40th Symphony (Haydn)

from Wikipedia, the free encyclopedia

The Symphony in F major Hob . I: 40 was composed by Joseph Haydn in 1763. The second and fourth movements in particular are emphasized in the literature.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Also make sure in 1763 the symphonies emerged no. 12 and no. 13, . It is possible that Haydn originally composed the movements of Symphony No. 40 separately from each other, indicating differences in the types of paper used and differences in the styles of the movements (movements 1 and 3 with symphonic style as opposed to movements 2 and 4).

Sentences 2 and 4 in particular are particularly highlighted in literature reviews (see there). Anthony Hodgson praises the symphony as a whole as "a particularly original work".

To the music

Instrumentation: two oboes , two horns , two violins , viola , cello , double bass . 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. 17 minutes (depending on the tempo and adherence to the prescribed repetitions).

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 a work from 1763 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

F major, 3/4 time, 139 bars

Beginning of the Allegro

The powerful main theme (bars 1–5) in the vocal oboes and violins consists of the ascending sixth F - D in full bar notes (bars 1 and 2), which is answered by a figure with the range of a falling sixth (C - E) ( Bars 3 to 5). This answer is loosened up by a mordent and the rhythm with eighths and sixteenths. Viola and bass accompany with a continuous eighth note movement that lasts for almost the entire movement and contributes significantly to its impulse.

The following passage, which follows seamlessly from bar 5, is characterized by its double-beat-like sixteenth-notes: First, the "double beat motif" forms a falling line by stringing it together (again to the extent of a falling sixth F - A), then it is the upbeat component of a new motif (from bar 9), which has another mordent in addition to a "lying tone" (dotted quarter). This motif is repeated echo-like in the piano. From bar 15, Haydn changes to the dominant C major with a little chromaticism , in which the head of the main theme is now heard as a variant in the leading 1st oboe and 1st violin (2nd oboe and other strings accompany with eighth notes). This changes into a motif with a triple tone repetition and an ascending-descending movement. After the brief appearance of the double-beat motif and further falling sixteenth-note chains, the movement, which had been seamlessly advancing until then, comes to rest for a short time as a cadenza on the double-dominant G major in pianissimo and with a general pause.

Then the forward movement in C major continues, now even more energetically: initially in staccato and reinforced by chord strokes, then as a motif with large leaps in intervals of the violins. A question-and-answer motif in the dialogue between the oboes (with the 2nd violin) and the 1st violin concludes the exposition.

The development deals in particular with elements from the main theme and the double beat motif: First, a variant begins corresponding to the first eleven bars of the beginning of the sentence. The theme appears in the minor with the beginning of a third down (instead of a sixth up), and the “lying tone” (dotted quarter of the motif from bars 10/11) is emphasized as an accent. Another appearance of the theme begins in the subdominant in B flat major and sequences the figure from measure 3 (there with Mordent, now without) upwards. The third theme entry in G minor leads to the double strike motif, which is sharply interrupted by upbeat tone repetitions in dotted rhythm, accompanied by the tremolo of the 2nd violin. Energetic large interval jumps (similar to bar 41) lead to a quieter piano passage, in which the 2nd violin with the double-beat motif leads the part.

The recapitulation from bar 89 is largely structured like the exposition. However, the section with the triple tone repetition motif from bar 24 has been replaced by a falling sequence in the dialogue between the violins, and the passage with the energetic leaps in intervals from bar 24 is more extended. The exposition, development and recapitulation are repeated.

Second movement: Andante più tosto Allegretto

B flat major, 2/4 time, 110 bars

Beginning of the Andante

The movement is only for strings and has two voices: The parallel violins have the voice leading, viola and bass accompany with continuous staccato accompaniment in regular eighth notes, with two sixteenth notes regularly switched on at the end of the bar. The whole movement is consistently in the piano and is based on two motifs / phrases that are introduced in the first theme (bars 1–7): tone repetition in eighths and upbeat third phrase in sixteenths (parallel to the sixteenth rhythm in the bass). Both phrases appear in the first half of the topic, the second half is characterized by the third phrase. Then the theme is repeated an octave lower (bars 8-14).

In the further course of the movement, further motifs / phrases appear, which can be thought of as being made up of the two basic building blocks: The passage up to bar 21 is marked in the voice guidance by tone repetition, a third without a beat upwards in eighth notes and a falling line with a sixteenth rhythm, from bar 22 Haydn changes with the third phrase (again as a third up and in eighth notes) to the dominant F major, and from bar 25 an upbeat, falling fifth (as a variant of the third phrase) first becomes a two-bar, then a four-bar motif Tone repeater and the falling line. At the end of the exposure, the third phrase dominates again.

The development begins with the main theme in the dominant F major, then the event breaks off with a general pause. A new approach brings the theme in the tonic parallel in G minor, followed by the third phrase according to bar 22 and then, as in the exposition, the four-bar motif that develops from the falling fifth.

The recapitulation begins in measure 79 and is varied in relation to the exposition. So the main theme has a slightly different shape, and immediately after that the third phrase follows, analogous to bar 22, but which is now interwoven with the motif that develops from the falling fifth.

The movement is often highlighted in reviews, with the role of the harpsichord being judged differently:

“The movement, which is only intended for strings, is consistently in two parts (...). The harpsichord is responsible for filling the harmony. Here, as in all earlier Haydn symphonies, its participation is essential. "

"The second movement deserves special attention, in which the violins are accompanied by a" walking "bass in offset staccato notes - a true cabinet piece in its masterly and ironic application of the old baroque basso continuo practice."

“(…) Haydn initially only wrote“ Allegretto ”- it is written for strings only in sparse two-part harmony,“ semper staccato e piano ”, mainly in short motifs and tone sequences based on repeated notes. (It would be a sin to deface this unique sound with a keyboard instrument continuo.) Was it intended to allude to "conspiratorial" events? "

Howard Chandler Robbins Landon associates the phrase with the "Midsummer Night's Dream" - music by Felix Mendelssohn Bartholdy .

Third movement: Menuet

F major, 3/4 time, with trio 68 bars

The well-proportioned, full-sounding minuet with a “touch of alpine melody” is characterized by its even movement of separated eighth notes and quarters, with the continuous eighth note movement sometimes alternating between upper and lower voices. The eight-bar theme consists of an ascending, sweeping turn with triple tone repetition and a final turn, which is echoed an octave lower in the piano. A variant of the ascending topic head merges into a chromatically falling line.

The second part begins with the tone repetition motif, interrupted by a sixteenth-note roller. A piano passage with a continuous eighth note movement leads back to the main theme after just eight bars. The final turn of the theme is now not repeated, but as a variant with triplets goes straight into the chromatically falling line.

In the trio (also in F major), the winds emerge as soloists: first the horns lead the part, then the oboes, which continue the melody with triplets. At the beginning of the second part, the oboes and then the horns lead the part with a variant of the triplet motif, when the main theme is taken up again, oboes and horns play together. The strings accompany pianissimo, the violins double the lead of the wind instruments. There is a copy in which only oboes, bassoon and horns play.

Fourth movement: Fugue - Allegro

F major, 2/2 time (alla breve), 198 measures

Fugue theme with head motif (falling fourth or fifth) and quarter motif

The following structure is proposed (for the shape of the joints, see also the references below):

  • Exposition of the fugue: At the beginning of the movement, the 2nd violin introduces the theme, accompanied by counterpoint in viola and bass. The theme consists of two different building blocks: a fourth or fifth in whole bar notes downwards, then a movement in staccato beginning on the second quarter of the bar. This opposing pair is sequenced downwards. The counterpoint is structured almost mirror-inverted to the theme: A staccato sequence in quarters and eighth notes is followed by an octave jump upwards in half notes, with a pause spreading the interval over two bars as with the theme. The theme entry in the upper part takes place in bar 15 by the 1st violin from C (ie a fifth higher than at the beginning of the sentence, "Comes"), while the 2nd violins plays the counterpoint (other instruments are silent). In bar 29, the whole orchestra begins forte, the bass (lower part) starting from F with the third thematic entry. In addition, the 1st oboe and 1st violin play an opposing voice 1 (as a downward sequenced line), the 2nd oboe and 2nd violin have an opposing voice 2 (adapts to the opposing voice 1), the viola an opposing voice 3 (goes into the topic) .
  • Interlude 1 (from bar 54): Viola and oboes play the theme head, the bass the quarter motif from the theme, the violins alternate the quarter motif and tremolo.
  • Topic entry in the 1st violin in B flat major (from measure 64, from measure 62 already head motif in the bass).
  • Interlude 2 (from bar 77) with a falling line in the upper parts.
  • Section with processing of the head motif from the theme, plus a variant of counterpoint (from bar 84), then theme entry in the 1st violin from G minor, then sequencing upwards (instead of downwards), counterpoint in the other strings.
  • Interlude 3 (from bar 109) with the theme head, the head of counterpoint and eighth tremolo.
  • Section with processing of the head and quarter motif from the theme (from measure 124), then theme entry in 1st oboe and 1st violin in F major, offset in 2nd oboe and 2nd violin (from measure 133).
  • Interlude 4 (from bar 147) similar to interlude 1: viola and oboes play the head of the theme, the bass the quarter motif from the theme, the violins alternate the quarter motif and tremolo.
  • Thematic entry in 1st violin in F major (from bar 161), then with eighth runs change to the organ point in the bass. Then the movement of the violins accumulates in sycnopes, while the viola and bass play a rhythmically distinctive motif. Haydn ends the movement with a “powerful unison”.

Examples of literary statements:

“The fugue theme, which appears right at the beginning together with an opposing voice , could almost have been taken from the ' Gradus ad parnassum ' - Johann Joseph Fux's canonical counterpoint textbook - but it is admirable how Haydn understands the baroque fugue form with minimal contrivances To adapt the requirements of a symphony finale. "

“Despite all respect for the old contrapuntal rules of the game, this fugue has little to do with what the masters of the Baroque understood it to mean (...). The " stile antico ", as the contrapuntal spelling has meanwhile been seen as, is unmistakable, permeated by a new, stormy expression, by "haydn" impetus. "

“The finale is the only real fugue in Haydn's symphonic oeuvre (...). Even this movement includes occasional passages of a more or less homophonic structure, but the subject (or at least its hopping head motif) is never lost sight of, so that the entire movement is indeed a fugue from its theme. Although it is bursting with contrapuntal tricks, especially Stretta passages, it maintains a moody, propulsive atmosphere that corresponds to its function as a finale. "

“In the final movements of symphonies 13, 14 and 40, all of which were perhaps not composed by chance in 1763, there are at least approaches to fugitive themes. In Symphony 40 the last movement is expressly entitled “Finale Fugue”. This title is to be understood as a reference to the very intensive contrapuntal shaping of the movement, because it is by no means a real fugue. The very extensive theme, which consists of two opposing motifs, is only exposed in several voices at the beginning via an opposing voice in the bass. In the further course of the sentence it always appears in abbreviated form without being answered regularly. "

See also

literature

  • Joseph Haydn: Sinfonia No. 40 in F major. Philharmonia Volume No. 740, Vienna 1964. Series: Howard, Chandler, Robbins, Landon (Ed.): Critical edition of all of Joseph Haydn's symphonies. (Pocket score)
  • Jürgen Braun, Sonja Gerlach: Symphonies 1761 to 1763. In: Joseph Haydn Institute Cologne (Hrsg.): Joseph Haydn works. Series I, Volume 3. G. Henle-Verlag, Munich 1990, 223 pages.

Web links

Individual references, comments

  1. ↑ a b c James Webster: Hob.I: 40 Symphony in F major . Informational text on Symphony No. 40 of the Haydn Festival Eisenstadt, see under web links.
  2. ^ Antony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 71: "highly original work".
  3. ↑ 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).
  4. ↑ The Eisenstadt Haydn Festival ( haydn107.com , as of March 2013) write: “Except in London, Haydn most likely did not use a keyboard instrument for his symphonies. This view, which deviates from earlier opinions, is now widely recognized among musicologists. ”The edition of the work published by the Joseph Haydn Institute Cologne expresses itself similarly (Jürgen Braun, Sonja Gerlach: Sinfonias 1761 to 1763. In: Joseph Haydn Institute Cologne (ed .)): Joseph Haydn works. Series I, Volume 3. G. Henle-Verlag, Munich 1990, Page VII: “The assumption that has been made several times that a harpsichord played a basso continuo instrument in the performance of the bass part in these symphonies and that Haydn directed the works from the harpsichord is valid discard."
  5. ↑ a b c d Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series of broadcasts on Südwestfunk Baden-Baden 1987-89, published by Südwestfunk Baden-Baden in 3 volumes. Volume 2, Baden-Baden 1989, pp. 58-59.
  6. ↑ a b c Haydn Festival Eisenstadt: Joseph Haydn, Symphony No. 40 in F major, Hob.I: 40. Information about the concert on August 1, 2009 , accessed January 12, 2013)
  7. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 249: "(...) light, dancing 'Midsummer Night's Dream' music whose subtle, scherzolike effervescence brings us close to the world of Mendelssohn."
  8. ^ A b Howard Chandler Robbins Landon: Haydn: Chronicle and works. The early years 1732-1765. Thames and Hudson, London 1980, p. 562.
  9. ^ Robbins Landon (1980) p. 562: "The Menuet is beautiful rounded and sonorous (...)."
  10. ^ Wolfgang Marggraf : Haydn's early symphonic works at the court of Eisenstadt (1761–1766). The symphonies of the Italian and normal types. haydn-sinfonien.de accessed January 12, 2013.