7.
The slow movement has a barcarole-like accompaniment, but instead of the typical Venetian gondolier melody over the top, Haydn presents only melodic fragments, teasing the listener into thinking a melody is near always interrupting before one takes shape.
The finale opens piano with ambiguous tonality for the first six measures before the full tutti firmly establishes D major forte in the seventh bar. The finale proceeds in Italian style. The second theme group contains Lombard rhythms which are worked extensively in the development. The ambiguous tonality returns for the six measures of the recapitulation, this time accentuated by counterpoint, before D major returns and symphony drives towards its conclusion.
L.P. Burstein has noted Haydn's use of the VII♯ chord and the VII♯ → V progression in the fourth movement.
- Braunstein, Joseph (Winter 1965 – Winter 1966). "Joseph Haydn: Trumpet Concerto et al. (review of published scores)". Notes (Second Series). 22 (2): 974–975. JSTOR 895006.
- Brown, A. Peter, The Symphonic Repertoire (Volume 2) (Bloomington and London: Indiana University Press, 2002) (ISBN 025333487X), pp. 183–84.
- Rosen, Charles The Classical Style: Haydn, Mozart, Beethoven (New York: W. W. Norton, 1997), pp. 113–14.
- Burstein, L. Poundie (October 1998). "Surprising Returns: The VII♯ in Beethoven's Op. 18 No. 3, and Its Antecedents in Haydn". Music Analysis. Blackwell Publishing. 17 (3): 295–312. doi:10.2307/854418. JSTOR 854418.
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