38th Symphony (Haydn)

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The Symphony in C major Hoboken directory I: 38 wrote Joseph Haydn probably in 1767. She gets through the use of a solo oboe part concert-like traits.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn probably composed Symphony No. 38 in 1767 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy .

The C major symphonies with their trumpets and timpani, which are in the tradition of the baroque intrade (opening music on festive occasions), are also characteristic of the “big” occasions at court or for representative purposes. In the symphonies of Joseph Haydn, these are in addition to the symphony no. B. also the symphonies No. 32 , No. 33 , No. 41 and No. 48 . However, trumpets and timpani were probably only added later and not by Haydn himself. For Symphony No. 38, the trumpet and timpani parts are not considered authentic.

In addition to its festive character, the special features of Symphony No. 38 are the echo-like imitations in the second movement and the use of a solo oboe in the trio of the minuet and in the fourth movement. In some places this has the character of a solo concert. The use of the solo oboe may be related to the new appointment of the oboe virtuoso Vittorino Colombazzo to the Esterházy Palace orchestra.

Kenyon rates the symphony "as one of the greatest celebratory C major symphonies (...) that Haydn has ever written." Webster describes the work as "a little bombastic" and draws inspiration from the "creative lack of seriousness of this work" the stage (opera, theater) into consideration. Finscher writes that the work “(is) another example of the 'great' C major style, the festive symphony with trumpets and timpani, with very simple and clear forms, but also a highly dramatic development in the first that is doubly astonishing in this context and contrapuntal fields in the fourth movement. "

To the music

Instrumentation: two oboes , two horns, two trumpets , timpani , two violins , viola , cello , double bass . Trumpets and timpani are not considered authentic. At that time, bassoon and harpsichord were used to reinforce the bass voice, even without separate notation , although there are different opinions in the literature about the involvement of a harpsichord continuo .

Performance time: approx. 20 minutes (depending on compliance with the prescribed repetitions)

When it comes to the sonata form used here, it should be noted that this model was only designed at the beginning of the 19th century (see there). - 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

C major, 2/4 time, 194 bars

Haydn opens the symphony with a mighty forte tutti , which through the "radiant" triad breaks (e.g. fanfare-like ascending C major chord at the beginning), the rhythmic condensation in both the main part (oboes and 1st violin) and the middle voices (2nd violin and viola accompany in syncope ) and the organ point on C , which is sustained for a long time in the bass and emphasized by bangs, is particularly impressive. The main thematic unit is repeated and then leads - still festively - to the dominant G major. After a turning point, the transition to the second topic begins. Haydn uses two motifs here: a “question-answer motif” (transition motif 1) and an upbeat tone repetition motif (transition motif 2, tone repetition first four times, then three times shortened).

The second theme (bar 45 ff., G major) is mainly performed piano by the strings. It is characterized by its even, stepped eighth note movement, lead and (double) tone repetition. The final group (bars 60 ff.) In the forte contains a motif repeated three times (again with tone repetition) and an alternation of virtuoso runs of the violins with chord strokes of the tutti.

In the implementation (clock ff 76th) of the beginning from the first topic (ascending chord) is imitative divided into bass and violin and forte modulated by a plurality of keys (z. B. G Minor, D Minor, F Major, B- Major, E major) - again accompanied by the syncopated middle voices. In measure 94, A minor is reached, with which the transition motif 2 is introduced. Suddenly the timbre of the previously dramatic event changes by changing to F major, in which an apparently new, vocal motif is presented in the piano (bar 112 ff.), Which then turns out to be a variant of the second theme.

After a general pause, the recapitulation begins (bars 132 ff.). It is structured similarly to the exposition, but the transition motif 1 is left out. The exposition, development and recapitulation are repeated.

In relation to Haydn's symphonies of the time, the movement has a considerable length of almost 200 bars. What is remarkable for a festive C major symphony with “otherwise rather simple or clear forms” is the “highly dramatic development”. According to Michael Walter, the “rousing cheerfulness” has a “more subjective than representative character”, “which is reinforced by the dramatic moments” at the beginning of the performance.

Second movement: Andante molto

F major, 3/8 time, 102 bars

Beginning of the Andante molto in the violins

In this movement, which is only intended for strings, Haydn has the closing motifs of the main part performed by the 1st violin constantly imitated by the muted 2nd violin, “regardless of how tactless this may appear in the rhythmic context, or how exaggerated at the end of the two main sections ". The baroque stylistic device of the echo is thereby somewhat ridiculed.

The two main sections can be broken down into “exposition” (up to bar 33, first main section), “development” (up to bar 71) and “recapitulation” (from bar 72). From bar 50 onwards, a slightly more serious timbre arises due to a cloudiness to minor and dissonant second steps between the two violins. The end of both main sections, on the other hand, is again ended by somewhat “trivial” eighth staccati.

Third movement: Menuet. Allegro

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

The very fast minuet ("Allegro") begins forte with its dancing melody, with horns, trumpets and timpani only being used in the final turn of the first eight bar. At the beginning of the second part, the melody is spun forte with the participation of the entire orchestra, before a short string passage in the piano leads to the ornate revival of the opening theme.

In the trio (F major), the solo oboe dominates over subordinate string accompaniment initially with a melodic triplet movement and then performs large interval steps at the beginning of the second part.

Fourth movement: Allegro di molto

C major, 2/2 time (alla breve), 153 measures

The movement is characterized by the alternation of blocks for the whole orchestra as well as solo oboe passages and thus bears the characteristics of an oboe concerto. Haydn begins the movement piano: the violins play the theme interspersed with pauses, which the C major scale first descends, then moves upwards. In the pauses between the violins, the viola and bass set a rhythmic, repeated C, like an organ dot. Interrupted by an energetic forte unison passage, the theme is then repeated with sustained C in the winds.

The topic now goes directly to the following, polyphonic section. The short runs contained therein are masterfully taken up by the solo oboe as the second theme (bar 41 ff., Dominant in G major) and continued. The opening bars are identical to the first topic. The detached movement of the final group in the forte (bars 55 ff.) Is also reminiscent of the first theme.

The interplay of solo oboe passages and tutti blocks is also continued in the development: First the solo oboe presents the first theme, varies it with runs and comes to rest after a solo cadenza on the dominant G major (measure 74). The rest of the orchestra then starts as a tutti with the opening motif from the first theme, interrupted in bars by solo runs of the oboe. The polyphonic passage (bar 83 ff., Forte), on the other hand, as well as the entry into the reprise with the first theme (bar 95 ff. Piano), is reserved for the tutti; only when the theme is repeated does the oboe participate again with a long sustained C. According to the exposition This is followed by the polyphonic passage (tutti), the second theme (with oboe and turbidity after minor) and the final group (tutti). The exposition, development and recapitulation are repeated.

Robbins Landon highlights the movement as one of the best final movements of Haydn's symphonies to date.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ Ulrich Michels: dtv atlas on music. Boards and texts. Volume 2, Historical Part: From the Baroque to the Present. Deutscher Taschenbuch-Verlag, Munich 1991.
  3. ↑ James Webster: The Development of the Symphony in Joseph Haydn. Episode 5: Hob.I: 35, 38, 39, 41, 58, 59 and 65. http://www.haydn107.com/index.php?id=21&lng=1&pages=symphonie , accessed April 22, 2013.
  4. ↑ a b The complete edition of Haydn's works published by the Joseph-Haydn Institute Cologne assumes that the parts for trumpets and timpani are not authentic and therefore does not list them in the score (Andreas Friesenhagen, Christin Heitmann (editor): Joseph Haydn Symphonies around 1766 - 1769. G. Henle Verlag, Munich 2008, ISMN M-2018-5041-2, page VIII.)
  5. ^ A b Nicholas Kenyon: Symphony No. 38 in C major. Text contribution to the recording: The "Sturm & Drang" Symphonies, Volume 1: "Fire". The English Concert with Trevor Pinnock, Deutsche Grammophon GmbH, Hamburg 1989.
  6. ↑ a b James Webster: Hob.I: 38 Symphony in F major in C major. Information text from Joseph Haydn's Symphony No. 38 as part of the “Haydn 100 & 7” project of the Haydn Festival Eisenstadt, http://www.haydn107.com/index.php?id=2&sym=38 , as of February 2010
  7. ↑ a b Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 265
  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. ↑ Dietmar Holland: Symphonies 1771-1772. In: Attila Csampai & Dietmar Holland (eds.): The concert guide. Orchestral music from 1700 to the present day. Rowohlt-Verlag, Reinbek bei Hamburg 1987, ISBN 3-8052-0450-7 , pp. 92-93
  10. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 54
  11. ↑ Antony Hodgson ( The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 68) interprets this as a consequence of the previous calm movement, to which Haydn does not contrast too strongly wanted to let work.
  12. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 285: “If one compares this finale, so rich in thematic, colouristic and formal contrasts, with one of the earlier three-eight prestos, it will be obvious how far Haydn's technique and inspiration have advanced over the first two periods. "

Web links, notes

See also