Sonata-Allegro: The setting begins with the composer ushering us into an early summer morning feel as the first sun rays stream over the horizon while a haze of fog spreads low. Similarly, he introduces a contemporary segment that is characteristic of wind solos1.
Two consecutive groups of violins present the first musical theme to the listener. Just as the first rays of the sunrise gently creating a gradual surge from soft to loud, they are accompanied by the sounds of awakening nature with transforming designs that mimic birds calling out to each other that are represented by each instrument which is gradually included in the composition. This introduction is followed by an exposition. Additionally, the exposition introduces two dominant musical ideas, and the difference between them guarantees an intriguing plot development. Ideas that contrast with moods develop an energetic dialogue. At first, the theme of the exposition is presented by a solo flute to which oboe and bassoon are connected, rapidly inviting strings and woodwinds , dynamically and confidently substantiating their theme. The second theme, which is the interlocutor in this piece of music, appears at 1:34 containing less energy as well as lower in tone and pitch. In this particular theme, the strings are calling out to the listener, while maintaining calm at the beginning, but gradually gaining momentum, including the brass part of the orchestra, climaxing in a confident high consonance. Additionally, two self-sufficient themes that exude confidence have established their own tonal conflict by 2:10 and are ready to continue the controversy in the exposition that immediately follows. Similarly, the exposition that is moving through multiple keys into a freer structure begins with the flute, oboe, and bassoon moving forward on their own, but coming to an abrupt interruption as it expects opposition from the theme presented by the strings1. The second theme unfolds in response to a question from the wind instruments, but the impatient flute, oboe, and bassoon wedge themselves without decency into a still solid but more sounding answer, arranging a roll call between high-pitched and bright voices escaping from metal and wood instruments2.
3:02 at the end of the development the flute repeats its question to the orchestra, therefore, reiterating its musical phrase. However, this flute in the exposition, accompanied by the entire orchestra, suddenly calms down at 3:17. In contrast, however, the bowed musical instruments, lower the pitch, heating the emotional atmosphere with a sudden feeling of tension and uncertainty. Additionally, they connect additional bows which play at a lower and more intense tone probably in immense displeasure that the flutes and oboe had interrupted them earlier. Immediately at 3:40 am, the woodwinds begin to respond to vexed opponents in a more apologetic and less assertive, open-ended voice. A horn responds with favor to the flute’s opening sentence. Fast forward and at 3:55 recapitulation begins to resolve the tonal conflict, presenting both themes in a more homely way. The first theme that sounds in its original key, convinces the second (string) that they both need to judge the dispute in a home key, therefore, bringing the dispute to a conclusion in an intense and thorough finale bagging the spotlight[1].
1 Dolan, Emily I. “Haydn, Hoffman, and the Opera of Instruments.” Studia Musicologica 51, no. 3/4 (2010): 325-46. Accessed March 15, 2021. http://www.jstor.org/stable/25746261
2 Sisman, Elaine R. “Haydn’s Theater Symphonies.” Journal of the American Musicological Society 43, no. 2 (1990): 292-352. Accessed March 15, 2021. doi:10.2307/831616
