3rd symphony (Haydn)

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The Symphony in G major Hoboken directory I: 3 composed Joseph Haydn to 1761. The plant is within Haydn's early symphonies by the use of counterpoint , tendencies toward sonata form and the appreciation of the final movement as significant.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The Symphony in G major Hoboken Directory I: 3 was written around 1761. No. 3 has a special position within Haydn's early symphonies and is therefore used for example. T. highlighted as particularly significant. This is due to the fact that the work already shows "modern" features of what will later be known as the typical symphony of the Viennese classic :

  • first movement with tendencies towards the sonata form: typical contrasting of the first and second theme, implementation with processing of material from the exposition ;
  • Four movements with a minuet as the third movement;
  • Appreciation of the finale: no lightweight sweepstakes, but an equivalent counterpart to the first movement.
  • Paradoxically, also the use of the then “old-fashioned” baroque technique of polyphony (which continues into the later works of Haydn and other contemporaries).
  • Furthermore, the treatment of the wind instruments is more differentiated than in the previous symphonies.

It is possible that Symphony No. 3, together with Symphony No. 15, were the first symphonies composed for the Esterházy orchestra: “The contrapuntal compositional technique, which is particularly important in the minuet (canon between upper part and bass) as well as in the fugue of the final movement, but also in the first movement with its ghetto-like theme. One reason for this counterpoint, which is unusual at least in this concentration, could be that Haydn wanted to prove his skills in the field of polyphonic compositional technique to his new employer Paul Anton , who was used to Werner's compositions . "

To the music

Instrumentation: two 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. 15 minutes.

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 Symphony No. 3 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

G major, 3/4 time, 122 bars

The movement is opened by two falling intervals (fourth and sept) of the parallel violins and oboes (similar to the beginning of the first movement of Mozart's symphony KV 183 ). The second motif of the “first theme” consists of a figure rising in quarters with a trill. Both motifs are underlaid by a continuous bass movement in staccato . From bars 7 to 9 there is a third motif with a falling line in the piano, in which the 2nd violin picks up the eighth note movement from the bass. Due to the unequal length of its components, the topic is therefore not structured periodically or symmetrically. In bar 10, the whole orchestra begins forte with a continuation of the main motif. Up to the beginning of the “second theme” in bar 29, new material is then brought in, of which an upwardly sequenced motif with syncope (bars 20–24) is to be emphasized. The 2nd violin leads, while the 1st violin takes up the figure of the bass from bars 10 to 14 (ascending, broken chords). This syncope motif appears again later in the sentence.

The second theme (bars 29-36) in the dominant D major is in the piano and is based on a two-bar, singing motif that the oboes and violins throw at each other in a dialogue. The exposition ends in the final section (bars 37-45) with a tremolo figure from the passage before the second theme, with a phrase in the bass loosening up.

In the implementation , the first topic and the syncope motif are processed. In this case, modulated Haydn of clock 57 to 71 on C major, F major, A minor and E Major / e Minor. From bars 53 to 56 the first theme in the 2nd violin is accompanied by a motif from the 1st violin, which can be found in a similar form in the fourth movement.

The recapitulation begins in bar 80 with the first theme in the tonic in G major. After the first run, the viola and bass pick up the theme, overlaid by a counter-vocal accompaniment from the violins. The rest of the recapitulation is structured similar to the exposition. The exposition, development and recapitulation are repeated.

Second movement: Andante moderato

G minor, 2/4 time, 86 bars, only for strings

Except for a few accents, the movement is consistently piano and characterized overall by the upbeat character of the motifs with hoquetus-like pauses. The two main themes are symmetrical, but mirror images of each other: In the first theme, the first phrase of the antecedent makes a halting impression due to sixteenth pauses, while the second phrase appears more fluid due to the lack of pauses. In the second theme (bars 12-20) in the tonic parallel in B flat major, it is the other way around: the flowing character continues in the antecedent, the 1st violin dominating. On the other hand, the epilogue, in which the 1st and 2nd violins play staggered, has a staggering character due to the sixteenth pauses. This is followed by the final section (bars 20-28) in B flat major with two short unison stops in the forte.

In the development (bars 29-59) the first theme, especially its first phrase, is processed by slightly modifying and modulating the material; there are z. B. F minor (bar 40), E flat major (bar 42) and C minor (bar 48 ff.). The recapitulation is structured similarly to the exposition. The exposition, development and recapitulation are repeated.

Third movement: Menuet

G major, 3/4 time, with trio 48 bars

The minuet without a start is a two-part canon , the first part being played by oboes and violins, the second part, offset by one measure, by viola, cello and double bass; accompany the horns. In bar 19/20 the lead changes, now the second voice is one bar ahead of the first. - Haydn also uses a canon-like minuet in the symphonies No. 23 and No. 44 .

The trio is also in G major and is characterized by its triplet dialogue between the solo winds and the violins.

Fourth movement: (Allegro)

G major, 2/2 time (alla breve), 131 measures

The movement is based on two themes with their opposing voices, which are processed counterpoint:

  • Cantus firmus - theme: second up - third down - second up. At the beginning of the sentence, the theme also has an opposing voice that plays around the main notes.
  • Second theme from tone repetition and second step up. Counterpart with a descending broken chord, in the winds as half notes, in the strings as a looping eighth.

Possible structure:

Beginning of the Allegro in the two violins, theme and counterpart

First section ("Exposition") with presentation of the themes in the tonic in G major:

  • Bars 1–26: The theme is first introduced with its counterpart in the violins. This is followed by viola (bars 9–12), cello and double bass (bars 13–16), horns (bars 17–20) and finally the oboes (bars 21–24). The section is consistently pianissimo and corresponds to an appropriate joint exposure.
  • Measure 26–38: Presentation of the second topic and its counterparty voice, the volume suddenly changes to forte. The section no longer represents “proper” joint exposure, but merely consists of upward sequencing. As an interlude, from bars 35–38 there is a tremolo passage with alternation from A major and D major and with the head from the first theme in the bass.

Second section (bars 39-102, “development”): processing and contrasting the main theme (this also offset against itself), theme 2 and counterpart, bars 91 ff. Four-part narrowing of the main theme. Beginning in the dominant D major, then modulations. From bar 97 the interlude follows analogously to bar 35 ff.

Third section (bars 103-131, "recapitulation")

  • Measure 103 ff .: main theme versus second theme (now with one second step down) in the strings, piano;
  • Bar 110 ff .: variant of the counterpart from the second theme, forte;
  • Measure 115 to 122: organ point in bass on D, above main theme in narrowing and theme 2.

The movement ends after rapid unison eighth runs of the opposing voice of theme 2. James Webster praises: “But the finale, a masterpiece, trumps all this with a great synthesis of fugue and sonata style and is probably the first example of this type of final movement, which is so important for Haydn . It is similar to the finale of the “ Jupiter Symphony ” in that it is a sonata movement with an artful contrapuntal structure over a 'cantus firmus' -like theme made up of four whole notes. ”The movement is partly also a double fugue due to the use of two themes referred to, whereby there is no “strict” form of the double fugue, but a mixed form with elements of the “sonata” (e.g. the change to the dominant).

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ^ Dietmar Holland: Joseph Haydn. Symphonies between 1757 (or 1758) and 1761. In: Attila Csampai & Dietmar Holland (Hrsg.): Der Konzertführer. Orchestral music from 1700 to the present day. Rowohlt-Verlag, Reinbek near Hamburg 1987, ISBN 3-8052-0450-7
  3. ↑ a b c James Webster: Hob.I: 3rd Symphony in G major. Informational text on Symphony No. 3 by Joseph Haydn as part of the project "Haydn 100 & 7" of the Haydn Festival Eisenstadt: http://www.haydn107.com/index.php?id=2&sym=3 , as of April 2010
  4. ^ A b Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 218-220.
  5. ^ A b Howard Chandler Robbins Landon: Haydn: Chronicle and works. The early years 1732-1765. Thames and Hudson, London 1980, p. 295.
  6. ^ Robbins Landon (1955, p. 219): "The fanfares of the horns seem to grow out of the musical fabric and are not sporadically superimposed, as in Symphony No. 1. The oboes detach themselves from the violins and act as real harmonic sustainers, just the opposite of their function in the earlier works where they nearly always double the upper strings. "
  7. ↑ 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.
  8. ↑ 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).
  9. ↑ a b The repetitions of the parts of the sentence are not kept in some recordings.
  10. ↑ means the previous sentences
  11. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 25.

Web links, notes

See also