The Symphony No. 73 in D major , Hoboken 1/73, is a symphony by Joseph Haydn composed in 1782 . It is often known by the subtitle La chasse ( transl. The hunt ) due to the hunting horn calls in the final movement, a popular trope in eighteenth century music.
10-453: La Chasse , French for The Hunt , may refer to: Symphony No. 73 (Haydn) String Quartet No. 17 (Mozart) Piano Sonata No. 18 (Beethoven) Caprice No. 9 "The Hunt" in E major: Allegretto, from Niccolò Paganini's 24 Caprices for Solo Violin Étude No. 5 (La chasse) in E major, Franz Liszt's arrangement of this caprice as the fifth of his six Grandes Etudes de Paganini La Chasse ,
20-502: A dominant chord, the Allegro does not open in the tonic key. This movement displays one of Haydn's favorite musical devices, turning accompaniment into melody. Here, this is done in the simplest possible manner by constructing the main theme out of repeated notes. Once the repeated-note theme is established, then any time repeated notes are used in accompaniment, it sounds to the listener like thematic counterpoint. The second movement
30-456: A lost opera by Chevalier de Saint-Georges La Chasse, Caprice in the style of Cartier, by Fritz Kreisler Op. 16, La Chasse For Keyboard, by Muzio Clementi Symphony in D major, by Antonio Rosetti La Chasse, popular chanson of famed Renaissance composer Clément Janequin (c. 1485 – 1558) La Chasse (painting) , a 1911 painting by Albert Gleizes La Chasse (plaquette) , an artwork by Júlia Báthory Topics referred to by
40-405: Is based on Haydn's song Gegenliebe , Hob. XVIIa:16. The song forms the refrain for a rondo . The contrasting episodes of the rondo are derived from the song-melody and are all in the minor. The final movement was originally composed as the overture to Haydn's opera La fedeltà premiata (“Fidelity Rewarded”), a detail which has helped secure the dating of the symphony. The hunting melody of
50-475: Is different from Wikidata All article disambiguation pages All disambiguation pages Symphony No. 73 (Haydn) The symphony is scored for flute , two oboes , bassoon , two horns and strings . Some versions also include two trumpets and timpani which appear only in the Finale. The first movement follows a sonata form with a slow introduction. Notably, although the introduction ends on
60-448: The 19th century include Charles Gounod 's opera Faust and Delibes 's ballet Coppélia .) Special entertainments of a similar kind given between the acts of an opera were called ' intermèdes '. The term is also sometimes used for a suite of loosely connected dances. One 20th-century example is Jacques Ibert 's Divertissement (1930). Jean Françaix named four of his compositions Divertissement : This article about
70-575: The famous coda to the Farewell Symphony , La Chasse is one of the few Haydn symphonies to end quietly. Divertissement Divertissement (from the French 'diversion' or 'amusement') is used, in a similar sense to the Italian ' divertimento ', for a light piece of music for a small group of players, however the French term has additional meanings. During the 17th and 18th century,
80-406: The finale is a quotation from La Chasse du cerf, a Divertissement for solo voices, chorus, and instrumental ensemble by the eighteenth century French composer Jean-Baptiste Morin . Morin himself drew upon the popular Sourcillade (or Vue ) penned by André Danican Philidor in the first decade of the 18th century. Haydn's theme was therefore widely recognisable as a hunting motif. Along with
90-415: The same term [REDACTED] This disambiguation page lists articles associated with the title La Chasse . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=La_Chasse&oldid=1051651472 " Category : Disambiguation pages Hidden categories: Short description
100-480: The term implied incidental aspects of an entertainment (usually involving singing and dancing) that might be inserted in an opera or ballet or other stage performance. In the operas produced by the Académie Royale de Musique , both tragédies lyriques and comédies lyriques , these 'divertissements' were sometimes linked to the main plot, or performed at the close of the performance. (Similar examples during
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