32nd Symphony (Haydn)

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The Symphony in C major Hoboken directory I: 32 wrote Joseph Haydn to 1760/61. The early work is in the festive C major style “with timpani and trumpets”.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed the symphony No. 32 around 1760/61, presumably for the court orchestra of Count Morzin, with whom he was employed in 1760. The early work is in the festive C major style “with timpani and trumpets”. Nos. 20 , 33 and 37 of Haydn's early symphonies also belong to this type (timpani and trumpets were partly added later, but have been handed down in the same way for No. 32, see below). Most of the other symphonies from this period have a smaller line-up, in line with the rather small court orchestra of Count Morzin.

According to HC Robbins Landon , these early C major symphonies for “large” orchestras are characterized by a rather impersonal atmosphere that is reminiscent of the cold elegance of baroque Austrian monasteries. As was customary at the time, the focus of No. 32 is on the first movement, which is particularly festive in the character of a baroque intrada with its numerous fanfares. On the other hand, Haydn designed the final movement as a “sweep” much more easily. The symphony is - which was not taken for granted back then - in four movements. Contrary to the pattern that later became established, the minuet is in second place and the slow movement in third (from Haydn's early symphonies as well, e.g. in Nos. 37 and 108). The slow movement is vocal and, like the trio of the minuet, is only orchestrated for strings.

To the music

Instrumentation: two oboes , two horns in C alto, two trumpets , timpani , 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. The work edition published by the Joseph Haydn Institute in Cologne writes about the timpani and trumpets: “These instruments were not standard, but were desirable or even indispensable for certain representative occasions where a festive C major piece was needed. Only in Symphony 32, the largest and "most festive" C major symphony of this volume, are trumpets and timpani consistently handed down. "

Performance time: approx. 15 to 20 minutes (depending on the tempo and after observing the prescribed repetitions)

With the terms of the sonata movement used here as an alternative, 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 around 1760. - 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

C major, 2/4 time, 181 bars

Beginning of Allegro molto, 1st violin

The symphony opens with an imposing fanfare-like passage (“first theme”) in the forte: signal-like ascending triads in the violins with the participation of horns and trumpets; “Drum bass” on C by bassoon, cello and double bass, timed beats of the kettledrum. This opening fanfare consists of a six-bar (bars 1–6) and a four-bar (bars 7–10) thought. The four-bar idea is repeated and then quickly changes from the tonic in C major to the dominant G major, which is reached in bar 19 with two chord strikes. The following section (bars 20–46) is initially characterized by the alternation of question (piano) and answer (forte, with horn fanfare), followed by staccato triad breaks in the violins that merge into a tremolo .

The short, contrasting “second theme” (bars 47 ff.) Is in G minor and is only played piano by the strings. It is based on a questioning staccato tone repetition motif, answered by a falling line. This four-bar unit is repeated with the continuation of the falling line, which merges into the final group with tremolo and fanfare. The first part of the movement ("Exposition") ends in measure 70 and is repeated.

The middle part of the movement takes up the fanfare-like triad breaks from the beginning of the movement with an echo effect (repetition in the piano). A longer forte tremolo passage touches various keys and then leads into a further section in which triad breaks and runs in the violins alternate. With the caesura in bar 113, the tonic in C major is prepared (dominant G is reached and accented with trumpet fanfare) and lets the listener expect the recapitulation. Haydn delays this, however: the strings enter piano, with the violins playing the tone repetition motif from the “second theme” from bar 47, leaving C major for a short time.

The recapitulation beginning in bar 132 is shortened compared to the exposition: although a tremolo passage is inserted between the opening fanfare and the “question-answer” motif, the question-answer motif is only presented once and the “second topic” is omitted. The final group largely corresponds to that of the exposition and ends the movement in tremolo. The second part of the sentence (middle part and recapitulation) is also repeated.

"[The symphony No. 32 works in the first movement] with larger sound surfaces, correspondingly large-scale contrasts and targeted enhancements through the expansion of bar groups, motivic condensation and increased movement [...] - the spacious two-part exposition of the first movement, which is always new and surprisingly differentiated in detail with its almost textbook-like contrast between the first and second subject or complex of motifs is already very close to the classic design language and far removed from almost everything that contemporaries have to offer. "

Second movement: Menuet

C major, 3/4 time, with trio 58 bars

The courtly-ceremonial minuet (consistently forte) begins as an ascending triad figure in dotted rhythm (imitated in the bass) and tone repetition. The four-bar idea is concluded by a fanfare in horns and trumpets and repeated as a variant with triplets . The short middle section takes up the tone repetition motif, while the triplets continue in the 2nd violin, and after just six bars returns to the main idea.

The contrasting trio is in C minor and is only for strings in the piano. The expressive melody in the 1st violin is chromatically enriched. Its characteristic three full-bar notes appear varied (e.g. at the beginning of the second trio part as an ascending line played around by a pendulum figure).

Third movement: Adagio ma non troppo

F major, 2/4 time, 86 bars

The movement is only intended for strings and contrasts with the previous event with its chamber music timbre and the “sigh-like cantilena pierced with pauses”. The movement begins pianissimo with a two-bar motif with a trill rising in regular staccato eighth notes, which is led through the instruments: at the beginning with a “low” keynote in bass and viola, followed by the 1st violin and the 2nd violin. The accompaniment with an octave jump upwards and notes held above the beat creates the impression of polyphony. This first passage (“first theme”) leads in bar 9 to the dominant C major, where the “second theme” now begins (bar 10 ff.): The voice-leading 1st violin plays a melody line with sixteenth notes separated by pauses Staccato accompaniment in the 2nd violin reminds of the motif head from the “first theme”. From bar 18 the melody flow becomes more even by omitting the pauses and twice reaches a sustained A major seventh chord, each of which is resolved as a falling line. The “final group” from bar 28 is a variant of the opening motif. The first part of the sentence (“Exposition”) ends in bar 25 and is repeated.

The middle part of the movement begins with the motif from the beginning of the movement with both violins staggered from C major. After a short transition, the tonic in F major is reached again in bar 41 with the opening motif like a reprise. This pseudo-reprise then leaves F major, however, to briefly touch G minor and - with the reversal of the initial motif - F minor. The “correct” recapitulation then begins again with the opening motif in F major in bar 54. It is varied compared to the first part of the sentence in that the section of the “first theme” contains a descending sequence passage of the opening motif (with the notes sustained over the bar in the bass) and the transition to the section of the "second theme" is emphasized with a full-time C major seventh chord (with fermata ). The sentence breathes in pianissimo. The middle section and recapitulation are also repeated.

Fourth movement: Presto

C major, 3/8 time, 96 bars

The Presto is kept in the character of the light "Kehraus" movement typical of the time, with short, upbeat and similarly structured motifs alternating between forte and piano. The first thematic unit (bars 1-8, C major) is characterized by its staccato knock motif with question (forte) - answer (piano) - structure. The next, trailer-like passage in bars 9-16 (G major) shows a more flowing, but detached upward movement. This is followed by three other short dance motifs, the third in G minor alternating between 2nd and 1st violin. A variant of the knocking motif forms the “final group” of the first part of the sentence (“exposition”) from bar 29, which is repeated.

The short middle section first sequences the question-answer motif upwards and then picks up the offset upward movement from the beginning of the sentence, which is left out in the recapitulation (bars 65 ff.). The recapitulation otherwise corresponds to the first part of the sentence. The middle section and recapitulation are also repeated.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 265.
  3. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 229: “Moreover, in these particular C major works, a certain pedantic character comes very much to the fore, lending a brittle, impersonal atmosphere to the whole: all three [Note: are meant No. 20, 32, 37] are totally devoid of any warmth, and are in many ways reminiscent of the magnificence, the pomp, and the cold splendor of some of the Austrian baroque monasteries (for which, indeed, they might very well have been composed). "
  4. ↑ The common numbers do not always correspond to the chronological order.
  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. ^ Sonja Gerlach, Ullrich Scheideler: Symphonies around 1757 - 1760/61. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 1. G. Henle-Verlag, Munich 1998, page XI.
  7. ↑ a b c The repetitions of the parts of the sentence are not kept in many recordings.
  8. ↑ Finscher (2000) p. 138.
  9. ↑ Minuet after source Budapest after score Philharmonia
  10. ^ 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. 117

Web links, notes

See also