10th Symphony (Haydn)

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The Symphony in D major Hoboken directory I: 10 wrote Joseph Haydn to 1758-1760.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Joseph Haydn composed the Symphony Hoboken Directory I: 10 in D major around 1758 to 1760 while he was employed by Count Morzin. The symphony corresponds to the then common (early classical Italian) type with three movements, whereby the structural focus is on the first movement, the second movement is only intended for strings and the last movement has a light character as "sweeping".

The sudden dynamic changes between forte and piano in the corner movements are remarkable.

To the music

Instrumentation: two oboes , two horns , two violins , viola , cello , double bass . At that time, a bassoon was used to reinforce the bass voice, even without separate notation . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies.

Performance time: approx. 10 to 12 minutes (depending on compliance with the prescribed repetitions).

With the terms of the sonata form used here, it should be noted that this scheme was designed in the first half of the 19th century (see there) and can therefore only be transferred to Symphony No. 10 with restrictions. - The description and structure of the sentences given here is to be understood as a suggestion. Depending on the point of view, other delimitations and interpretations are also possible.

First movement: Allegro

Beginning of the Allegro

D major, 4/4 time, 90 bars

The first “theme” consists of contrasting elements: After the opening, grounding forte chord strike of the entire orchestra, the 1st violin plays a three-tone piano and legato motif, accompanied in staccato by the 2nd violin. The second measure has a forte chord progression separated by eighth rests with a continuous eighth note accompaniment. This two-bar “contrast motif” (bars 1 and 2) is repeated (bars 3 and 4). Bars 5 to 8 form a variant of bar 1: The basic chord strike is followed - continuously forte - by the legato three-tone motif in horn, bass and viola, while the two violins take up the staccato figure.

In bar 8, a virtuoso “brilliant” passage follows with runs, trill motifs and melody lines in half notes with tremolo accompaniment. In bar 23 the dominant A major is reached. A turning point heralds the second topic. This contrasts in its more chamber music character (piano, mostly only strings involved) to the previous "noisy" passage. The theme consists of three figures: the question-and-answer turn, the repeated motif with a falling sixth in half notes and the upward movement in dotted rhythm. The final group from bar 32 with its runs in the violins is as virtuoso as the previous section. The exposition ends in measure 37 and is repeated.

The development surprisingly begins as a transition-like return to the tonic in D major. In fact, the head of the first “theme” appears briefly as a sham (bars 43/44) before the actual changes begin: The scaffold-like chord strike at the beginning of the sentence is varied and underlaid with tremolo (bars 45 to 47), the motif from bar 20 the exposition is performed in B minor, and bars 52 to 54 bring a new unison motif with sometimes large leaps in intervals. Virtuoso runs then lead to the recapitulation in measure 60.

The recapitulation corresponds structurally to the exposition. The development and recapitulation are also repeated.

Second movement: Andante

G major, 2/4 time, 95 bars

The movement is only intended for strings and is characterized by ascending and descending secondary chains and leads ("sigh motif"). In the first theme, the 2nd violin and the viola with an opening motif and descending second chains leading the voice over a sustained tone of the 1st violin. With the pendulum motif from bar 6, the voice leading then changes to the 1st violin in bar 7. From bar 11, a longer passage begins with descending second chains and an accentuated lead, which is sequenced upwards . In measure 25, the voice guidance briefly changes back to the middle voices and the bass while the 1st violin is sustained. A section with trills and forte piano contrasts leads to the short final section. The exposure is repeated.

The middle section (“development”) takes up the opening motif from the first theme as a variant with dynamic contrasts (forte-piano) and then again merges into a sequence of secondary chains with a lead, with this continuous sixteenth-note movement being spun on. The recapitulation begins in measure 63 and structurally corresponds to the exposition. The middle section and recapitulation are also repeated.

Third movement: Presto

D major, 3/8 time, 127 measures

As is typical for a symphony of that time, the last movement is designed as a lightweight “sweep”. He begins forte with the eight-bar lively theme with decorations (triplets, trills). The theme consists of two four-beats, the violins run in parallel. The first four-bar is repeated, then from bar 13 a contrasting, calmer piano passage of the strings begins, leading to the dominant A major. Another forte block from bar 20 takes up the triplet figure of the opening bar. After a four-tone motif of four full-bar notes with an echo effect (repetition in the piano), the final section follows forte with its three-bar, repeated turn.

The middle section ("development") initially continues elements of the opening theme through constant tone repetition in the bass on A (rhythm with triplet and trill reversal). This is followed by the detailed variant of the piano string passage corresponding to bar 13 with minor opacity. The recapitulation from bar 83 corresponds structurally to the exposition. The exposition, the middle section and the recapitulation are repeated.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ^ Arnold Werner-Jensen; Klaus Schweizer (1998): Reclam's concert guide for orchestral music. 16th edition. Philipp Reclam jun. Stuttgart, p. 123
  3. ^ Antony Hodgson: The Music of Joseph Haydn . The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 50
  4. ↑ Examples: a) James Webster: On the Absence of Keyboard Continuo in Haydn's Symphonies. In: Early Music Volume 18 No. 4, 1990, pp. 599-608); b) Hartmut Haenchen : Haydn, Joseph: Haydn's orchestra and the harpsichord question in the early symphonies. Booklet text for the recordings of the early Haydn symphonies. , online (accessed June 26, 2019), to: H. Haenchen: Early Haydn Symphonies , Berlin Classics, 1988–1990, cassette with 18 symphonies; c) Jamie James: He'd Rather Fight Than Use Keyboard In His Haydn Series . In: New York Times , October 2, 1994 (accessed June 25, 2019; showing various positions by Roy Goodman , Christopher Hogwood , HC Robbins Landon and James Webster). Most orchestras with modern instruments currently (as of 2019) do not use a harpsichord continuo. Recordings with harpsichord continuo exist. a. by: Trevor Pinnock ( Sturm und Drang symphonies , archive, 1989/90); Nikolaus Harnoncourt (No. 6-8, Das Alte Werk, 1990); Sigiswald Kuijken (including Paris and London symphonies ; Virgin, 1988-1995); Roy Goodman (e.g. Nos. 1-25, 70-78; Hyperion, 2002).
  5. ↑ a b c The repetitions of the parts of the sentence are not kept in some recordings.

Web links, notes

See also