Haydn’s approach to form is underserved by current theories as discussed by
Burstein (2016), Duncan (2011), Fillion (2012), Korstvedt (2013), Ludwig
(2012), Neuwirth (2011, 2013), and Riley (2015). Comparing Haydn to
composers a generation younger (Mozart and Beethoven) instead of with his
contemporaries (such as Dittersdorf and Vanhal) distorts what is, and what
is not, idiosyncratic about his compositional form. His inclination to
reuse the opening theme later in the movement can impact the melody of his
S theme, the path to and through his recapitulations, and the construction
of his phrase’s middles (Miyake, 2011). This compositional feature,
however, often leads to forms that do not fit neatly into theories of
Classical Era form forwarded by Caplin (2001) and Hepokoski and Darcy
(2006). The concept of thematic saturation provides a window into
investigating how Haydn reuses themes. The quantity and density of thematic
saturation measure different aspects of thematic reuse and further our
understanding of Haydn’s approach to form. This project is part of a larger
project that investigates whether patterns of thematic returns are
independent of traditional formal designations (sonata form, sonata rondo,
ABACA).
