Humour and drama
Between 1750 and 1900, symphonic writing increasingly explored expressive contrasts,
moving from light-hearted humour and formal drama in the Classical period toward the
vivid storytelling and emotional intensity of programme music in the Romantic era.
Composers developed ways to portray character, narrative, and extra-musical ideas
within the symphony, often drawing on theatrical, folk, or literary influences.
In the early Classical period, drama over humour was beginning to be more subtly
embedded into symphonic works. Stamitz’s Symphony in D major, Op. 3 No. 2
demonstrates an emergence of symphonic drama by using techniques developed at the
Mannheim school such as the opening of the 1st movement including a Mannheim
hamerstroke and followed by a Manheim cressiendo. Although by modern standards
this would not be seen as dramatic, for the contemporary audience the unified use of
dynamic changes and effects was revolutionary and very powerful. C.P.E Bach also
used drama in his symphonies. His symphony in E minor was interesting due to the
minor tonality which naturally gives the symphony a more tense character for added
drama. The energetic semiquavers and chromatic harmonies add to the sense of
dramatic emotional volatility. This could be seen as foreshadowing the later
developments in the romantic period.
Haydn is renowned for his inventive wit and dramatic contrasts. In his 31st symphony,
hornsignal, energetic fanfares played on the new horns at the Esterhazy court are
performed along with unexpected pauses and orchestral dialogue to bring a playful
interaction to the music. Symphony No. 94 (‘Surprise’) is the most famous of his
symphonies for its use of wit and inventiveness. The third movement minuet is
traditionally courtly but with sudden dynamic changes to startle the audience and bring
an element of theatrical humour. However, it is not entirely dramatic or humorous as the
trio contrasts this with a lyrical flowing oboe melody over pizzicato strings. This shows
how Haydn developed humour and drama so it would be light and not dominate the
structure and flow of symphonies. Haydn did show more drama in his later symphonies
when he moved away from the constraints and traditions at the Esterhazy palace such
as in his 104th symphony. The second movement uses the strum and drang section at
bar 42 to bring an intense and stormy variation of the main theme which was popular at
the time. It links back to the kind of intense drama that was seen with CPE Bach and his
symphony in E minor but with even more symphonic power due to the larger size of the
orchestra. This shows how drama could be developed through orchestral expansion and
this was a common theme of the symphonic journey.
Mozart developed humour and drama within the Classical style, often blending
contrapuntal skill with characterisation. In the fourth movement of Symphony No. 41
Between 1750 and 1900, symphonic writing increasingly explored expressive contrasts,
moving from light-hearted humour and formal drama in the Classical period toward the
vivid storytelling and emotional intensity of programme music in the Romantic era.
Composers developed ways to portray character, narrative, and extra-musical ideas
within the symphony, often drawing on theatrical, folk, or literary influences.
In the early Classical period, drama over humour was beginning to be more subtly
embedded into symphonic works. Stamitz’s Symphony in D major, Op. 3 No. 2
demonstrates an emergence of symphonic drama by using techniques developed at the
Mannheim school such as the opening of the 1st movement including a Mannheim
hamerstroke and followed by a Manheim cressiendo. Although by modern standards
this would not be seen as dramatic, for the contemporary audience the unified use of
dynamic changes and effects was revolutionary and very powerful. C.P.E Bach also
used drama in his symphonies. His symphony in E minor was interesting due to the
minor tonality which naturally gives the symphony a more tense character for added
drama. The energetic semiquavers and chromatic harmonies add to the sense of
dramatic emotional volatility. This could be seen as foreshadowing the later
developments in the romantic period.
Haydn is renowned for his inventive wit and dramatic contrasts. In his 31st symphony,
hornsignal, energetic fanfares played on the new horns at the Esterhazy court are
performed along with unexpected pauses and orchestral dialogue to bring a playful
interaction to the music. Symphony No. 94 (‘Surprise’) is the most famous of his
symphonies for its use of wit and inventiveness. The third movement minuet is
traditionally courtly but with sudden dynamic changes to startle the audience and bring
an element of theatrical humour. However, it is not entirely dramatic or humorous as the
trio contrasts this with a lyrical flowing oboe melody over pizzicato strings. This shows
how Haydn developed humour and drama so it would be light and not dominate the
structure and flow of symphonies. Haydn did show more drama in his later symphonies
when he moved away from the constraints and traditions at the Esterhazy palace such
as in his 104th symphony. The second movement uses the strum and drang section at
bar 42 to bring an intense and stormy variation of the main theme which was popular at
the time. It links back to the kind of intense drama that was seen with CPE Bach and his
symphony in E minor but with even more symphonic power due to the larger size of the
orchestra. This shows how drama could be developed through orchestral expansion and
this was a common theme of the symphonic journey.
Mozart developed humour and drama within the Classical style, often blending
contrapuntal skill with characterisation. In the fourth movement of Symphony No. 41
