15th Symphony (Haydn)

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The Symphony in D major Hoboken directory I: 15 wrote Joseph Haydn in the 1761st

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The Symphony Hoboken Directory I: 15 was composed by Joseph Haydn in 1761. A performance of Symphony No. 15 was possibly the reason for Haydn's appointment with Prince Paul Anton Esterházy on May 1, 1761. According to another opinion, Symphonies No. 3 and 15 about probably the first symphonies composed for the Esterházy orchestra. For Symphony No. 15, the slow introduction and the solos in the trio of the minuet are seen as close to Symphony No. 25 .

“(...) The years have done nothing to the vigorous minuet and its charming trio, in which the violins play a kind of question and answer game compared to the violas and violoncells; The same is true of the lovely Andante for string instruments that follows, the theme of which dissolves into its individual motifs like a string of pearls in the most informal manner and repeatedly rises to an effective intensification. The lively final movement, Presto (...) has an interesting middle movement, D minor, in which the first violin introduces a new motif, while the second violin continuously accompanies in sixteenths and only the viola and bass know how to keep their calm. All in all, this symphony is particularly characterized by the wealth of ideas and their skillful execution. "

To the music

Instrumentation: two oboes , two horns , two violins , viola , viola solo, cello , cello solo, 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. 20 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 a work composed in 1761 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: Adagio - Presto - Adagio

The framing of a fast part of a sentence by two slow adagios is unique in Haydn's entire symphonic oeuvre. In the older literature, the sequence slow-fast-slow is sometimes seen as a reference to the French overture . This is contradicted by the fact that in the symphony “neither the slow framing parts nor the rapid middle part show any correspondence to the musical gesture typical of the French overture” . The introductory Adagio is not a majestic introduction, but rather has divertiment-like features. Wolfgang Marggraf sees "in this strange arrangement a formal experiment characteristic of Haydn's early days".

Adagio: D major, 3/4 time, bars 1 to 33:

In the Adagio, the first violin, which is kept pianissimo throughout, develops its “charming cantilena ” , which is divided into two- bar groups, accompanied by the other strings pizzicato . The solo horns make brief interjections at the caesuras of the melody. This creates a relaxed, divertiment-like atmosphere. As in the Adagio of Symphony No. 11 , the oboes are silent in this movement. From bar 9, the first violin continues its cantilena. The ascending line of the 1st violin in the Lombard rhythm is followed by a passage with strings alternating from high and low register with sustained tones of the horns. The horns then take over the voice guidance, while the 1st violin now accompanies the tone. After another figure on the first violin, ascending in the Lombard rhythm, the Adagio ends with a tone repeater figure alternating between high and low strings in the dominant A major.

Presto: D major, 4/4 time, measures 34 to 111:

Beginning of Presto

The lively, fiery movement begins in the tonic in D major with a two-part “theme”. The first part is a dramatic, dissonant overlay of voices from the oboes and tremolating violins, which, as a "rising pseudo-imitation (...) is not a topic, but a pure musical process." After three bars, a new thought follows, similar to the initial theme of the first Movement from Symphony No. 4 or a Croatian folk dance ( Kolo ) (chord strike + sixteenth-note roller + eighth-note staccato sequence). Unison sixteenth runs of the oboes and violins lead to the second theme in A major, with bars 47/48 being structured in a rhythmically differentiated manner beforehand: the 1st violin plays syncopation , the 2nd violin descending sixteenth- note figures and the viola an ascending, leading to the 2nd Violin countermovement-like 16th phrase.

The second theme (from bar 37, A major) is introduced pianissimo only by the two violins with an eighth staccato figure, which can be thought of as derived from the second motif of the first theme. This figure is then expanded with minor opacity and accompanied by the other instruments. The final group begins as the strings turn in unison, then brings a tremolo figure similar to the beginning of the sentence and, in three repetitions, the upward voices of the viola from bars 47/48. The exposition ends with the tremolo part of the first theme in A major.

Without repeating the exposition, the middle section (“development”) is seamlessly followed by a sequence of several motifs, including at the beginning a variant of the tremolo part from the first theme and elements from the second theme. The strong contrasts between fortissimo and pianissimo from bar 72 are striking.

The recapitulation begins in measure 81 with the second motif of the first theme and then runs similar to the exposition. The Presto ends after the strings run in unison in A major.

Adagio: D major, 3/4 time, bars 112 to 134: The revival of the Adagio is shortened by ten bars: After the dialogue between the 1st violin and horns, the passage immediately begins with the change of strings in high and low registers and the sound of the horns.

Second movement: Menuet

D major, 3/4 time, with trio 68 bars

The dotted rhythm that predominates in the “sublime, almost Handel ” minuet is reminiscent of “the French style” and gives “the movement something of the dignified measure of a baroque minuet” . The beginning of the movement shows similarities to the trio of the minuet from “Servizio di tavola” from 1757 by the Viennese court conductor Georg Reutter.

In the chamber music trio for strings (G major), the violins alternate with the solo viola and the solo cello in a dialog-like manner with legato two-tone groups.

"This is the first time that we encounter the tendency to highlight individual instruments as soloists, particularly often in the trio of the minuet, which will then become particularly prominent in Haydn's symphony of the sixties."

Third movement: Andante

G major, 2/4 time, 73 bars

Beginning of the Andante with the upbeat opening phrase, which characterizes the further course of the sentence

The predominantly two-part Andante is only intended for strings and is reminiscent of the sensitive style of Carl Philipp Emanuel Bach with its expressive melody, which is often interrupted by pauses, and the sigh-like anticipation . The upbeat opening phrase of the four-bar main theme plays an important role in the further course of the movement: the theme in the violins is followed by a new motif with tone repetition in dotted rhythm, with the bass filling the pauses with this phrase. It also appears dominant in the following passage from bar 12. After a fortissimo outburst, a line falling in syncope leads to the final motif of the exposition with tone repetition and forte-piano contrast.

The beginning of the second part of the sentence is marked by the dialogue between the violins, with the first violin playing the main theme. Another outburst up to fortissimo leads to another passage with syncopation in the 1st violin (bars 38 to 47), while the 2nd violin continues its sigh-like second motifs. The recapitulation from bar 50 is structured similarly to the exposition. Both parts of the sentence are repeated.

Fourth movement: Presto

D major, 3/8 time, 158 bars

The Presto is laid out in three parts according to the ABA scheme and is reminiscent of the structure of a minuet with a trio due to its somewhat dance-like character. The A section is kept in the gallant style of a “sweep”. It is also divided into three parts:

  • Part 1 (bars 1 to 20): Presentation of the topic, which consists of two phrases (phrase 1: bars 1 to 6, phrase 2: bars 7 to 10). The theme is ten bars and ends “openly” on the dominant A, then it is repeated once with the end on the tonic D (bar 20).
  • Part 2 (bars 21 to 32): Continuation of the thoughts from the A part.
  • Part 1 (bars 33 to 44): revisiting the topic with a varied final turn.

The middle section contrasts with the key of D minor and the restriction to strings in the piano. The 1st violin leads the part with "a peculiar dance-like, springy melody" , the other strings accompany (the 2nd violin with "whispering sixteenth-note chains" , bass and viola with a spotted foundation).

  • Part 1 (bars 45 to 60): The eight-bar theme has a characteristic four-way tone repetition with a second up in its head motif as well as a loosening of the rhythm (shortened variant of the head motif with a note held above the beat and a second up). It is repeated.
  • Part 2 (bars 61 to 82) again consists of two phrases. The first begins with F major and varies the motifs of the previous theme (second down and double tone repetition). In addition to the tone repetition, the second phrase initially shows large leaps in intervals and then, as a falling line, leads seamlessly into the revival of the theme of Part 1.
  • Then part 2 is repeated in full (bars 83 to 104).

From bar 105 the A section is repeated almost verbatim. Haydn ends the movement with a coda.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ Michael Walter ( Haydn's symphonies. A musical work guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 29) with reference to Giuseppe Carpani, after whom the reason for Haydn's engagement at the court of Esterházy was the performance of a symphony in D major in 3/4 time. Apart from No. 15, if it is dated earlier, only Symphony No. 19 is possible.
  3. ↑ Ullrich Scheideler: Symphonies around 1761 - 1765. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 2. G. Henle-Verlag, Munich 2012, page VIII.
  4. ^ Carl Ferdinand Pohl: Joseph Haydn. First volume. First division. Publishing house by A. Sacco successor. Berlin 1875, page 303.
  5. ↑ 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).
  6. ↑ a b c d e f Wolfgang Marggraf : Haydn's earliest symphonies (1759-1761). The symphonies of the "Sonata-da-chiesa" type. http://www.haydn-sinfonien.de/text/chapter2.2.html , accessed January 30, 2013.
  7. ^ A b c Antony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 50.
  8. ^ A b c d e f g h i Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series of broadcasts on Südwestfunk Baden-Baden 1987-89, published by Südwestfunk Baden-Baden in 3 volumes. Volume 1, Baden-Baden 1989, pp. 64-65.
  9. ^ A b c Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 217 to 223.
  10. ↑ The motif is reminiscent of the beginning of the trio from the symphony KV 550 by Wolfgang Amadeus Mozart .
  11. ↑ a b James Webster: Hob.I: 15 Symphony in D major. Information text of the Haydn Festival Eisenstadt on Symphony No. 15 by Joseph Haydn, see under web links.
  12. ↑ The repetitions of the parts of the sentence are not observed in some recordings.
  13. ↑ a b c Arnold Werner-Jensen; Klaus Schweizer (1998): Reclam's concert guide for orchestral music. 16th edition. Philipp Reclam jun. Stuttgart, p. 125

Web links, notes

See also