His Concerto Grosso in D major, op. The stately rhythms, thickly ornamented with trills and tirades flourishes , ground the overture in the French operatic tradition. The second and fourth movements both gesture toward the fugue, showing a particularly German preoccupation with counterpoint, although the lightness of the Allegro and the lyricism of the Largo are more Italianate in character.
The triple meter, balanced phrases, and two-part form of the Presto seem to signify the courante, although in its quicker Italian version rather than the more restrained French dance. Likewise, the politesse of the minuet is offset by a walking bass line that sounds more like Corelli than Couperin.
The response to the oddity of the Symphony no. The solemn proclamations on D and F of the Adagio announce the two harmonic poles of the symphony, but since 18th-century brass instruments could only play in D, there is a built-in hierarchy to this fanfare.
Haydn decided to accentuate this harmonic difference with a dramatic dynamic contrast between fortissimo and pianissimo. The beginning of the Allegro is deceptively simple, with its singing melody in the violins. As the movement goes on, Haydn draws out all of its motivic and harmonic possibilities. The Andante second movement is moderate rather than truly slow, with a gracious, choreographic sensibility that is typical of Haydn. The third movement turns the long established form of the minuet and trio on its head.
Normally graceful, the minuet seems flat-footed in places and a little rough around the edges for a courtly dance. Ottorino Respighi spent more time in his home country of Italy than Handel or Haydn did in theirs, but he did travel to study with Rimsky-Korsakov in Saint Petersburg and Bruch in Berlin. However, his orchestral postcards from Rome— Fountains of Rome , Pines of Rome , and Roman Festivals —traveled even more widely than their author and remain internationally popular.
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