13th Symphony (Haydn)

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The Symphony in D major Hoboken directory I: 13 wrote Joseph Haydn in 1763 during his tenure as Vice-Kapellmeister to Prince I. Nikolaus Esterházy . The symphony has four horns instead of the usual two horns. The second movement contains extensive passages for the solo cello.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The symphony is characterized by the following features:

  • Use of four (instead of two) horns (as well as symphonies No. 31 , No. 39 and 72 );
  • Appearance of a solo cello in the second movement and a solo flute in the trio of the minuet;
  • Multi-part technique in the final movement ( Fugato ).

The symphonies 12 and 40 were also certainly composed in 1763 .

To the music

Instrumentation: flute , two oboes , four horns , two violins , viola , cello , also in the second movement a solo 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.

In Autograph a is subsequently timpani with thicker spring and in a lighter brown ink entered as the rest of the score. The term "Timpano" at the beginning of the work and key , Taktvorschreibung , bar lines , circuit lines and repeat signs are not written by Haydn. In the Breitkopf catalog of 1767, no timpani part is mentioned when this symphony is performed. In some transcripts of the parts, the line-up has been changed to two horns and two trumpets, probably in accordance with local conditions. The timpani part "certainly does not come from Haydn, but could be approved by him."

Performance time: approx. 19-21 minutes.

With the terms of the sonata form used here, it should be noted that this model was only designed at the beginning of the 19th century (see there) and can only be used with restrictions for a symphony from 1763. - 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 molto

D major, 4/4 time, 87 bars

Beginning of the Allegro molto

The movement begins with a fanfare-like ostinato motif of the strings in unison forte, which is spun on up to bar 9 through chords held like organ dots by the wind instruments. James Webster praises “the unforgettable opening of the symphony” as “one of the most impressive and powerful sounding structures in Haydn's oeuvre .” The upbeat-like sixteenth- note figure at the third beat is particularly important for the rest of the movement .

After a short transition section with an echo in the piano (bars 9-14), the second main motif, which is derived from the first, follows: sixteenth- note opening figure and interval steps up / down in quarters or eighth notes. This motif appears in the dialogue between the 1st violin and the flute. Bars 14/15 are repeated echo-like in the piano (bars 19/20). The following forte passage (bar 21 ff.) Consists of virtuoso sixteenth notes over an octave in parallel violins and flute, which is only interrupted by a syncope figure in bars 28-30. The exposition ends in measure 34 and is repeated.

The implementation processes both main reasons: First, the initial motive in the bass strings on Tremolo (35-41 clock), then (bar 42 ff.), The second main subject, but now without a dialogue with the flute. In doing so , Haydn a. a. after F sharp minor and G major.

The recapitulation begins in measure 62 with the first main motif corresponding to the beginning of the movement - surprisingly and effectively now in the piano. Shortly afterwards, an ascending horn fanfare is added in the forte to “compensate” (bars 68–70). The section with the second main motif now manages without an “echo” in the piano, otherwise the recapitulation is similar to the exposition. The development and recapitulation are not repeated.

Peter Brown suspects that the sentence had a strong impact on contemporary audiences.

Second movement: Adagio cantabile

G major, 4/4 time, 31 bars, only strings with additional solo cello

The movement, which is consistently held in the piano, is based on a vocal melody for solo cello and its continuation. The accompanying strings only perform simple chords that support the basic harmony.

The movement is divided into two repeated parts (bars 1–12 and 13–31), where bars 13–21 are somewhat reminiscent of a development and bars 22 ff. Of a recapitulation in the sense of the sonata form.

Haydn presumably wrote this movement for the cellist Joseph Weigl, who was engaged on June 1, 1761 . According to the usual practice at the time, the solo cellist probably also had some leeway for improvisation.

Third movement: Menuet

D major, 3/4 time, with trio 84 bars

The minuet without an upbeat begins as a descending D major chord in forte unison. It has a festive character with typical alternations between forte and echo-like piano. According to Walter Lessing, the frequent "dynamic changes and repeatedly inserted pauses (...) give the sentence something funny and mischievous at the same time."

The trio in G major for solo flute and strings is characterized by falling, broken chords for the flute, to which the strings give answers in the piano or in forte unison.

Fourth movement: Allegro molto

D major, 2/4 time, 170 bars

Main motive of the final movement

The movement stands out due to the use of polyphonic technique (similar to the recently composed Symphony No. 3 ). The main motif of the movement is based on the third line of the Gregorian hymn Pange lingua , which became known among Haydn's contemporaries through the textbook “ Gradus ad Parnassum ” by Johann Joseph Fux and, for example, B. Wolfgang Amadeus Mozart also used it in the Missa brevis KV 192 and in the final movement of the symphony KV 551 .

The exposition (bars 1–61) can be structured as follows:

  • Presentation of the fugue motif in the violins, piano, counterpoint in the bass from eighth note movement (bars 1–4); Throw in the wind instruments with a contrasting forte fanfare with syncope and falling, broken chord ("fanfare motif", measure 4/5); second appearance of the fugue motif similar to bars 1–4, but a third higher (bars 6–9);
  • triple repetition of the fanfare motif in the forte: in the winds, the strings and then together;
  • third and fourth appearance of the fugue motif (bars 15–22): first in D major in bass with counterpoint motif (bars 15–18); then in A major in parallel in 2nd oboe, 3rd and 4th horn and 2nd violin (counterpoint here from broken chords in continuous eighth note movement);
  • Continuation of the broken chords from the counterpoint of the last cycle of the motif (bars 24–28) as well as a "swing out" with syncopation in unison of the strings (bars 29–32).
  • new motif with broken chord in sixteenth notes, alternation from A major and E major (bars 33–40);
  • Syncopation passage (bars 42-50);
  • Fifth appearance of the fugue motif in flute and 1st violin, A major, piano, underlaid by a “drum bass” on A (bars 51–54);
  • Closing group in forte with chords in offset eighth note movement.

In the development (bars 62-104), consistently in the forte, the fugue motif is led through all instruments with a variant of the counterpoint motif from the beginning of the sentence. At the beginning, the fanfare motif is inserted in the wind section, and the string parts are set in such a way that they can be swapped with one another in triple counterpoint. A major, D major, G major, E minor and F sharp minor are achieved via modulations. The last run in F sharp minor (bars 89–92) manages without counterpoint. The return to the recapitulation takes place via the eighth figure according to bar 23 ff.

The recapitulation (from bar 105) begins like the exposition, after the triple repetition of the fanfare, however, the syncope section follows according to bars 29 ff. The exuberant appearance of the fugue motif is instead in the form of a narrowing in the strings (bars 145–151) as well parallel in flute, oboe and violin (bars 152–155) "submitted later". Bars 160 ff. Are again designed according to the exposition with the last appearance of the fugue motif in flute and 1st violin (corresponding to bar 51 ff., But now in the tonic in D major instead of A major) as well as the final group with separated chords . The exposition, development and recapitulation are repeated.

Individual evidence

  1. ↑ 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).
  2. ↑ Christa Landon : Haydn Symphony No. 13. Ernst Eulenburg Ltd. No. 563, London / Zurich 1963 (preface and revision report on the pocket score)
  3. ↑ Jürgen Braun, Sonja Gerlach: Symphonies 1761 to 1763. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 3. G. Henle-Verlag, Munich 1990, page IX.
  4. ↑ James Webster: Hob.I: 13 Symphony in D major. Website of the project “Haydn 100 & 7” of the Haydn Festival Eisenstadt, see under web links
  5. ↑ according to the Eulenburg score from 1963, see below under "Notes"
  6. ^ 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 ; p 83): "This movement must have caused a sensation in an audience oriented toward the intricacies of the chamber symphony or the unrelenting bustle of Haydn's overture style."
  7. ↑ Ludwig Finscher : Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  8. ^ A b c Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series on Südwestfunk Baden-Baden 1987-89. Volume 1. Baden-Baden 1989, p. 56.

Web links, notes

See also