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Joseph Haydn (1732-1809) was an Austrian composer renowned for writing in the genre of a symphony (large-scale piece of music for orchestra, made up of 3-4 pieces known as movements). Haydn composed 100+ symphonies during his lifetime, including 12 spread across two visits to London. 'The Clock' Symphony is from the first of the two sets of six symphonies.

Haydn was first and foremost a court composer. In a time before public concerts, composers and musicians were often employed by members of the nobility; Lords, Dukes, Viscounts, Princes and others who could afford to pay for a private orchestra and composer to supply music for their court. Haydn worked for the head of the Esterhazy family. They would take Haydn and his orchestra away on trips and host parties with the music written by Haydn being used to entertain the guests. After a considerable amount of time in service, Haydn was allowed to go and produce music for the masses and sell his work to members of the paying public. He was also offered commissions by people such as Johann Peter Solomon, who invited the now-famous Haydn to London, which is where 'The Clock' symphony was composed.

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- Four-bar balanced phrases. Feature of melody. Four bars of melody ending on the dominant is then answered by four bars ending on the tonic. These can be described as an antecedent phrase lasting 4 bars, followed by a consequent phrase, also lasting 4 bars. Together, the 8 bars make a sentence.

- Diatonic harmony. The notes of the melody fit to the chords used. Chord progressions are typical of the Classical period.
- This movement is the second of four. Traditionally the second movement is slow (the tempo marking is andante; at a walking pace). This fits the idea of a ticking clock.

- The melody is developed. After the original melody is heard at the beginning of the piece, notes are added/rhythms and pitches are changed (compare bars 4-5 with bars 8-9).

- There is a general pause in bar 99. This appears in the A2 section after the reprise of the main theme in the key of G major. After the general pause, the music modulates to E flat major, without warning. This is a sudden change which is unexpected and unusual. It is also the reason why the form of the movement is extended ternary form.

Dynamics
It was common for composers to use terraced dynamics, as the use of crescendos and diminuendos to gradually increase/decrease the volume was not widely used until the Romantic period. Terraced dynamics refer to the sudden change in dynamics from forte to piano, and visa versa.

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The 'ticking clock' motif, found in the second movement, is the musical idea which gives the symphony its nickname.

Like a 'ticking clock', the motif is presented in several instruments (first the bassoons, doubled by the second violins and cellos, play the motif). The notes of the motif oscillate between two notes, a major 3rd apart.

The string instruments play the motif using pizzicato (plucking the string) whilst the woodwind instruments (first the bassoon then latterly the flute) play the motif with staccato dots (making the notes short and sharp).

These techniques are used to present the motif in the style of a ticking clock.

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The main theme of the movement is presented first in the first violins. They enter in the second bar.

The melody consists of two types of rhythm; a dotted rhythm (a note with a single dot followed by a note half the length of the first) and a double-dotted rhythm (a note with two dots followed by a note a quarter of the length of the first).

The melody also includes acciaccaturas (short grace notes which decorate the melody). The melody is mainly conjunct (the melody moves between notes by step). Haydn uses ornamentation to decorate the melody to make it more interesting.

The woodwind (oboe and flute) double the melody played by the first violins. The 2nd violins also double the melody in parts.

There are two themes. The first theme (bars 2-11) and the second theme (bars 12-24). Each theme is defined by their rhythmic features (first theme uses a double-dotted rhythm, second theme uses a single-dotted rhythm).

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Dotted rhythms
- There are two different types of dotted rhythms used in the melody; single and double.

- The ticking clock motif is based upon pairs of quavers. This rhythmic feature appears throughout most of the movement and forms part of the accompaniment.

- The movement is written with a 2/4 time signature and the tempo is andante (walking pace).

- During the coda (final section after the modulation to E flat major) the 1st and 2nd violins play a melody using semiquaver sextuplets. This is the first time this rhythm is used and is contrasting to the rhythmic features of the rest of the movement.

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There are multiple ways of describing the form of the second movement of Haydn's Clock Symphony.

Extended Ternary Form
- ABA2. The most common way of analysing the piece in terms of classical music forms. The sections can be defined by their use of the main theme (A and A2) and the changes in tonality (B section).

Rondo Form
- Because the main theme appears at various different points throughout the movement, you could describe this as Rondo form, which sees a main theme returning in-between contrasting sections known as episodes.

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Haydn uses multiple textures in this piece. The textures and examples of where to find/hear theme (useful knowledge for the exam) are detailed below.

Monophonic
Haydn uses the 1st violins on their own for two bars at the end of the B Section. This is to signify an imminent return of the main theme (start of the A2 Section). This is the only point in the piece where Haydn uses a monophonic texture.

Homophonic
There are two occasions where the texture is homophonic. The first occasion is in bar 1, where the ticking clock motif is introduced in the bassoon, 2nd violins and cellos (see 'Ticking Clock Motif'). The second time we hear this texture is in bar 100, when the ticking clock motif is presented again at the modulation to E flat major.

Melody & Accompaniment
For the majority of the movement, the texture is melody & accompaniment. Other textural features include imitation between the 1st and 2nd violins (bars 42 and 43) and call and response.

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A Section
- The music starts off in the tonic key of G major.
- Haydn modulates to the dominant of D major. This is a typical feature of music from the Classical period.

B Section
- The start of the B section sees a change in tonality to G minor. This is known as the tonic minor. This is also where the clarinet, trumpet, French horn and timpani enter for the first time.
- Haydn modulates to the relative major of G minor; B flat major, during the B section. To prepare for a return to the tonic G major, Haydn also modulates to D major again.

A2 Section
- The first half of the final section is a repeat of the first section in the tonic of G major. After the general pause (see features) Haydn's final modulation is to E flat major.

Coda (part of the A2 Section)
- Haydn returns to the tonic for the coda (see Form) to finish the piece.

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Second Movement.
Use the feature below to listen to the movement. Try and cross-reference the information on the left with the music you hear.

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Symphony in D, Hob. I:101 - "The Clock": II. Andante

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Philharmonia Hungarica & Antal Doráti - Haydn: The Complete Symphonies

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Symphony in D, Hob. I:101 - "The Clock": II. Andante

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Haydn uses a full symphony orchestra for this piece. It is a lot smaller than orchestras we have today.
- There would have been no more than 18 string players (4 1st violins, 4 2nd violins, 4 violas, 4 cellos and 2 double basses). In some cases, there may have been less.
- Each woodwind and brass part is played by two players each, with one timpani player covering two kettle drums.

At this time, some instruments were in their early development. The clarinet was a new invention which was to be exploited to the max by Mozart, who enjoyed composing for the instrument in many different genres.

In 'The Clock' Symphony, there are some instruments which were made and designed in a certain 'key'. This meant that the notes written on the page had to be different to make their sounding notes the same as everyone else.

The trumpet, french horn and clarinet were all transposing instruments. The trumpet in D would play a note 'C' but it would sound a 'D'. In order to play the note G, the written note had to be F.

The timpani were only two in number because they were new and expensive. These were the only percussion instruments used at this time. They were each tuned to the tonic and the dominant of the key and used to emphasise cadences. This makes them a transposing instrument as the tonic and dominant can be adjusted to fit the key of the piece being performed.

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The music has many changes which portrays the music as a piece with a great deal of variation.

Tonality: The tonality of the piece changes at several points. The music starts off in the tonic key (G major) and modulates to G minor at the start of the 'B' section (bar 36). 7 bars later, the music has modulated to Bflat major. The music then moves back through several keys before arriving back with the original theme in the 'A2' section (bar 64). A general pause (full-orchestra stops for one whole bar) at bar 98 is followed by the original theme presented in the key of Eflat major. This key is not related to G major. The music then returns to G major and finishes.

Texture: The piece includes many changes in texture. The piece is mostly homophonic, with some sections melody and accompaniment (where there is a full orchestra or tutti playing) and some monophonic sections (first violins bar 62-63 play on their own in the lead-up to the return of the main theme in the 'A2' section).

Form: The piece is in Ternary form, (ABA), with the final 'A' section presented in a different way to the first (inclusion of Eflat major).