102nd Symphony (Haydn)

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The Symphony No. 102 in B flat major Hob.I: 102 was composed by Joseph Haydn around the turn of the year 1794/95. The work is one of the famous "London Symphonies" and was premiered on February 2, 1795.

General

Franz Joseph Haydn (1732–1809)

For general information on the London symphonies, cf. Symphony No. 93 . Haydn composed Symphony No. 102 around the turn of the year 1794/95 as part of his second trip to London. It was the first symphony for the “Opera Concerts” series. The first performance took place on February 2nd, 1795 at King's Theater in London. The Morning Chronicle reports on February 3, 1795:

“… The new overture, composed by the inimitable HAYDN, was performed in a masterful style, as it absolutely deserved it. As we have often seen, his genius is inexhaustible. In terms of harmony, modulations, melody, passion and effect, it is completely unmatched. The last sentence was repeated: And despite an interruption due to the sudden fall of one of the chandeliers, it was not performed with less effect. "

Despite the falling chandelier, there were surprisingly no (seriously) injured people in the audience. This “miracle” later led to the nickname “Das Wunder” (The Miracle) for a London symphony, but incorrectly at No. 96 (see there).

The symphony was described by Haydn researcher Howard Chandler Robbins Landon as the "loudest and most aggressive" symphony of Haydn, which was intended to draw attention to the strong thematic, motivic and formal concentration, especially in the energetic first movement. For Donald Francis Tovey , Symphony No. 102 is one of Haydn's three best instrumental pieces.

As with the other London symphonies, the work was widely used shortly after its publication in numerous arrangements for domestic use (e.g. string quartet, piano). Haydn revised the score again after the London performances and made numerous changes. The contemporary prints were, however, arranged before this revision so that they reproduce the form of the work from the London premiere. Today's editions, which are usually also used for performances, only represent the revised version. The readings before correction can be found in the critical report of the complete edition.

To the music

King's Theater on Haymarket

Instrumentation: two flutes , two oboes , two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , cello solo, double bass . There is documentary evidence that Haydn conducted his symphonies at the London concerts initially 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". The lack of the clarinet could be due to the fact that Haydn had conceived the work for the orchestra of the (then canceled) concert series by Johann Peter Salomon .

Performance time: approx. 25 minutes.

With regard to the sonata form used here, it should be noted that this scheme was drafted in the first half of the 19th century (see there) and can therefore only be transferred to Symphony No. 102 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: Largo - Vivace

Largo : B flat major, 2/2 time (alla breve), measures 1–22

Unusually Haydn opens the symphony with a full-time, increasing and decreasing unison B, which is additionally emphasized as a fermata . Originally, he only planned horns, trumpets, timpani and strings for this. Back in Vienna, however, this opening obviously seemed too daring to Haydn; he also added the woodwinds afterwards, which made the sharpness of the sound a little fuller and warmer. The unison B-flat is repeated in measure 6. In between there is a four-bar phrase for strings (without bass) in which the 1st violin plays a motif with an ascending fourth , which occurs several times in the course of the introduction and also in the following Vivace. From bar 7, the harmonic, which was previously related to the tonic in B flat major, changes through the inclusion of chromatics . The following bars are dominated by the fourth motif, with the 1st violin in particular accompanying in syncope . The sluggish character and the gloomy timbre only expand towards the end in the ascending dominant F major seventh chord of the flute. Lessing (1989) describes the Largo, “which is just as unique of its kind in Haydn's work” as the following Vivace, as “a strangely veiled piece filled with gentle melancholy, in which major and minor, light and shadow constantly change and that in its excessive use in dynamic regulations reflects an already quite romantic-looking sensitivity. "

Vivace : B flat major, 2/2 time (alla breve), measures 22–311

After the piano concludes with the introduction, the Vivace forte surprisingly begins with its periodically structured eight-bar theme (building blocks of two bars each), which is then repeated piano with a reduced line-up with solo flute. The theme is derived from the string phrase in the introduction and is characterized by upbeat fourths, eighth runs and tone repetition with a second lead. The transition to the second theme (bars 39 to 80) immediately takes up material from the first theme (fourth motif with eighth runs, tone repetition) and is characterized by many accents on unstressed beat times. In bar 57, a new, upbeat motif is added, which is played simultaneously in the bass and as an inversion in the 1st violin ("inversion motif"). Rapid eighth runs and tremolo then establish the dominant F major, which leads to a surprising caesura with a short final cadence .

The second theme (bar 81 ff.) Has an unusual structure: announced by the full-bar unison on A in fortissimo, framed by general pauses, followed by another full-bar chord (no longer unison) and a rhythmic string phrase, the "open" in A major ends. The follow-up to the topic is structured accordingly and leads "answering" from the signal-like unison D (now also with the brass) back to F major. The theme is not only contradicting itself, but also contrasts with the previous section due to the lack of the previously almost steady, forward-driving eighth note movement and thus its calmer character. Its structure (full-bar unison and four-bar string phrase) is reminiscent of the beginning of the introduction. The subsequent final group (bars 92 ff.) Takes up the reversal motif and elements from the first theme (tone repetition, eighth note chains). The exposure is repeated.

The execution begins with the first part of the second theme, and then processed by E flat major elements of the first theme. The tone repeater eighth note chains with a second lead in the bass are striking. In bar 132 the string phrase from the second theme reaches A flat major, the phrase is then spun and modulated . The section of bar 161 with the reversal motif is three-part. In C major, the flute begins in bar 185 as a mock repetition of the first theme, which then abruptly changes to C minor with energetic note repetition eighth notes in fortissimo. Through further modulations with elements from the first theme, the reversal motif and accents in the bass, the recapitulation is finally announced with a drum roll. Due to its length and content, the implementation is particularly important.

The recapitulation (from bar 227) is structured similarly to the exposition, but z. For example, the first theme is not repeated, the second theme is expanded and the final group is expanded like a coda : After the first theme (flute, 1st violin) has been completely run through, the tone repetition eighth notes in the bass follow elements from the first theme and chord melodies after a general pause .

Second movement: Adagio

F major, 3/4 time, 60 bars, variation form

The Adagio is based on the second movement (F sharp major) of Haydn's piano trio Hob. XV: 26, which Haydn dedicated to his student and admirer Rebecca Schröter, who lives in England. The movement is particularly noticeable because of its special timbre, which, in addition to a broad harmonic spectrum, comes about through muted trumpets and timpani as well as many seventh and non chords. It is also remarkable how a chamber music movement becomes a symphonic movement.

  • First section, bars 1–16: Presentation of the main theme in the strings with a long, vocal melody and a few flourishes. The solo cello is accompanied by triplets , which from bar 9 become dominant in a minor part. A small final group with staccato triplets in the dominant C major ends the section.
  • Second section, bars 17–32: no variation in the narrower sense, but a “written repetition with extended sound” with muted trumpets and timpani, which expands the previously chamber music character (strings only) to a symphonic dimension.
  • Third section, bars 33–44: first variation of the theme, beginning in A flat major. In doing so, Haydn moves back to D minor, only to switch to C minor immediately afterwards. Haydn also emphasized this “jolt” with a crescendo and an accent (bars 36–40).
  • Fourth section, bars 44–60: second variation of the theme, tonic in F major. After a staccato series in fortissimo, which descends from D flat major to F major - sixth fourth chord (trumpet here with a conspicuous half note in forte), the movement ends with a broad sound surface in F major pianissimo.

Third movement: Menuet. Allegro

B flat major, 3/4 time, with trio 106 bars

The movement of the great symphonic minuet type is connected to the Adagio by the similarity in the beginning of the theme, but the abbase beginning and the previously gallant habitus have now become an upbeat beginning and a style borrowed from folk music. Contrary to the expected tact, the beginning of the repetition of the phrase is emphasized by an accent, and the expansion of the double tone repetition from the main motif to the triple knock in connection with the repeated emphasis on the third bar cause a rhythmic loosening up.

In the trio (B flat major), the parallel oboes and the bassoon play a singing melody that contains a quotation from the nodding statue from Wolfgang Amadeus Mozart's Don Giovanni , which also appeared in Haydn's Symphony No. 51 . The character of the trio with its warm timbre and romantic melancholy is reminiscent of that of the Adagio; the sweeping phrases of the melody line embrace each other, so that an arc - again reminiscent of Schubert - is drawn across the whole trio.

Fourth movement: Finale. Presto

B flat major, 2/4 time, 312 bars

  • Presentation of the upbeat, dance-like main theme ( rondo theme ) with several unexpected harmonic turns (B flat major, E flat major, F major, D minor, A major). The subject allegedly goes back to a Croatian march or Croatian wedding march. The section consists of two repeated parts. The second part begins with a “gallop” motif in the solo woodwinds derived from the opening and then takes up the main theme again with flutes and bassoon.
  • First couplet or first execution-like section (bars 38–128), beginning with a new, lively motif (motif 1, B flat major, fortissimo) with large leaps in intervals and accentuated accents on the second beat. The motif is performed again in F major, but then the music breaks off with chords of the double dominant C major (measure 66). After a general pause, the strings attempt a new beginning with the rondo theme, but this does not go beyond the top of the theme and leads to another, chromatic, circular motif with staccato eighth notes (motif 2, bar 78 ff.) In C major, again with conspicuous ones Accents. The further course is mainly characterized by almost absurd, circling sixteenth- note figures, whereby after a caesura (bar 109) the prelude to the main theme is briefly heard.
  • The following appearance of the main theme (bars 129–165, B flat major) can be heard as a recapitulation, the flutes are now part of the voice leading from the beginning.
  • The second couplet or the second performance-like section (bars 166 ff.) Begins as a dramatic pan to B minor in fortissimo, which then gets stuck in the opening motif from the main theme to A major and becomes a polyphonic section with elements from the main theme ( fugato ) leads. Again, the music then gets stuck in the opening motif. Even an attempt to bring the main theme completely fails when the prelude is lost over chromatically descending, diminished chords of the woodwind (bars 222-223). For this, the chromatic circular motif 2 follows again. A cadence-like chord progression (dominant - tonic) sets the provisional end, but the movement is not yet over.
  • The coda continues the attempt to allow the main theme to appear completely, but this breaks down into its individual parts, instead there is an unexpected “dramatic” insertion similar to the beginning of the second couplet. Only the “noisy”, 15-bar closing tutti ends the movement - but with the opening motif downwards (instead of upwards beforehand). Haydn treats the presentation of the closing as a compositional problem with over 98 beats of delaying .

Individual references, comments

  1. ↑ Sennefelder (2007): "possibly December 1794 – January 1795"
  2. ↑ a b c d e Doris Sennefelder: Symphony in B flat major, Hob. I: 102. 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. 176-182.
  3. ^ Howard Chandler Robbins Landon: Haydn . Chronicle and Works. Volume 3: Haydn in England 1791–1795. London 1976. Quoted in Sennefelder 2007
  4. ^ Donald Francis Tovey: Essays in Musical Analysis. Symphonies and other Orchestral Works. - Haydn the Inaccessible. - Symphony in B Flat (Salomon, No. 12; chronological List, No. 102). London, 1935-1939, pp. 364 to 365
  5. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, 848 pp.
  6. ^ Ulrich Wilker: London Symphonies, 4th episode. Critical report . Ed .: Joseph Haydn Institute (=  Joseph Haydn Works I, 18 ). Henle, Munich 2016, p. 7 .
  7. ^ Ulrich Wilker: London Symphonies, 4th episode. Critical report . Ed .: Joseph Haydn Institute (=  Joseph Haydn Works I, 18 ). Henle, Munich 2017, p. 20 .
  8. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  9. ↑ 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 . "
  10. ↑ 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).
  11. ↑ a b c d e f g h Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 379 ff.
  12. ↑ Structurally similar, but even more “extreme” begins Symphony No. 103 .
  13. ^ A b Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series in the southwestern radio station Baden-Baden. 3rd volume, Baden-Baden 1989, pp. 162, 163.
  14. ↑ The motif is sometimes also viewed as a separate topic, which then results in a total of three topics for the exposure: e.g. B. Tovey (1935-39); Holland (1987); Mainka (1991) summarizes the motif bar 57 with bar 81 ff. As a second theme, “whose gripping gesture [bar 57 ff] with a march-like twist [bar. 81 ff.] Is coupled. "
  15. ↑ Walter (2007): "harmoniously absurd motif"
  16. ^ A b Anton Gabmayer: Symphony No. 102 in B flat major, Hob.I: 102 "My dearest love". Information text about the concert on September 19, 2009, http://ha000011.host.inode.at/haydn_de/index.html , as of April 2010.
  17. ↑ a b c d Dietmar Holland: Symphony No. 102 in B flat major. In: Attila Csampai & Dietmar Holland (eds.): The concert guide. Orchestral music from 1700 to the present day. Rowohlt-Verlag, Reinbek bei Hamburg 1987, ISBN 3-8052-0450-7 , pp. 127-129
  18. ↑ Jürgen Mainka: Joseph Haydn: Symphony No. 102 in B flat major Hob. I: 102 (1794). In: Malte Korff (ed.): Concert book orchestral music 1650-1800. Breitkopf & Härtel, Wiesbaden / Leipzig 1991, ISBN 3-7651-0281-4 , pp. 390-392.
  19. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's Sons, Mainz 1959, p. 238.
  20. ^ Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952.
  21. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, 128 pp.
  22. ↑ Jacob (1952) speaks of an intoxicated finale […], where after the Croatian wedding march the completely drunk instruments start wrong four times before they come to their senses again.

See also

Web links, notes