24th Symphony (Haydn)

from Wikipedia, the free encyclopedia

The Symphony in D major Hoboken directory I: 24 wrote Joseph Haydn in 1764 during his tenure as Vice-Kapellmeister to Prince I. Nikolaus Esterházy . The energetic corner movements are characterized by contrasts, the slow movement with its solo flute is reminiscent of a concert movement and in the minuet the winds emerge solo.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Also in 1764, Haydn composed the symphonies No. 21 , No. 22 and No. 23 . At that time, Haydn was employed by the Esterházy family as vice conductor .

To the music

Instrumentation: two oboes , flute in adagio and trio instead of oboes, two horns , two violins , viola , 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.

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 model was only designed at the beginning of the 19th century (see there) and can only be used with restrictions for a symphony from 1764. - 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.

Movements 1, 3 and 4 have no tempo markings in the autograph . The movement names used here were taken from the Philharmonia score and correspond to the names usually used in comparable symphonies.

First movement: Allegro

D major, 4/4 time, 88 measures

Beginning of the Allegro with the theme in the oboes

The powerful and energetic first theme is performed forte by the oboes and horns leading the voice (not, as is usually the case, by the violins) with string accompaniment on the piano. The main thematic unit is characterized by a three-bar motif with a characteristic rhythm ( quarter - half - two eighth notes) and a closing phrase. After the strings run in unison (measure 4, "running motif"), the main unit, extended by one measure, is repeated (measures 5 to 9), with the strings changing to forte from measure 8 and the violins participating in the voice guidance.

The transition from bar 9 is kept forte throughout and contains energetic string figures in unison and a motif with large interval jumps over continuous bass movement.

The second “theme” (bars 19–22, dominant A major) consists of a two-bar motif (simple chord break A major / E major), which is stretched to four bars by repetition. It contrasts with the previous event through the quieter, detached, stepping character in the piano. Up to the end of the exposition, the energetic gesture dominates again: First, a rising motif (derived from the running motif of measure 4) is repeated four times. The final group from bar 34 contains a melody line falling in full bar notes with suggestions about tremolo, but the exposition again ends with the energetic running motif.

The "development" (strictly speaking, however, hardly any thematic material of the exposition is processed) begins as usual as a variant of the first theme in the dominant A major. After a few bars, Haydn begins to change the keys. The unusually long Fortissomo passage (bars 44–60) with tremolating, advancing chord breaks in the violins is also characterized by bar-wise key changes. The recapitulation announces itself in bars 59-60 with the running motif, chords on A and a caesura (general pause).

As expected, Haydn designed the beginning of the reprise with the first theme, but as a strongly contrasting variant in D minor only for strings in the piano. The "implementation" and the beginning of the reprise are often emphasized in the literature (see below). After the headline of the theme in A major, the second “theme” begins immediately in bar 71 (ie without the transition from the exposition), now also in the forte. The rest of the recapitulation corresponds structurally to the exposition. The exposition, development and recapitulation are repeated.

In particular, the development and the change to the recapitulation are highlighted in the literature:

“A premonition of the expressive tonal language of the so-called“ Sturm und Drang ”period of Haydn can be seen in the first movement of Symphony No. 24, whose motor-whipped restlessness of the exposition turns into a veritable“ outburst of rage ”(Marc Vignal) increases. This ends with a general pause, to which the recapitulation starts surprisingly in piano and reduced to a pure string sound - only after eight bars does the theme find its original force in forte. "

“The Allegro surpasses that of No. 23 in nervousness and strength, and the development (mainly in the minor key) becomes an outburst of rage. The recapitulation is expected after an organ point. It occurs, but is very different from the beginning of the movement: piano instead of forte, minor instead of major, with a theme reduced to the skeleton. "

“In a significant number of the symphonies, the recapitulation is more or less changed compared to the exposure, most often shortened (...). In most cases, the reasons for these changes cannot be identified. But they can claim special interest if it can be assumed that Haydn reacts with them to certain developments within the development, i.e. if the inner logic of the course of the movement makes an unchanged repetition of the exposition impossible. A recapitulation that has been modified in this way can therefore be sought above all where the development is unusual. Symphony 24 offers such an extremely impressive case. Its friendly theme, presented by oboes and horns, is briefly quoted at the beginning of the development, according to the rule, but then suddenly, wildly falling triads break in in fortissimo, over 16 bars incessantly and with unchanged extreme dynamics repeated on different harmonic levels. They contest the development to the end without the theme or the melodic material derived from it being heard again. This wild burst of passionate excitement, which mercilessly destroys the previously spread rather contemplative mood of the movement, is unprecedented in Haydn's early symphonies, and it seems almost self-evident that it cannot be traced back to the beginning of the movement as if nothing had happened. Rather, the disturbance is so great that the theme at the beginning of the recapitulation in the strings, without any brass splendor, only tentatively speaks out, in the piano and after D minor (...). "

“The motor skills of the execution are also of an inexorable nature, which must have seemed quite astonishing to the ears of the time (...). After that, the recapitulation is quite unusual. It begins - without the wind instruments - suddenly in D minor and in the piano, a contrast that seems all the more surprising after the modulating chord progressions and the uninterrupted forte movement of the development section. At first one is a bit surprised about the elegiac cantilena, which starts so unexpectedly - but after eight bars Haydn sets things right again (...). "

Second movement: Adagio

G major, 3/4 time, 56 bars, with solo flute instead of the other wind instruments

In the Adagio, the solo flute leading the voice plays lyrical and vocal melody lines that are broken down into numerous figurations. The strings almost always accompany discreetly in the piano. As a result, the Adagio is reminiscent of a flute concert in which “the gallant, crackling atmosphere of the Rococo ” blossoms. The Adagio thus contrasts strongly with the energetic, dramatic Allegro.

The opening theme (bars 1 to 8) is made up of two-bar modules. The first begins with a sustained half note, the second in the answering character with a three-bar tone repetition. Building blocks 3 and 4 are derived from building block 2. Starting from a variant of building blocks 1 and 2, Haydn changes from bar 9 with ascending chord figures in triplets to A major, which serves as preparation for the establishment of the dominant D major with dialogue between the flute (ascending line) and strings (descending line) . This "dialogue motif" is repeated in a figurative manner. After a tone repetition motif of the flute, the short final turn ends the first part with its further dialogue between flute and strings (now strings ascending, flute descending).

The second part (from bar 24) is a variant of the first. The dialogue motif, for example, is more extensive (bars 36 to 44) and there is a short minor clouding. After a forte insertion of the strings in unison, the flute plays a solo cadenza , although Haydn's notes have not been preserved. The sentence ends with the final turn according to the first part. Both parts are repeated.

Third movement: Menuet

D major, 3/4 time, with trio 60 bars

In the “rustic country style” minuet , the oboes and horns are involved in the voice guidance and emerge as soloists. The main thematic idea of ​​the minuet consists of two two-bar components: In the first, the whole orchestra plays a signal-like D major triad forte and in unison, the strings also play a sixteenth-note roller. The second component consists of a response from the solo oboes and horns. The theme is then repeated, then module 2 again, with the violins taking over the part of the oboes. A final turn with trills ends the first part.

The middle section starts from A major as a variant of module 1, which is led to B minor. Another piano variant leads back to A, which as a dominant prepares for the re-entry of the opening section in D major. In the “recapitulation” both components of the theme are played by the whole orchestra, with the sixteenth-note roller also appearing in the bass in module 2. Module 2 is repeated. The final turn has been changed compared to that of the first part and expanded with the sixteenth-note roller, strong dynamic contrasts (pianissimo to fortissimo) and echo effects.

The trio is also in D major and, like the minuet, has a country melody based on triads . The winds also emerge as a soloist, with the flute now replacing the oboe. The periodically structured, eight-bar melody of the first part is continued in the eight-bar second part.

Fourth movement: Finale. Allegro

D major, 4/4 time, 84 bars

The movement begins pianissimo as a simple question-and-answer phrase, underlaid by the tension-laden tremolo of the 2nd violin. From bar 5 a more vocal melody line begins in the 1st violin, ending with a final turn in triplets with a striding bass accompaniment.

Until the end of the exposition, the movement is consistently forte to fortissimo. Overall, the allegro is reminiscent of the first movement with its dynamic contrasts, energetic gesture and the same measure, especially the upward run of the 1st violin when changing to forte in measure 11 (similar to the running motif from measure 4 of the first movement). In the further course of the exposure, several partially repeated motifs are connected in series. The figure of half notes with small intervals and the accompanying figure of broken triads are essential. First, from bar 12, there is a motif in which the half-note figure - accompanied by the triad figure - alternates with rapid scale runs. Another, subsequent motif also has a half note and a scale. From bar 20, the half-note figure is played by the oboe, viola and bass, while the accompaniment is enriched with the triad motif (1st violin) and chord beats (2nd violin). The tremolo passage from bar 26 is characterized by its falling line in thirds and the triad motif in the bass. A short closing motif in unison of the strings with tone repetition ends the exposition.

The development (bars 35-57) does not begin with the opening theme, but with the half-note figure in combination with the triad motif corresponding to bar 12, both of which are briefly processed. This is followed by a variant of the tremolo passage corresponding to measure 26 with the falling line in thirds and the triad motif in the bass. In measure 52, Haydn has reached the tonic parallel in B minor. A transition passage for strings changes back to the tonic in D major.

The recapitulation from bar 58 is different from the exposition: The question-answer figure from the opening theme is accompanied by the horns. The triplet figure from the opening theme is left out, but after three bars with virtuoso runs the passage corresponding to bar 20 begins. The final motif sounds first piano, then again forte. The exposition, development and recapitulation are repeated.

See also

Web links, notes

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ 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).
  3. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, p. 28.
  4. ↑ see under notes
  5. ↑ This means that there is no periodic topic structure. See also Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, S 246: No. 24/1 shows the same lack of interest in the eight-measure period and attempts to achieve symmetry through an inter-relationship of motifs.
  6. ↑ a b c The repetitions of the parts of the sentence are not kept in many recordings.
  7. ^ Also Robbins Landon (1955, pp. 243-244): "... whereas No. 24 places the stress upon the development by an intense concentration upon one rhythmic and dynamic idea which modulates at a fortissimo level directly to the recapitulation. The same movement, however, decentralizes the power of the development by beginning the recapitulation in the tonic minor, giving the impression of further development. "
  8. ↑ a b c d Haydn Festival Eisenstadt: Joseph Haydn: Symphony No.24 in D major, Hob.I: 24 . Information about the performance on August 15, 2009. Accessed on November 20, 2012.
  9. ↑ James Webster: Hob.I: 24 Symphony in D major. Information text on Symphony No. 24 of the Haydn Festival Eisenstadt. http://www.haydn107.com/index.php?id=2&sym=24 , accessed November 20, 2012.
  10. ^ Wolfgang Marggraf : Haydn's early symphonic works at the court of Eisenstadt (1761–1766). The symphonies of the Italian and normal types. http://www.haydn-sinfonien.de/text/chapter3.1.html , accessed November 20, 2012.
  11. ^ 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. 89.
  12. ^ Antony Hodgson: The Music of Joseph Haydn . The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 63.
  13. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. The early years 1732-1765. Thames and Hudson, London 1980, p. 568.