28th Symphony (Haydn)

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The Symphony in A major Hoboken directory I: 28 wrote Joseph Haydn at the turn of 1765/66 during his tenure as Vice-Kapellmeister to Prince I. Nikolaus Esterházy . The first movement is almost completely dominated by a single motif, movements 2 and 3 with their special structure and timbre may have a reference to stage music.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The Symphony Hoboken Directory I: 28 was composed by Joseph Haydn around the turn of the year 1765/66 during his employment as vice conductor with Prince Nikolaus I Esterházy.

In Autograph only the sets 1 are obtained by the third Apparently Haydn only added the fourth movement later, because it can only be found in later contemporary copies. The Leipzig music critic Johann Adam Hiller wrote in a review of six Haydn symphonies in 1770:

“A local composer has long since brought the (...) symphony into a more tolerable form, and cut off the excesses of it; the last movement in 6/8 measure is completely left out in print; Wouldn't it have been better to have left the silly trio together with the Menuet. "

It is possible that movements 2 and 3 were originally intended as single movements for stage music (e.g. Josepha Schultz's group of actors made a guest appearance in Eisenstadt at the carnival in 1765). This is supported by the unusual sound effects of the movements and the (probable) post-composition of the fourth movement.

The symphonies composed by Haydn during this period are available in a large number of copies, especially in Austrian and Czech music archives, which indicates the popularity of these works. In the 1770s almost all of them belonged to the repertoire of the Bohemian aristocratic bands. The most widespread distribution (of the symphonies composed in 1764 and 1765) was apparently symphony No. 28.

To the music

Instrumentation: two oboes , two horns , two violins , viola , cello , double bass . To reinforce the bass voice was at that time also without separate listing a bassoon and harpsichord - Continuo (if available in the orchestra), where different in the literature on the participation of the harpsichord Disagreement exists.

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 1765 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: Allegro di molto

A major, 3/4 time, 164 bars

Beginning of the Allegro di molto

The movement is almost completely dominated by its main motif in the rhythm of three eighths (initially as a tone repeater) and a dotted quarter ("four-note motif"). This creates an impulse that is constantly pushing forward. This structure of only one main building block is often emphasized in the literature for Symphony No. 28. The rhythm is reminiscent of the well-known beginning of Ludwig van Beethoven's Symphony No. 5 , but is e.g. B. also used in Muzio Clementi's Piano Sonata in G minor opus 34 No. 2 from 1795.

The first theme, formed from the four-note motif, is presented piano by the strings. The first bars can also be heard as 6/8 bars. Interrupted by a surprising forte insertion of ascending and descending scale runs in unison, it is repeated.

From bar 22 a longer passage follows, which is characterized by continuous eighth note chains (bar-wise broken chords, some with large interval jumps) in the parallel violins and the four-note motif in oboes, viola and bass, interrupted only from bars 41 to 43, where the Strings play the eighth note chains in unison. The final group from bar 52 in the dominant E major then clearly emphasizes the four-note motif again in the first violin, in the second half it is again combined with the eighth notes.

The development does not begin with the complete theme, but again as a series of variants of the four-tone motif. The motif - when changing to B minor and F sharp minor - is processed in different variations: (1) ascending (e.g. bar 63), (2) ascending and descending (e.g. bar 65), (3) descending ( for example bar 66), (4) with a "sigh motif" (for example bar 74), (5) with a sixth mark (for example bar 79). This motif with a sixth mark is then fixed, whereby the interval of the sixth is also changed to octave and third. Only in bar 90 does the entire orchestra begin with the main theme in F sharp minor. With modulations , Haydn returns to the basic key ( tonic ) of A major.

In A major, the recapitulation begins in bar 104 with the main theme as at the beginning of the sentence. The forte break-in in unison, however, changes to A minor, and the repetition of the theme - now with the solo oboe leading the voice - is also in A minor. Otherwise the recapitulation is structured similarly to the exposition. The exposition, development and recapitulation are repeated.

Second movement: Poco Adagio

D major, 2/4 time, 124 bars

Beginning of the Poco Adagio

As is usual for the slow movements of Haydn's early symphonies, the Poco Adagio is only intended for strings. These play predominantly piano, the violins, which are largely parallel, are muted. The movement is “characterized by an alternation of motifs that do not match each other at all - solemn cantilena in a sonorous low register and sharp staccato marching rhythms of the violins - and the repeated stopping of the movement (…).” Haydn uses similar contrasts in the slow movements of the symphonies No. 60 and No. 65 .

The first theme in pianissimo already consists of two contrasting halves: the first half with a vocal motif that begins with a fourth and an ascending D major chord, in the lower register with violins leading the voice and predominantly legato. In the second half only the violins play, about an octave higher with marching rhythm and in staccato. The theme (bars 1 to 6) is repeated and then merges into a similarly structured dialog-like continuation. In the second theme (A major, from bar 24) the “marching part” is clearly expanded, and at the beginning viola and bass also take part in the action. The final group, on the other hand, is kept exclusively in the "singing" gesture and low register, it contains a few triplets and dotted rhythms at the end that are somewhat reminiscent of the march part.

The middle section (“development”) takes up the first theme in A major. With the repetition of the first half, Haydn turns to minor and, from bar 60, sequenced a motif with tone repetition and dotted rhythm downwards. The movement accumulates in bar 68/69 as a forte outbreak in full bar notes, which dissolves into the dominant A major and announces the recapitulation.

In the recapitulation from bar 71, the two halves are swapped in the first theme (i.e. the theme begins with the “march passage”). This is followed by the second topic, with the motif components of the first half (second step and tone repetition) now becoming independent over ten bars. Haydn designed the end of the movement with a coda . The exposition, the middle section and the recapitulation are repeated.

"The Poco adagio (...) consists to a large extent of an appealing, witty dialogue between the string instruments (legato) and the solo violins (staccato) and reveals an unmistakably theatrical dimension."

"[The movement] seems so peculiar, differs so much from other slow movements of Haydn (...) that one has the feeling that there is some secret joke behind it all."

Menuet. Allegro molto

A major, 3/4 time, with trio 54 bars

On the one hand, the minuet is striking because of its unusually (fast) tempo regulation “Allegro molto”. On the other hand, Haydn uses a signal-like fanfare (through fourths) in a question-and-answer structure as the main theme, which receives its particularly "sharp" timbre due to the effect of the bariolage . The middle section continues this dialogue with the enrichment of forte piano contrasts.

In the trio (A minor), which contrasts strongly with the minuet, the 1st violin plays a simple, five-note melody with a Slavic-melancholic timbre to accompany the other strings. Prince Nikolaus was obviously so impressed by this piece that Haydn used the melody again in a duet for two barytons , the Prince's favorite instrument. Johann Adam Hiller, however, criticized the trio as "silly" (see above).

Fourth movement: Presto assai

A major, 6/8 time, 98 bars

The "spirited overspray" set in the character of a gigue is shaped like the Allegro molto by the consecutive eighth notes with vorwärtsdrängendem pulse. The first theme also begins piano and consists of gradually ascending scales and a descent of two octaves. The head of the theme is repeated an octave lower, in the last "stage" with the participation of the whole orchestra ( tutti ) in the forte. The eighth note chains are then continued briefly from the tutti, then as a hammering tone repetition in the violins over a bass line. The second theme (from bar 23, dominant in E major) in the piano is held as a dialogue between the 1st violin and the other strings. The final group picks up the eighth note chains with their hammering tone repetition - now in energetic unison.

The development continues the eighth notes and changes with the second theme from bar 47 to the parallel tonic in F sharp minor. The figure of the first violin then continues for several bars piano before an eight-bar passage of the rapid, ascending unison chains from F sharp minor to the dominant E major, which heralds the recapitulation. This (from bar 65) is structured like an exposition. The exposition, development and recapitulation are repeated.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ^ A b Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, Volume I. Schott-Verlag, Mainz 1957, pp. 31 to 32.
  3. ^ A b c d e Walter Lessing: The Symphonies by 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. 93 to 95.
  4. ↑ This may mean an arrangement for piano: van Hoboken (1957, p. 32).
  5. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. The early years 1732-1765. Thames and Hudson, London 1980, p. 573.
  6. ^ Horst Walter: Symphonies 1764 and 1765. In: Joseph Haydn Institute Cologne (Ed.): Joseph Haydn Works. Series I, Volume 4. G. Henle-Verlag, Munich 1964, page VI.
  7. ↑ 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).
  8. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. A biography. With the collaboration of Irene Geiringer. Revised and with a foreword by Armin Raab. Schott-Verlag, Mainz 2009, ISBN 978-3-254-08047-9 , p. 335.
  9. ↑ a b c Wolfgang Marggraf : Haydn's early symphonic work 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 May 1, 2013.
  10. ↑ Eckhardt van den Hoogen: (Text contribution to the recording of Ludwig van Beethoven's Symphonies No. 5 and 8 by the Symphony Orchestra of the North German Radio, conducted by Günter Wand .) EMI harmonia mundi, Freiburg 1987.
  11. ↑ a b James Webster: Hob.I: 28 Symphony in A major. Information text on Symphony No. 28 of the Haydn Festival Eisenstadt, see under web links.
  12. ^ Howard Chandler Robbins Landon : The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 251.
  13. ↑ a b c The repetitions of the parts of the sentence are not kept in many recordings.
  14. ↑ a b Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 264.
  15. ^ Peter A. Brown: The Symphonic Repertoire , Volume 2. Indiana University Press ( ISBN 025333487X ), pp. 101-103 (2002).
  16. ↑ Hoboken Directory XII No. 5, in the minor part of the third movement.

Web links, notes

See also