“ritornello” effect at work, but also recognize in Haydn the distinct theme of the “B”
sections, a “developmental” “C” section, and again the cadenza at the end. Remind students
that the mingling of rondo form with sonata-allegro form elements leads to the label of
“sonata rondo” for this movement.
ASSIGNMENT SUGGESTIONS
1. In Chapter 23, we explored a violin concerto by the Baroque composer Antonio Vivaldi;
here in Chapter 27 a trumpet concerto by the Classical composer Franz Joseph Haydn is the
focus. Thinking more about the textbook’s idea of a concerto as “conversation,” does the
conversation change when a different instrument takes the stage? What kind of
“conversation” is the trumpet having with the orchestra and what is it about the instrument
and its timbre that contributes to this?
2. The cadenza is a new and important feature of Classical concertos. Search for recordings of
some Mozart’s piano concertos, and hone in on the cadenzas that appear toward the
conclusions of the first movements. Do you notice any similarities between the thematic
material of the cadenzas and that of the previous “composed” music? If yes, do these
“thematic” cadenzas add to the effect and meaning of the music? What do cadenzas offer
listeners that Baroque concertos do not?
TEACHING CHALLENGES
1. It might be necessary to review sonata-allegro form, ritornello form, and rondo form to help
students grasp the formal discussions of this chapter.
2. Employing the term “development” when defining the “C” section of sonata–rondo form
of the third movement of Haydn’s Trumpet Concerto might need some clarification.
Emphasize that this is a “developmental” section, and compared with the development