Fugal finales of Michael Haydn in relation to those of Haydn and Mozart (Joseph Haydn, Wolfgang Amadeus Mozart, Austria)

This essay studies the architectonics (structural designs) of so-called fugal finales in the symphonies of Joseph Haydn, Michael Haydn, and Mozart. These designs are a result of interpolation between procedures indigenous to those fugues and those indigenous to sonata form. Particular symphony finales of Haydn, Michael Haydn, and Mozart reveal how these composers fashioned fugue procedure into various constructs of sonata design and not vice versa. They also demonstrate how these composers addressed and reconciled stile galant and learned style, homophony and polyphony, periodicity and fortspinnung, and so on.; In this essay, fugue analysis has been limited to symphony finales by these composers, specifically to those finales that contain a complete fugal exposition. Nine symphonies meet these criteria: three by Haydn, five by Michael Haydn and one by Mozart. Indeed, Mozart's Symphony No. 41 in C Major, K. 551 ("Jupiter") often serves as the apex of Classical Period sonata-fugue design.; Beginning with Haydn, Symphony No. 3, patterns emerge and a process of change becomes evident; specifically, a subordination of fugue procedure into sonata form will evolve. Two styles are assimilated within these symphony fugal finales: stile antico and stile galant. Each finale has a corresponding graph. Graphs, music examples and tables are included in the text to illustrate specific points. There are many other examples of fugato technique throughout these composers' symphonic output. They are not studied here, however, as they do not contain complete fugal expositions.; Chapter One provides an overview of terminology revolving around counterpoint, fugue and sonata. Chapters two, three and four, provide analyses of the nine symphonic fugal finales of Haydn, Michael Haydn, and Mozart that contain complete fugal exposition.