33rd Symphony (Haydn)

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The Symphony in C major Hoboken directory I: 33 wrote Joseph Haydn to the 1760th

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed the Symphony No. 33 around 1760, although the exact year of its composition is not known. According to James Webster, the sources for the symphony “clearly point to a date of origin 1760 or earlier”, while the main page of the Haydn Festival Eisenstadt for Symphony No. 33 states “1761 to spring 1762” as the composition date. While the first information refers to Haydn's time of employment with Count Morzin, the latter reference already extends to the time of employment with Prince von Esterházy (from May 1, 1761).

“It is more difficult to date, and indeed to bring it into connection with the Esterházy court at all, (...) the symphony Hob. I: 33, in which the instrumentation with timpani and trumpets is well established by the sources. However, these instruments were not part of the regular inventory of the Esterházy chapel. According to this, Hob. I: 33 could have been composed either before May 1761 or for an external client or occasion, or for a special festivity at the court, to which additional musicians from abroad or the Eisenstadt Thuringian masters were then committed. For example, Prince Nikolaus I's solemn entry into Eisenstadt on May 17, 1762 after he took over government could be considered. There are several indications that the symphony was written in the vicinity of the "Tageszeit-Sinfonie" as well as the symphony Hob. I: 36 , but not before the time at the Esterházy court. It is particularly noticeable that Haydn in Hob. I: 33 deviates from the design conventions found in his earlier C major symphonies Hob. I: 20 , 32 and 37 . Unlike in those early symphonies, neither the 1st movement is in 2/4 time nor the finale in 3/8 time. "

Compared to the earlier Symphony No. 32 of a similar type, No. 33 is also "more progressive" in that the last movement is not structured as a lightweight "sweep" (which was still common at the time), but rather (as it would later become common) has approximately the same weight in relation to the first sentence.

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.

Performance time: approx. 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: Vivace

C major, 3/4 time, 149 bars

Beginning of Vivace: 1st violin with motif 1 and motif 2

The symphony opens as a high-contrast complex of motifs ("first theme"): The opening fanfare with trills and ascending C major triad (motif 1) is followed by a triple repeated closing phrase (motif 2) and a singing, descending line (motif 3), which is underlaid by continuous eighth chains. These also determine the further course and cause the propulsive impulse of the sentence. The rest of the action is also characterized by a sequence of contrasting elements: Forte piano motif (bars 10–12), tremolo passage (bars 13–16), suggestion motif (bars 17–19), syncopation with a falling passage Line (bars 20-24) and a final turn leading to the dominant G major with virtuoso runs.

The following page movement in G major (bars 29 ff., “Second theme”) takes up the closing phrase from motif 2 and then also adds a vocal line (insofar, both “themes” are structured similarly). The final group from bar 34, after slightly melodic forte chord strokes, also brings a vocal figure before the first part of the sentence ends with G major - chord breaks.

The middle section (development, bars 52 ff.) Begins with the fanfare motif from the first topic. The triad breaks from the fanfare motif are extended, but the closing phrase and the vocal line are omitted. In measure 60, the first theme in C major with a fanfare motif and a closing phrase begins as a mock review, before the actual processing part begins in the further course. Initially, Haydn leads with tremolo and trills to E major, where an imitative passage begins with the suggestion motif from bar 19. The following singing figure in A minor is reminiscent of the corresponding passage from the second theme. In bar 90, starting from E major, a question-answer passage begins alternating between forte and piano, with the forte answer with its chord strokes reminding of the final group. Starting in F major, Haydn then changes back to the tonic in C major with tremolo and chord breaks from the final group (bar 101 similar to bar 49) .

The recapitulation (from bar 103) begins with the first theme in C major. It is structured largely like the exposure. The exposition as well as the development and recapitulation are repeated.

Walter Lessing points out the balance of the movement proportions: the exposition and development are each 51 bars long, the recapitulation is only slightly shorter at 47 bars.

Second movement: Andante

C minor, 2/4 time, 105 bars

The movement is only orchestrated for strings and is often only in two parts (violins as well as viola and bass in parallel). With this sparse line-up, the dominance of piano and the change to minor, the movement forms a contrast to the preceding, festive, “noisy” Vivace.

The simple, plaintive melody line of the first theme consists of a sustained reclining tone (with underlaid, striding bass figure (bars 1–3), tone repetition and second motif (sigh motif, bars 3–6) as well as a final turn with accent and triplet (bars 6–8) The theme is then repeated shortened as a variant (bars 9-14). Another accented motif with a large interval jump downwards (duodecime) leads via chromatic ascending movement to a triplet passage, which establishes the tonic parallel in E flat major. In E flat major goes it then continues as a striding, more melodic sixteenth-note movement of the violins (second "theme"). The final section (from bar 32) takes up the recumbent tone, the tone repetition and the final turn of the first theme.

The development (bars 41 ff.) Begins with the first theme in E flat major, then continues the material with recumbent tone, tone repetition and triplets and changes to F minor. The second "theme" and the head of the first theme then appear in F minor. A uniform sixteenth note movement of the violins structurally corresponding to the second “theme” leads via G major back to the tonic in C minor, in which the recapitulation begins in bar 73. Haydn structured this like the exposition, but omitted the chromatically ascending line. The exposition, development and recapitulation are repeated.

Third movement: Menuet

C major, 3/4 time, with trio 44 bars

Beginning of the minuet, 1st violin and bass, bars 1–4

The entire first part of the festive minuet (bars 1–10) is in the forte and, except for the final turn with virtuoso triplets, is characterized by its stepping movement with alternation of quarters and eighths. The upper voices leading the melody (oboes and violins) perform larger leaps in intervals than the lower voices (viola and bass) with their second steps. This and the occurrence of the eighth turn on the first and third quarter of the bar loosen up the walking rhythm.

The second part of the minuet consists of a six-bar piano passage in which the 2nd violin plays a variant of the upper part material and the 1st violin a variant of the lower part material from the first part. Already in bar 17 the main idea in the forte is taken up again like a reprise.

The trio is in F major. Just like the Andante, the movement is only for strings and is mainly orchestrated in two parts: the vocal-leading melody line (1st and partly 2nd violin) is largely syncopated, while the accompaniment line (2nd violin partly and bass) corresponds to the normal rhythm, even quarter and eighth notes.

Fourth movement: Allegro

C major, 2/4 time, 136 bars

Beginning of the Allegro, 1st violin, bars 1–4

The movement begins with a striking unison motif in the forte consisting of three quarters (octave up and sixth down), followed by a piano response from the two violins, these with a characteristic prelude in dotted rhythm. This four-bar main idea ("theme") is repeated as a variant that leads to the subdominant F major. The third attempt with the unison motif spins the opening motif with the accompaniment of the wind instruments and tremolo and then turns into an eighth-note passage with wild staccato intermittent jumps. From bar 20, after another variant of the unison motif, a staccato passage begins again with large leaps in intervals, but now in quarters and underlaid with syncopation of the 2nd violin. Then virtuoso sixteenth-note runs of the violins establish the dominant G major, in which from bar 41 the final section in the piano begins. Here the prelude emerges again with dotted rhythm from the beginning of the sentence. The exposition ends and repeats as a simple fourth motif upwards with horn participation in the piano.

The development shows "an almost operatic drama": starting from the unison motif, a longer forte section begins in bar 55, in which the quarter movement in the bass, derived from the unison motif, is accompanied by tremolo and sustained oboe chords. Haydn modulates from G minor to D minor, A major, B major and F major to F minor in bars 67/68. In bar 69/70 there is an enharmonic reinterpretation of the A-flat (third from F minor) to G sharp (third from E major), which probably had a very abrupt effect for the listener of the 18th century. Haydn then changes over to A minor and D minor to G major, which initially prepares the recapitulation in fortissimo and with a seventh, then piano with elements of the final group (opening motif).

The recapitulation (bars 91 ff.) Is structured largely similar to the exposition. The passage with the virtuoso runs is, however, extended by a few trill figures. After the final group, Haydn adds a stretta-like coda at the end. The development and recapitulation are also repeated.

Peter Brown highlights the Allegro as one of the most important symphony final movements of Haydn's earliest symphonies.

Individual references, comments

  1. ↑ Information text on Symphony No. 33 at the Haydn Festival in Eisenstadt, see under web links, accessed July 1, 2013.
  2. ↑ see under web links
  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. ↑ a b Joseph Haydn: Symphony No. 33 in C major, Hob.I: 33 for the performance of Symphony No. 33 of the Haydn Festival Eisenstadt on July 25, 2009. ( Information text accessed April 2, 2012)
  5. ↑ a b Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 21 ff.
  6. ^ A b A. Peter Brown: The Symphonic Repertoire. Volume II. The First Golden Age of the Vienese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, Bloomington & Indianapolis 2002, ISBN 0-253-33487-X , p. 47.
  7. ^ Anthony van Hoboken ( Joseph Haydn. Thematic-bibliographical catalog raisonné, Volume I. Schott-Verlag, Mainz 1957) puts trumpets and timpani in brackets in the information on the instrumentation. According to Howard Chandler Robbins Landon ( The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 229), timpani and trumpets are not included in the old complete edition of the Breitkopf & Härtel publishing house, but are listed in some other old sources. James Webster (information text on Symphony No. 33 of the Haydn Festival Eisenstadt, see under Web Links) writes that Symphony No. 33 is "the only one" , "for which reliable sources indicate trumpets and timpani" . Ullrich Scheideler expresses himself similarly in the work edition of Haydn's symphonies published by the Joseph Haydn Institute in Cologne (see above).
  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 c The repetitions of the parts of the sentence are not kept in many recordings.
  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. 118.

Web links, notes

See also