101st Symphony (Haydn)

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The Symphony in D major Hoboken directory I: 101 wrote Joseph Haydn in 1794. The work belongs to the famous "London Symphonies" and carries the not originating from Haydn title "The Clock" .

General

Franz Joseph Haydn (1732–1809)

For general information on the London symphonies, cf. Symphony No. 93 . - Haydn composed Symphony No. 101 as part of his second trip to England. It was written in two stages: the second to fourth movements were still in Vienna, the first movement in England. The world premiere took place on March 3, 1794.

The Morning Chronicle reports after the premiere: “Nothing could be more original than the theme of the first movement; and once he has found an excellent theme, no one better than Haydn can draw incessant diversity from it without abandoning it even once. The arrangement of the accompaniment in the Andante, though extremely simple, was masterful, and we have never before heard an effect more appealing than that of the trio in the minuet. - It was Haydn, what more could one say, what more could one need? "

The nickname “The Clock” comes from the Viennese publisher Johann Traeg, who in 1798 wrote a piano version of the Andante as “Rondo. The clock ”brought out.

To the music

Instrumentation: two flutes , two oboes , two clarinets , two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , double bass . Numerous sources show that Haydn conducted his symphonies at the London concerts from the harpsichord and from 1792 from the “ Piano Forte ”, as was the performance practice at the time. This is an indication of the use of a keyboard instrument (i.e. harpsichord or fortepiano) as a continuo in the "London Symphonies".

Performance time: approx. 25-30 minutes.

When it comes to the sonata form used here, it should be noted that this model was only designed at the beginning of the 19th century (see there). - 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: Adagio - Presto

Adagio : D minor, 3/4 time, measure 1–23

The serious, worn Adagio in D minor is by slow, ascending and descending movements quarter with chromatic and Provision marked. It is mostly in piano / pianissimo with individual accents on the unstressed beat times. After switching to the tonic parallel in F major (bar 12), D minor resumes suddenly, with a short backward movement (bar 18 ff.) Haydn then modulates to the dominant A major, on which the introduction ends with a fermata in pianissimo.

Presto : D major, 6/8 time, measures 24–346

Beginning of Presto with “run-up”, triad figure and closing phrase, 1st violin

The strings with the 1st violin leading the voice initially introduce the first theme piano, which consists of three elements: an upbeat eighth note up over an octave , an unscrewing, broken triad figure with dotted rhythm and a closing phrase that contains the two rhythms of the first Contains elements. Front and consequent of the theme are fünftaktig each. The transition (bar 34 ff.) Takes up the theme in the forte tutti with a pendulum-like extension of the dotted triad movement. For a short time, the movement in A major comes to rest with a fermata and drum roll. Again the theme begins piano, but then continues to spin the material forte and, after an organ point on the double dominant E major, establishes the dominant A major with a characteristic motif of three upwardly moving, accentuated quarters (bars 72-75). The second theme (bars 81 ff.), Which consists of two similar, upbeat motifs, is then introduced in A major. As in the first theme, the strings play piano with the leading violin. The structure or the rhythm is also similar to the first topic, so that there is no strong contrast between the topics. The transition to the final group is seamless, you could set it in measure 98 or 106. The final group contains chord melodies, a chromatic, stressed line downwards, tone repetitions and also the eighth run from the beginning of the movement (now downwards instead of upwards). The exposure is repeated.

The implementation relies on the motives of the second theme and leads them in counterpoint by the instruments, with the soundscape expands more and more. In bar 150, C major is reached, which is now applied to material from the first theme (run down instead of up and the pendulum figure). After further key changes via A and E major, F sharp major stabilizes from bar 174, which is emphasized with broken chord figures downwards and energetic tone repetition in fortissimo. A crescendo increases the tone repetition up to the tremolo (bars 184 to 192). Completely unexpectedly, a contrasting, all-bar ascending chord in B minor appears as a pianissimo string unison and seamlessly transitions to D major with figures from the second theme. A crescendo increases the volume again up to fortissimo on A major, which is dominant at the beginning of the recapitulation .

The recapitulation (bars 218 ff.) Is initially structured in a similar way to the exposition. In the transition, however, from bar 235 onwards, there is a clouding of the minor key. Instead of the second theme, only its head appears over an organ point in A minor. From bar 250, analogous to the beginning of the performance, a contrapuntal section begins with motif 1 from the second theme, which increases through tone repetitions to a tremolo in fortissimo, and finally motif 2 is "submitted" (bars 281 ff.). Bars 300 ff. Are structured similarly to the final group of the exposition. A coda begins in bar 314, when instead of the expected target note D, a diminished chord appears as a fallacy. The first theme is given a final appearance, and the movement ends with chord melodies in the forte.

Second movement: Andante

G major, 2/4 time, 150 bars

Beginning of the Andante, 1st violin

The following outline proposal is based on Peter A. Brown as a rondo form. Depending on the point of view, outlines as a set of variations or a mixture of rondo and set of variations are possible.

  • Part A: The refrain is made up of three parts: The main theme (part a, bars 1–10) consists of a marching-like melody performed by the 1st violin. It is accompanied by the 2nd violin, cello, double bass and bassoon in a continuous eighth note movement from pizzicato - thirds that are reminiscent of the steady ticking of a clock. A similar figure can be found in the slow movement of Symphony No. 68 . The theme is periodically built up from a five-measure front and back end and is repeated. The b-part then continues the melody, from bar 25 the main theme follows again as a variant (a'-part). Parts b and a 'are now also repeated.
  • The B part (bars 34–61) is in G minor and does not contain a pendulum movement. He is consistently in the forte and is characterized by dotted rhythms, runs and the dramatic character.
  • A 'part (bars 62–96): The structure is similar to the beginning of the sentence: a section bar 63–72, b section bar 73–86, a' section bar 87–96. The ticktack movement is played in a high register by the solo flute and solo bassoon, the 1st violin leading the voice.
  • The C section (bars 97–110) is separated from the previous section by an unexpected general pause (“magic moment”) that interrupts the previously even movement. The accompaniment in the 2nd violin initially suggests G minor, only in the following bar does it become clear, with the use of the main theme, that E flat major is meant. A thirty-second phrase from the theme is isolated and increases to a forte via a crescendo. Via D major, Haydn changes back to G major.
  • A '' part (bars 111–144): main theme dissolved in sextoles in the forte of the whole orchestra. The accompanying figure expands from the thirds to fifths and finally to sevenths (similar to measures 11 ff.).
  • In the coda (bars 145–150) the sextole movement and the tick-tack accompaniment end.

Third movement: Menuetto. Allegretto

D major, 3/4 time, with trio 160 bars

Beginning of the menuetto, flute and 1st violin

The symphonic minuet is unusually long at 160 bars and is the longest minuet of the London symphonies. In the main theme, “the energetic, almost defiant attitude of the subject head (...) contrasts with a soulful downward sliding passage.” At the end of the first part, the syncope is noticeable. At the beginning of the second part, the chromatic line down from bar 6 ff. Is taken up and introduces a small chromatic passage (bars 35–41). In the “recapitulation”, the main theme appears in the instruments on the second use. Haydn composed the minuet as early as 1792/93 as part of 14 pieces for the flute clock (number 29 of the 32 pieces composed for the flute clock).

The trio is also in D major. On the even, "organ-like" accompaniment of the strings in pianissimo, the flute begins a simple, sweeping melody, at the end of which it joins the string accompaniment. In bars 86-87 of the flute melody, there is a “wrong” harmony in that the strings continue to play a D major chord, while the flute emphasizes the tone E, which is alien to the harmony. Suddenly, however, the “harmless, naive playing” is interrupted fortissimo and dissonant by the whole orchestra. The whole passage is now repeated with a slightly different ending. The strings now play the "correct" harmony (bars 102-103): the triad C sharp EG above the D in the bass. “Haydn's supposed oversight was corrected later and the first position was aligned with the second. But the autograph and a copy (...) as well as the original London strings clearly show that Haydn deliberately intended these two different versions. ” The second part of the trio begins in F sharp with the accompanying figure from the beginning. Motifs of the flute melody are taken up in the manner of implementation until, after a general pause, the opening section is taken up in a highly varied manner. Here Haydn has set a similar “harmonic fun” as with the flute, by having the horns insert two bars too early with an organ point on D. Depending on your point of view, the trio can be understood as a parody of village music or as a melancholy genre piece.

“It [the beginning of the trio] seems as if the soloist has forgotten his entry and is so unsettling the accompanying strings that they continue the organ point on D major and not follow the melody with the dominant harmony that is actually to be expected . The resulting dissonance between flute and strings has been heard time and again as an expression of Haydn's musical humor, namely as a caricature of a provincial band in which the soloists miss their performances and the strings fall asleep while playing (...). In any case, the musicians are startled by the dissonant phrase and ring in the "correct" repetition of the phrase with a fortissimo blow. "

Fourth movement: Finale. Vivace

D major, 2/2 time (alla breve), 280 measures

Main theme of Vivace, 1st violin

Depending on the point of view, the structure of the movement can be interpreted as a rondo , as a sonata movement or as a hybrid of both formal models. A possible structure is as follows:

  • Bars 1–28: Presentation of the main theme. The topic is structured periodically. With its three-part structure (ABA), the entire thematic unit is reminiscent of a typical Rondo theme. It is performed piano by the strings. Essential elements of the theme are the three ascending half notes, the eighth run down, the staccato quarter up and the subsequent half-note lead (see the illustration on the right).
  • Measure 28–61: The whole orchestra confirms the tonic D forte, followed by rocket-like ascending unison runs, with the transition from quarters to eighth notes causing an increase in tempo. The passage from bar 43 is characterized by key changes, with Haydn finally reaching the double dominant E in bar 60.
  • The first “development” (or first couplet , bars 62–110) is predominantly dominant (ie in A) and, accompanied by further virtuoso runs, contains variants of the rondo theme: bars 62 ff. A varied theme followed by a syncopated passage for oboe and violins, bar 75 ff. Topic in bass, bar 94 ff. Chromatic piano variant analogous to bar 9 in quarters for flute and 1st violin, is repeated pianissimo as a further variant.
  • Second appearance of the rondo theme in D major (bars 111-137), now also performed by the whole orchestra for the first time in forte (bars 111 ff.).
  • The second “development” (or second couplet, bars 138–188), “beyond measure stormy and wild”, is consistently fortissimo. It begins in D minor with an alternation of half notes and virtuoso eighth notes. From bar 156 the rondo theme is taken up in F major, similar to the passage from bars 62 ff. The section closes on dominant A and is separated from the following section by a general pause.
  • The third “development” (third couplet) is a fugato of the rondo theme (bars 189–233), in which the theme head with the three half notes stands out.
  • Third appearance of the rondo theme: Anterior movement in fortissimo with continued spinning (bars 233–249), complete eight-bar theme in the piano of the strings over an organ point on D (bars 250–257).
  • Coda (bars 261–280) with ascending running figures and the theme head above an organ point on D in fortissimo.

Ludwig Finscher thinks that the large-scale contrasts and energetic tutti implementations point to Ludwig van Beethoven , who, as Haydn's student, was probably present when this movement was composed.

“With its development and the contrapuntal condensation, the finale of the 101st symphony - especially in comparison with the playful cheerfulness and the contradiction-like theme of the final movements from the previous London symphonies - is emphatically weighty and serious. While the earlier symphonies mostly have their climax in the first movement and tend to fall away later in terms of internal dramaturgy, the emphasis on the finale shifts the dramaturgical climax of the work from the beginning to the end. This new weighting, which will also be decisive for the finals of the last two symphonies 103 and 104, already points in advance to the symphonies of Ludwig van Beethoven. "

Individual references, comments

  1. ↑ a b c d e f g Regina Back: Symphony in D major, Hob. I: 101 (“The clock”). In: Renate Ulm (Ed.): Haydn's London Symphonies. Origin - interpretation - effect. On behalf of the Bavarian Broadcasting Corporation. Joint edition Deutscher Taschenbuch-Verlag Munich and Bärenreiter-Verlag Kassel, 2007, ISBN 978-3-7618-1823-7 , pp. 146–150.
  2. ↑ a b c d e Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  3. ^ The revision report in the pocket score edition of Edition Eulenburg No. 439 writes about this: “In the present new edition, above all (...) all of the editor's ingredients have been removed again if possible. (...) The most surprising result was that the symphony has no clarinets at all; however, they must have been added very early, since the André edition already contains engraved clarinet parts. That they are superfluous is evident from their dependent and only tutti-like use. " Anthony van Hoboken ( Joseph Haydn. Thematic-bibliographical catalog of works, Volume I. Schott-Verlag, Mainz 1957, p. 213) says about the clarinets: " They are coming but also in the authentic copy by Elßler (...), so that it can probably be regarded as coming from Haydn. "
  4. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  5. ↑ Koch writes about the use of the harpsichord as an orchestral and continuo instrument around 1802 (!) In his Musikalischen Lexicon , Frankfurt 1802 , under the heading “wing, clavicimbel” (pp. 586–588; please consider that at this time wing = harpsichord  !): “ ... The other genres of this type of keyboard (ie keel instruments , author's note), namely the spinet and the clavicytherium , have completely fallen out of use; the grand piano (ie the harpsichord , author's note) is still used in most of the major orchestras, partly to support the singer with the recitative , partly and mainly to fill in the harmony by means of the figured bass ... being strong penetrating sound makes it (ie the grand piano = harpsichord, author's note) very adept at filling the whole thing with full-voiced music; therefore he will probably compete in major opera houses and bey numerous occupation of votes the rank of very useful orchestral instrument until another instrument of equal strength, but more mildness or flexibility of the sound is invented which to lecture the basso well is sent. ... in clay pieces according to the taste of the time, especially with a weak cast of the voices, ... for some time now the grand piano has been swapped for the weaker, but softer, fortepiano . "
  6. ↑ Even James Webster, one of the main proponents of the anti-harpsichord continuo thesis, takes the London symphonies from his idea that Haydn did not use a harpsichord (or other keyboard instrument, especially fortepiano) for continuo playing (“ And, of course "The argument refers exclusively to pre-London symphonies and performances outside England "; in: James Webster: On the Absence of Keyboard Continuo in Haydn's Symphonies. In: Early Music Band 18 No. 4, 1990, pp. 599-608, here : P. 600). This is because the well-documented fact that Haydn conducted the symphonies from the harpsichord (or pianoforte) usually also meant continuo playing at this time (see quotation from Koch's Musicalisches Lexikon , 1802 in the previous footnote).
  7. ↑ There are different perspectives on whether there are relationships between the introduction and the following Presto (Lessing 1989: 154) or not (Finscher 2000: 375).
  8. ↑ a b c A. Peter Brown: The Symphonic Repertoire. Volume II. The First Golden Age of the Vienese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, Bloomington & Indianapolis 2002, ISBN 0-253-33487-X , pp. 275-279.
  9. ^ A b Wolfgang Marggraf : The Symphonies of Joseph Haydn. - Symphony 101, D major (“The Clock”). Accessed August 15, 2015 (status of the text: 2009).
  10. ^ Lessing (1989: 153) based on Karl Geiringer.
  11. ↑ Without the accompaniment in the first bar, the antecedent is four bars.
  12. ↑ Jürgen Mainka: Joseph Haydn: Symphony No. 101 in D major "The Clock" Hob. I: 101 (1794). In: Malte Korff (ed.): Concert book orchestral music 1650-1800. Breitkopf & Härtel, Wiesbaden / Leipzig 1991, ISBN 3-7651-0281-4 , pp. 387-390.
  13. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's Sons, Mainz 1959.
  14. ^ A b c Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series on Südwestfunk Baden-Baden 1987-89. 3rd volume, Baden-Baden 1989, p. 155.
  15. ↑ So z. B. Wolfgang Marggraf (2009): “The finale shows particularly clearly the amalgamation of two formal principles that is so characteristic of Haydn's late symphonies: it can be analyzed as both a sonata and a rondo movement.” The Eisenstadt Haydn Festival wrote: “The finale is an extremely artistic sonata rondo, the development parts of which are interspersed with fugati. ” Howard Chandler Robbins-Landon (1955: 585) classifies the movement as a sonata rondo hybrid type in which the second theme is withheld. See the links below for sources. However, Stefan Kunze (1993: 286): “The usual approach of deriving the first movement type of the classical concert from the sonata movement or to categorize certain rondo-like finals as“ sonata rondos ”, as if there were a hybrid cross between rondo and sonata form, cannot unlike formalistic, that is to say, abstractly schematic in the bad sense. It hypostatizes the existence and, on the part of the composer, the "application" of formal schemes and thus also the possibility of overlaying, crossing, "mixing" etc. Such ideas do not do justice to musical reality. "
  16. ↑ The terms “first development” and “second development” are also used by Ludwig Finscher (2000: 376).

See also

Web links, notes, literature