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・ Symphony No. 34 (Haydn)
・ Symphony No. 34 (Michael Haydn)
・ Symphony No. 34 (Mozart)
・ Symphony No. 35 (Haydn)
・ Symphony No. 35 (Michael Haydn)
・ Symphony No. 35 (Mozart)
・ Symphony No. 36
・ Symphony No. 36 (Haydn)
・ Symphony No. 36 (Michael Haydn)
・ Symphony No. 36 (Mozart)
・ Symphony No. 37
・ Symphony No. 37 (Haydn)
・ Symphony No. 37 (Michael Haydn)
・ Symphony No. 37 (Mozart)
・ Symphony No. 38
Symphony No. 38 (Haydn)
・ Symphony No. 38 (Michael Haydn)
・ Symphony No. 38 (Mozart)
・ Symphony No. 39 (Haydn)
・ Symphony No. 39 (Michael Haydn)
・ Symphony No. 39 (Mozart)
・ Symphony No. 4
・ Symphony No. 4 (Arnold)
・ Symphony No. 4 (Bax)
・ Symphony No. 4 (Beethoven)
・ Symphony No. 4 (Brahms)
・ Symphony No. 4 (Bruckner)
・ Symphony No. 4 (Chávez)
・ Symphony No. 4 (Davies)
・ Symphony No. 4 (Dvořák)


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Symphony No. 38 (Haydn) : ウィキペディア英語版
Symphony No. 38 (Haydn)
The Symphony No. 38 in C major, Hoboken I/38, is an early and festive symphony〔Antony Hodgson, ''The Music of Joseph Haydn: The Symphonies''. London: The Tantivy Press (1976): 68. No. 38 is introduced as "another C major Festive Symphony."〕 by Joseph Haydn. The symphony was composed some time between 1765 and 1769. Because of the virtuosic oboe parts in the final two movements, it has been suggested that the work's composition may have coincided with the employ of the oboist Vittorino Colombazzo in the fall of 1768.〔Brown, A. Peter, ''The Symphonic Repertoire'' (Volume 2). Indiana University Press (ISBN 025333487X), pp. 109-112 (2002).〕 The symphony is popularly called the Echo Symphony, a nickname that, like all other named Haydn symphonies, did not originate with the composer.
==Nickname (Echo)==
It is typically referred to as the "Echo" Symphony because of the use of mimicry motif (or echo) in the cadential phrasing of the second movement. The echo effect is created by scoring the leading line for unmuted first violins and the response from muted second violins.〔Hodgson (1976): 68:"Haydn has by now assimilated his own inventions in syncopation and echo effect. The answering between first and second violins is the more fascinating since only the seconds are muted and the tonal contrast is obvious even to the most untutored ear."〕
This innovation in scoring expands upon an earlier common baroque practice of cadential phrase-repetition.

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