103rd Symphony (Haydn)

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The Symphony Hoboken Directory I: 103 in E flat major was composed by Joseph Haydn in 1795. The work is one of the famous “London Symphonies” and is nicknamed “with the drum roll ”.

General

Franz Joseph Haydn (1732–1809)

For general information on the London symphonies, cf. Symphony No. 93 . Haydn composed Symphony No. 103 in 1795 as part of his second trip to London for the “Opera Concerts” series. It is Haydn's penultimate symphony. It premiered on March 2, 1795 at the King's Theater in London. The Morning Chronicle reports on March 3, 1795:

“Again a new symphony was performed by the prolific and enchanting HAYDN; which, as usual, shows continuous flashes of inspiration both in melody and in harmony. The slow introduction attracted the greatest attention, which beguiled Allegro. "

The epithet "with the drum roll" does not come from Haydn, but is derived from the unusual beginning of the symphony: Here Haydn notated a full-bar note with a fermata for the kettledrum and headed it "Intrada". Information on the volume is missing in the autograph , which has led to the timpani solo being interpreted differently: On the one hand, this concerns the volume, which is usually carried out as an increase and decrease in volume, although the various editions also contain information from pianissimo to to find fortissimo. On the other hand, the solo is usually interpreted as a vortex, but the term “intrada” leaves room for improvisation by the timpani depending on the point of view.

The Italian composer Luigi Cherubini , who greatly admired Haydn, visited the composer on February 24, 1806 in Vienna. Haydn gave him the manuscript of the Symphony No. 103 and wrote the addition "Father of the famous Cherubini" ("Padre del celebre Cherubini") as a dedication on the title page.

The following elements, some of which already point in the direction of Romanticism , should be emphasized in this symphony:

  • the rapid changes in timbres, moods and tempos (e.g. first movement: change of dynamics and insertion of the slow introduction, second movement: change of minor and major).
  • the interlacing of the introduction (with an express topic) and the first sentence up to the literal resumption of the introduction. Such a literal approach had never existed in a symphony before.
  • the use of folk-song melodies.
  • the "upgrading" of the slow movement of variations from the technical "gimmick" of the early classical period to the expressive art of romanticism.
  • the tendency to dissolve the “traditional” forms such as sonata or rondo in the finale, which also begins with a “romantic” opening call from the horns (see also the following quotations from literature).

In the literature, due to its contradictions / parallels, the work is sometimes viewed as a "sister work" to Symphony No. 104 , and it is particularly emphasized for its romantic structures:

“When you hear (…) the slow movement (…), you can astonish the inexperienced:“ Is that by Brahms , is it Mendelssohn or an unknown Mahler ? ”Because this synthesis of a folk song and a muffled stumbling march, with her self-rescuing clumsiness, is saturated with such strange harmony and new instrumentation that it sounds like late-romantic or neo-romantic music. "

“In this work, Haydn's development becomes clear: What a path from the early, playful symphonies, which are still completely under the spell of the courtly Rococo , to these last compositions, in which deeper emotional expression begins to emerge! It is undeniably the influence of the epoch that is at work here, premonitions of romantic subjectivism, the mood grinding that will soon take hold of music. "

“But the crown of the symphony is the finale, one of Haydn's most ingenious formal inventions of all. Is it a rondo, a sonata form, or some other “scheme”? No, it is an attempt to graduate in three different ways. (...) How the buffo tone, contrapuntal mastery and the strictest thematic integration combine without the music breaking into a sweat is one of Haydn's secrets (...). "

“The E-flat major symphony (...) is Haydn's most radical attempt to interweave a slow introduction and allegro on several levels, and it is also the symphony in which folk music tones play the greatest role. (...) The form categories rondo, sonata movement and sonata rondo lose their meaning here; the most important form caesuras (...) are marked by the topic with the horn call, everything else is thematic work. "

To the music

King's Theater on Haymarket

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 initially from the harpsichord and from 1792 from the “ Piano Forte ”, as was the performance practice at the time. This indicates the use of a keyboard instrument (harpsichord or fortepiano) as a continuo in the "London Symphonies".

Performance time: approx. 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 - Allegro con spirito

Adagio  : (C minor), 3/4 time, bars 1–39 After the full-bar timpani solo, the six-bar, gloomy theme begins in the bass (bassoon, cello, double bass), the beginning of which is reminiscent of the “ Dies irae ” and ends with a two-bar twist of two half notes.

Beginning of Dies Irae
Beginning of the introduction

In doing so, Haydn takes a step back from the usual octave management of cello and double bass by noting the double bass one octave higher than the cello, which creates a special unison sound. The theme is then repeated three times in variants, with the final turn alternating between B flat major and E flat major. The passage from bar 28 is characterized by chromaticism and allows the introduction to end in alternation between A and G. With the exception of the accents at the end, the Adagio, which is Haydn's longest symphony introduction, is consistently in the piano.

Allegro con spirito : E flat major, 6/8 time, bars 40–228

The movement begins piano with the dance-like first theme in the strings, which is characterized by double tone repetitions and a small second , and with its cheerful character ( "mousing like champagne" ) forms a strong contrast to the dark introduction. The four-bar main idea (consisting of “question” and “answer”) is repeated an octave lower and goes into transition from bar 47 in the forte tutti . Here Haydn draws on material from the theme (theme head, tone repetition), presents it in different shades and switches to the dominant B flat major. A chromatic forzato passage (bars 67 ff.) Is striking; next to it appears - inconspicuously - the theme of the introduction in the violins with a new rhythm (bars 73/74).

The second theme (bars 79 ff.) Is also dance-like and is reminiscent of a waltz in character. The first bar of the topic can be thought of as derived from the second bar of the introductory topic. The figure of bar 3 of the theme with its characteristic rhythm becomes independent and leads quite abruptly into the short final group, which is also rhythmically loosened up by syncope . The exposure is repeated.

The implementation (clock 94-158) begins with imitatorischem occurrence of elements of the first thread, wherein first the head then the final turn are guided by the bowed instruments. From bar 104 a new motif in flute and oboe is added. An increase leads to the forte, but then breaks off with chord hits on G major. Separated by a general pause, the bass then begins with the introductory theme (without changing the tempo), which gradually forms a steady accompanying figure, overlaid by chromatic phrases from the violins. A renewed increase up to the forte remains in staccato eighth notes, which, however, merge with the main theme with an abrupt change to the piano. This leads - interrupted by another unexpected general pause - in the piano from A flat major to the appearance of the second theme in D flat major. The second part of the theme leads again to an increase, this time up to fortissimo, which ends as a B flat major seventh chord.

The recapitulation (bars 158 ff.) Begins, as usual, with the first theme in the tonic in E flat major, and the transition and second theme (now also in E flat and with contradicting, staggered oboe use) structurally largely correspond to the exposition. Instead of the final section, however, there is a “catastrophic fortissimo tutti” , the subsequent accent passage breathes away as the dying figure of the first violin and string chords in the piano. From bars 201 to 212, the first twelve bars of the Adagio (in the original tempo) including a drum solo follow as a contrasting, darkly mysterious insert. Just as abruptly as this clouding over, the tempo and mood change back into the coda-like, extended final group with the head from the first topic.

Second movement: Andante più tosto Allegretto

C minor / C major, 2/4 time, 198 bars

The Andante represents a double variation movement, as Haydn also used in other slow symphonic movements (e.g. in Symphony No. 63 ). The two memorable themes in C minor and C major are introduced or varied one after the other. They have a march-like, song-like character, whereby the second theme can be interpreted as a pentatonic- toned major variant of the first. Whether Haydn resorted to very specific (Croatian) folk songs has not been proven with certainty, but the echoes of Hungarian / Croatian folk music v. a. clearly in the first theme through the gypsy scale. The movement had to be repeated when it was first performed on March 2, 1795.

Outline overview:

  • Presentation of theme 1 (bars 1–26): C minor, with 8 + 18 bars, C major, going like a funeral march, with the characteristic excessive second step in E-flat - F sharp.
  • Presentation of topic 2 (bars 27–50): C major, with 8 + 16 bars, contrast to topic 1 with major, forte and tutti, topic 2 is related to topic 1 (see above); The voice-leading are violins and oboes, the second part with "jubilant" trills.
  • Variation 1 of Theme 1 (bars 51–84): C minor, with plaintive interjections from oboe, flute and bassoon, from bar 74 part leading in bassoon / viola.
  • Variation 1 of Theme 2 (bars 85-108): C major, solo violin plays around the theme.
  • Variation 2 of Theme 1 (bars 109-134): C minor, characterized by the alternation of piano (strings) and forte / fortissimo (tutti), "military march"
  • Variation 2 of Theme 2 (bars 135–160): C major, idyllic beginning with oboes leading the voice and flute garlands, second part fanfare-like and festive.
  • Coda (bars 161 ff.): Cautious beginning with theme 2, breathed in pianissimo, then unexpected turn to E flat major (basic key of the other movements) and increase to fortissimo, woodwind passage in piano, brilliant end in C major with timpani and Bass vortex.

Third movement: Menuet

E flat major, 3/4 time, 48 + 32 bars

As in the previous movements, the main themes in the minuet and trio indicate echoes (here Austrian) folk music. The main melody of the minuet is characterized by suggestion figures and “stomping” accents of the measure, while the more chamber music trio (also in E flat major) has landler-like features and the prominent role of the wind section (in particular the two concertos clarinets and the bassoon, as well as horns accompanying) gets a characteristic timbre.

The contrasts that occurred in the previous movements can also be found in the minuet as an “alienation” of the material: At the beginning of the second part of the minuet by reaching the harmoniously distant keys C flat major and G flat major as well as by imitation, at the beginning of the second part of the trio by chromatically taking up the tone repetition motif.

Fourth movement: Finale. Allegro con spirito

E flat major, 2/2 time (alla breve), 399 measures

The horn signal

The movement opens with a signal from the two horns (similar to the final movement of the symphony No. 59 ), in the repetition of which the violins introduce the seemingly simple main theme, which is said to be based on a Croatian folk song, like opposing voices. The horn call receives an “answer” in the clarinets, which adapts to the second part of the string theme. The string theme is subsequently changed in many ways, harmonically, rhythmically and in the instrumentation, expanded, shortened and repeatedly recombined in its elements:

In the passage up to bar 72, which is kept (almost) entirely in the piano, the strings throw the elements of the theme to each other, accompanied by sustained notes from a woodwind instrument (oboe, bassoon, clarinet). In bar 45 the eight-bar theme including the wind signal is taken up again; the continuation in the strings is similar to the first, but varied. When the entire orchestra first appears in the forte in bar 73, the opening motif is dominant. The rest of the action is based on thematic work with elements of the main theme. Haydn changes to the dominant in B flat major with virtuoso eighth runs and a fortissimo outburst. This has established itself with reaching a piano passage (bar 107 ff.), In which first bass, then oboe and flute present the theme over a carpet-like, floating tone repetition accompaniment of the violin / viola. When repeated, the bass continues the motif with a lyrical minor clouding. In bar 134, the “noisy” final group with chord melodies in B flat major begins abruptly in the forte, which seamlessly merges into the “development” with the change to the piano (bar 146).

The piano passage has a transitional character and ends “openly” as a B flat major seventh chord, followed by a general rest. Since Haydn then starts again with the theme and its continuation according to the beginning of the sentence (but without the horn solo), the first impression when listening is that the exposition is being repeated. Only at the beginning of the Forte section (bars 182 ff.), Which further processes the head of the topic, does it become clear that one is already in the “development”, which, however, is based on the exposition in terms of its structural sequence: an accented passage of the The tone repetition motif (bars 208 ff.) Leads to D flat major, in which the piano passage is introduced analogously to bars 107 ff. This changes with the repetition with the lyrical bass motif to F major. Corresponding to the exposition, the final group then follows (bars 247 ff.) As a variant, which, however, breaks off with chord hits on G major, again followed by a general pause as a caesura.

After this clear cut, the recapitulation begins (bars 264 ff.), Which begins with a variant of the forte passage after the theme has been introduced. After the piano passage (now in the tonic in E flat major) and the final section, Haydn adds a coda from bar 350 onwards, which contains the movement with the head of the main theme, the horn signal (now all wind instruments except the flute) and the virtuoso eighth-notes brings to a conclusion. As at the beginning of the symphony, the timpani plays an essential role in the final increase in tension.

In the first version, Haydn had planned 16 additional bars with successive motifs reduced to two tones. It is possible that the use of such traditional techniques in this unusual finale seemed unsuitable to him, so that he finally deleted them.

Individual references, comments

  1. ↑ translated and quoted in: Symphony in E flat major, Hob. I: 103 ("With the drum roll"). Review of the work and essay by Alexander Heinzel. 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. 193-200.
  2. ↑ Eulenburg pocket score, see under sheet music
  3. ↑ Philharmonia pocket score, see under sheet music
  4. ^ Ernst Praetorius: Revision report on the Eulenburg pocket score edition of Joseph Haydn's Symphony No. 103 in E flat major. Edition Eulenburg No. 469, London / Zurich, no year (audit report from February 1938)
  5. ↑ a b c d Dietmar Holland: Symphony No. 103 in E flat major ("With the drum roll") . 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. 129-131
  6. ↑ A similar structure can be found in the first movement of the string quintet KV 593 by Wolfgang Amadeus Mozart ; in later works of the (early) romantic period z. B. in the first movement of the 1st symphony by Franz Schubert
  7. ^ A b c Kurt Pahlen: Symphony of the World. Schweizer Verlagshaus AG, Zurich 1978, pp. 165–166
  8. ↑ a b c d e f g h i j Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 382 ff.
  9. ^ Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952, pp. 249/250
  10. ↑ In the fourth sentence.
  11. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  12. ↑ 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 . "
  13. ↑ 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).
  14. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, 128 pp.
  15. ↑ According to Heinzel (2007), the Croatian ethnomusicologist Franjo Zaver Kuhav is said to have established in 1880 that both themes are based on folk songs that were sung in the area around Sopron (Ödenburg) and thus in the immediate vicinity of Esterháza Palace: “On the meadow “(C minor) or“ Now it's springtime ”(C major, title translated).
  16. ↑ Finscher (2000, p. 387): "a splendid military march (seamless connection to the military symphony , which had been repeated in concert a week earlier) ..."
  17. ↑ The structure proposed here is based on the structure of the sonata form, but other interpretations are also possible, see above under “General”.
  18. ↑ Print e.g. B. in the Philharmonia pocket score, see under sheet music

See also

Web links, notes

  • 103rd Symphony (Haydn) : Sheet music and audio files in the International Music Score Library Project
  • Thread on Symphony No. 103 by Joseph Haydn in the Tamino Klassikforum
  • Wolfgang Marggraf : The Symphonies of Joseph Haydn. - Symphony 103, E flat major (“drum roll”), accessed May 30, 2011 (text as of 2009)
  • Joseph Haydn: Sinfonia No. 103 E flat major. Philharmonia No. 803, Universal Edition Vienna, series: Critical edition of all symphonies by Joseph Haydn, edited by HC Robbins Landon (pocket score, edition approx. 1967). Contains both final versions from the 4th sentence.
  • Joseph Haydn: Symphony No. 103 Eb major. Edition Eulenburg No. 469. Ernst Eulenburg Ltd., London / Zurich (pocket score, without year, with audit report by Ernst Praetorius from 1938)
  • Hubert Unverricht: London symphonies 4th episode. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 18. G. Henle-Verlag, Munich 1963, 227 pages.
  • Ulrich Wilker: London symphonies 4th episode. Critical report. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 18. G. Henle-Verlag, Munich 2016, 95 pages.