35th Symphony (Haydn)

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The Symphony in B flat major Hoboken directory I: 35 wrote Joseph Haydn in 1767 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The autograph of this symphony shows an exact date: December 1, 1767. It is partly inferred from this that Haydn composed the symphony on the same day. However, it is also conceivable that the date denotes the day the composition began or the day it was completed.

The work was probably relatively popular among contemporaries: the symphony was recorded in the catalog of music from Göttweig Abbey as early as 1769 . Therefore, the work was likely to have been distributed in transcripts fairly soon after its creation. Several of these secondary transcripts of the votes have survived. As early as 1771, printed parts were announced at Venier in Paris.

Haydn entered the work between symphonies no. 39 and no. 59 in his “draft catalog” .

Examples of statements on Symphony No. 35:

  • "[...] and so it goes, exactly as the employment contract prescribes and the position requires it, which requires the conductor to" provide "the music necessary for all concerts and festivities, just like the gardener the flowers, the hunter for the game, the tailor has to take care of the toilets. Before 1764 Haydn had already written twenty symphonies; maybe some or many more - who should register or count them back then? [...] Symphony followed symphony [...]. "
  • “Although this symphony, composed at the end of 1767, is by no means exceptional in terms of external criteria - it uses a common major key, the usual sequence of four movements and the standard line-up of two oboes, two horns and strings [...], it has neither a nickname nor programmatic or dramatic references and shows no obvious violations of conventions of form or stylistic propriety - it consistently embodies the high art that Haydn was capable of when it came to creating "light music". "
  • In Symphony No. 35, HC Robbins Landon emphasizes the alternation between “light and shadow”, the long minor passage in the development of the first movement and the rich orchestral effects reminiscent of the Mannheim school .
  • Ludwig Finscher regards the symphonies No. 35 and No. 58, which was probably also composed in 1767, as “a mirror-image pair of works, as it were”: No. 35 goes from a “highly dramatic first movement in the exposition to a melancholy andante to a finale that strikes buffa tones “, While No. 58 focuses on the unusual third and fourth sentences.
  • Anthony Hodgson draws attention to the particularly demanding horn parts in the first movement, which are partly responsible for the fact that the work is rarely performed in public. He praises the Andante as one of the “most enchanting” and emphasizes its lightness.

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 duration : approx. 20 minutes (depending on compliance with 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 1767. - 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

B flat major, 3/4 time, 177 bars

Haydn opens the symphony - rather unusual for the time - not forte, but piano with a vocal question-answer motif (motif 1, “vocal motif”) in the violins over a throbbing eighth note movement in the bass. This four-bar antecedent of the first theme is followed by the four-bar subsequent clause, consisting of two forte chord strikes announced by the horn, which are in turn answered by Motif 1 piano. In the subsequent transfer Haydn change with multiple designs dominant F Major: motif 2 with inlaid, rhythmic unison movement ( "Gallop design") attached to a corresponding design of the 1st set of Wolfgang Amadeus Mozart Symphony KV 543 reminds , Motifs 1a and 1b with a question-and-answer structure derived from motif 1 and motif 3 with its energetic, chromatic unison movement of the strings in the tremolo (tremolo motif).

After a brief caesura, piano introduces the second theme in F major (bars 40-47), which represents a variant of the vocal motif and - as at the beginning of the movement - is only played by the strings. The whole orchestra ends the exposition in the forte with virtuoso runs, chromatic tremolo movements (similar to motif 3) and a dialogue of the rhythmic phrases from the gallop motif of the solo oboe solo.

The implementation (clock 61-105) which by its modulation , the Moll longer passages and the counterpoint strikes processing of the thematic material, sequentially processes the substantially for the set of subjects. It begins with the continuation of the vocal motif, surprisingly not in F major, in which the exposition closed, but in the tonic in B flat major. The motif is accompanied and shortened by a B in the horns sustained for over eight bars or the throbbing eighth notes in the bass (only the final turn remains). The following, dramatic forte section illuminates the motif in different colors, which are juxtaposed by the interplay of upper and lower voices in abrupt changes (change of key, sometimes staggered use of the motif) and finally reduces the motif to its final turn. From bar 88, Haydn changes to the gallop motif, which is also processed through staggered use and guidance through different keys. The development ends with the tremolo motif, which has now been extended to eight bars.

The recapitulation (bars 106 ff.) Stands out due to the demanding, brilliant little horn solo in the forte part of the afterthought from the first theme and a passage in the transition to the “second theme” in which both violins offset the vocal motif Throwing in the insert and - again, shortening the motif - screwing yourself up. At the end of the movement, the horns get short solo interludes. The exposition, development and recapitulation are repeated.

Second movement: Andante

E flat major, 2/4 time, 128 bars

The five-bar, leisurely main idea is first introduced in the voice-leading violins. It is characterized by an upbeat “pendulum motif” that plays around a note (motif 1), a motif with interval steps downwards (motif 2) and a rhythmic closing phrase (motif 3). The thought is then repeated, with the 1st violin supporting the accompaniment. The beginning of the sentence contains a “tonal shrewdness”: The first bars of the motif seem as if B flat major, which still resonates in the ear from the previous movement, were the basic key ( tonic ) - only the closing phrase leads to E flat , the “real one “Basic key of the movement. From bar 10, Haydn begins to continue with motif 1. This leads to F major, which has a dominant effect on the following passage in B major. Here (bars 19 ff.) The pendulum motif appears alternating between high and low positions. The end of the first part of the sentence is characterized by an upbeat tone repetition motif with a rhythmic ending.

The development (bar 47 ff.) Begins with the main idea in B flat major (when listening, E flat major is now implied). This is followed by the processing of the thematic material (e.g. staggered use of the pendulum motif, change of keys). A forte unison passage leads back to the recapitulation, which is slightly varied in relation to the exposure (e.g. use of the theme at the beginning in the bass). At the very end, in pianissimo, Haydn takes up the pendulum motif from the beginning again, but now has it answered by a short chord progression leading to E flat major, so that now “the balance is finally restored”. (similar structure in fourth sentence). This is probably the first more comprehensive example of “what would soon become a well-known joke for Haydn: the idea of ​​ending a sentence with its opening phrase.” Both parts of the sentence are repeated once.

Third movement: Minuet: Un poco Allegretto

B flat major (minuet), E flat major (trio), 3/4 time, with trio 58 bars

The main idea of ​​the dynamic minuet is characterized by leadership in unison, upbeat triplets , trills and a contrasting, simple final turn in the piano. The triplets and trills emerge at the beginning of the second part, while a solo for horn and oboe stands out in the transition to the resumption of the main melody. At the end there is a short forte insert in the final turn.

The trio (E flat major, strings only) is connected to the minuet by the triplets, which now dominate as an accompaniment under a legato melody. Both violins alternate with the voice guidance.

Fourth movement: Finale. Presto

B flat major, 2/4 time, 141 bars

Similar to the opening movement, the Presto is also characterized by a forward impulse. - The first theme consists of two contrasting motifs: three chord strokes (tonic B - dominant F - tonic B) in the forte, followed by a clichéd piano answer from the violins. After a varied and extended repetition of the theme with abrupt changes from forte and piano, a tremolo passage leads to the dominant F major, in which from bar 32 the second theme is introduced with an ascending eighth note movement. The final section with its dialogue (lead motif) of violins and oboes is reached via a line falling in the tremolo.

The development (bars 56 ff.) Initially takes up the motifs from the first theme, but from bar 62 it swings from E flat major to a modulation passage of the dialogue motif of the final group. A “wild” section with a sweeping eighth note movement in the forte leads back to the recapitulation (bars 94 ff.), Which is structured similarly to the exposition. Haydn ends the movement with the three chord strokes from the beginning of the movement, so when listening to it, the expectation arises that the movement would go on (i.e. a “musical joke” similar to that in the Andante). - The exposition, development and recapitulation are each repeated once.

Individual references, comments

  1. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, 848 pp.
  2. ^ Kurt Pahlen: Symphony of the world. Schweizer Verlagshaus AG, Zurich 1978 (preface from 1966)
  3. ^ A b 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. 121.
  4. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766 - 1790. Thames and Hudson, London 1978, p. 288.
  5. ↑ Christa Landon : Symphony No. 35 B flat major. Preface to the pocket score edition by Eulenburg-Verlag. Ernst Eulenburg Ltd. No. 564, London / Zurich 1963.
  6. ↑ Nicholas Kenyon: Symphony No. 35 in B flat major. Text contribution to the recording: The "Sturm & Drang" Symphonies, Volume 1: "Fire". The English Concert, Trevor Pinnock. Deutsche Grammophon GmbH, Hamburg 1989
  7. ↑ Pahlen (1978) in connection with Symphony No. 35.
  8. ↑ a b c d e James Webster: Hob.I: 35 Symphony in B flat major. Text accompanying Joseph Haydn's Symphony No. 35 on the website of the project “Haydn 100 & 7” of the Haydn Festival Eisenstadt, haydn107.com , as of January 4, 2010.
  9. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 280, 282: “The alternation of light and shade deepens and enriches Symphony No. 35. This work, carefully dated 'December 10, 1767' on the autograph, at first reveals to us a Haydn momentarily captivated by the sunny, melodious sounds of Italy, but who was at the same time casting an eye towards the rich orchestral effects of the Mannheim school. "-" For example, in No. 35, a work which in many ways sums up the period 1761–1765, at the same time (especially in the first Allegro) looking forward to the Sturm und Drang era, an entirely new kind of concluding movement is employed: for the first time the rich dynamic effects and orchestral texture of the Mannheim school are combined in a light, airy, almost clownish atmosphere. "
  10. ↑ Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , pp. 265-266.
  11. ^ A b c Antony Hodgson: The Music of Joseph Haydn . The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 67 .: "[..] the horns are given virtuoso parts of terrifying difficulty. At the recapitulation the first horn has a hair-raising upward double triplet [...] - sufficient to account for the work hardly ever being given in live performance. "
  12. ↑ “There are few more charming Andantes of the period than this one, the broken rhythms giving it a lightfootedness which still shows is roots as beeing fixed in the dance.” P. 67.
  13. ↑ 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 on 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).
  14. ↑ z. B. bar 9 of the first movement of Haydn's Symphony No. 35 corresponds structurally to bar 89 of Mozart's Symphony K. 543.
  15. ↑ Therefore, one can refer to the sonata form of the movement from a monothematic, i.e. H. speak only structure based on one main topic.
  16. ↑ a b c The repetitions of the parts of the sentence are not kept in many recordings.
  17. ↑ This “final group” can also be thought of as derived from the main idea.

Web links, notes

See also