41st Symphony (Haydn)

from Wikipedia, the free encyclopedia

The Symphony in C major Hoboken directory I: 41 wrote Joseph Haydn probably in 1768 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn probably composed the symphony No. 41 in 1768 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy: The autograph has not survived, but a copy by Esterházy's court copyist Johann Elssler, with the watermarks and handwriting indicating that it was made around 1768/69 interpret.

The symphony No. 41 is considered to be the first representative of a new, advanced type of the festive C major symphonies by Haydn and to that extent it is significant. A comparison of the first movement of Symphony No. 41 with that of Symphony No. 38 , which was written shortly before, shows “how much Haydn has now managed to free himself from the somewhat formulaic, conventional festivity inherent in his earlier C major symphonies ":

  • The rate starts at # 41 with an individual, according to the classical. Period symmetrically structured topic that contains dynamic contrasts, at # 38 on the other hand with a fanfare-like triad subject in outline loose baroque. Fortspinnung type ; Horns, trumpets and timpani are used in No. 38 in the forte held.
  • the section between the first and second theme in No. 41 is more extensive and the harmonic course more carefully worked out,
  • The second theme has a greater meaning in No. 41, contrasts more strongly and is more differentiated,
  • the detailed implementation with a sham review at No. 41,
  • the greater differentiation in No. 41 in the instrumentation (e.g. participation of the solo oboe in the second theme in the recapitulation, the effective use of brass and timpani).

To the music

Instrumentation: flute (only in the second movement), two oboes , two horns , two violins , viola , cello , double bass . To reinforce the bass voice was at that time also without separate listing bassoon and harpsichord - Continuo used, and different in the literature on the participation of the harpsichord Disagreement exists. In the copy by the court copyist Johann Elssler, trumpets and timpani have not survived. They can be found for the first time in 1771 in a copy in Göttweig Abbey and are then also documented in later sources. The trumpet and timpani parts possibly go back to Haydn, which numerous handwritten sources suggest. An occasion for adding these instruments at a later date could be a festive occasion such as the wedding celebrations at Kittsee Castle in 1770, where there is evidence that trumpets and timpani were available.

Performance time: approx. 20 to 25 minutes (depending on the tempo and adherence to the prescribed repetitions).

With regard to the sonata form used here, it should be noted that this scheme was drafted in the first half of the 19th century (see there) and can therefore only be transferred to a work composed around 1768 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 con spirito

C major, 3/4 time, 202 bars

Beginning of the Allegro con spirito

The sentence opens with a festive, periodically structured question-and-answer structure. The dynamic contrasts between forte chord strokes and vocal piano phrases as well as the large range of a decime are striking . After the presentation of the eight-bar theme, a forte block with triad fanfares and two virtuoso runs upwards follows, then the theme is repeated (bars 1 to 26). The first theme or the thematic main unit thus presents itself “as a complex spanning 26 bars, consisting of sections with different motifs, which are structured by exciting pauses, with frequent dynamic contrasts and carefully graded instrumentation, which only allows the full orchestra for the few fanfare-like measures (in dotted triad motifs). Power and grace are combined in this original thematic structure (...). ”The detailed section up to the second topic is predominantly in the forte and is characterized by its tremolo sound surfaces and the harmony changes with the inclusion of chromatics . Piano eighth notes in staccato herald the second theme. This is in the dominant G major. It contrasts with the previous, noisy, festive event through the switch to the piano, the limitation to strings and the singing-swaying character. The final group from bar 72, on the other hand, takes up the pompous atmosphere of the past with tremolo and a triple trumpet fanfare.

The development does not begin as usual with the first theme in the dominant, but as a mysteriously ascending diminished chord in the unison piano of the strings. It then turns into a longer passage that continues the second half of the second theme, whereby the "harmonic ambiguity" of the diminished chord remains. When the music seems to breathe in pianissimo, the first theme in the tonic in C major surprisingly starts as a mock reprise, but both halves of the theme remain on seventh chords with fermatas . Then "breaks as schärfster contrast greatly modulated tremolo surface, which after about 20 cycles kaden ornamental breaks, what, again passing over a strong contrast, dabbed at the piano and staccato eighth transitions to the recapitulation." The tremolo passage reaches the end back to the material of the bottom group ( including the trumpet fanfares), and the staccato eighth notes are reminiscent of the introduction to the second theme in the exposition.

The recapitulation from bar 133 onwards does not repeat the first theme after the fanfare-like forte block, but immediately merges into the tremolo passage. In the second theme, the 1st oboe plays the leading of the 1st violin an octave higher, and in the final group the trumpet fanfare is replaced by a corresponding rhythm of the kettledrum (but offset by one measure). A short coda ends the sentence. The exposition, development and recapitulation are repeated.

Second movement: Un Poco Andante

F major, 2/4 time, 89 bars

The Andante is one of Haydn's first slow movements, in which horns appear and the violins are muted (as would be customary in Haydn's subsequent symphonies). According to Howard Chandler Robbins Landon , Haydn has reached the limit to his “mature style” of slow movements, as the characteristics of the following creative period (up to approx. 1774) are present (e.g. muted violins, use of wind instruments, divided melody line). Robbins Landon considers the treatment of the wind instruments and the resulting sound atmosphere to be particularly important.

At the beginning, the strings introduce the periodically structured first theme, with the voice-leading, parallel violins being muted. The theme is upbeat, contains dotted rhythms and has a striding character. Immediately afterwards follows a passage in the dominant C major, in which the 1st oboe plays a sanguine, calm melody ("second theme"), while the other instruments accompany - the solo flute with broken chord configurations in thirty-second notes . In measure 18, the flute takes over the voice guidance with a tone repetition motif, accompanied only by the strings. These then dominate the final section with the melody line divided between the 1st violin and the other strings. 2nd violin, viola and bass are in staccato eighths, the 1st violin initially in sixteenths, then in thirty-second notes. In addition, the voice of the 1st violin is interspersed with pauses. A sustained C major chord for all instruments including flute figurines ends the exposition.

Similar to the final group, the development is only intended for strings except for the final bars. The 1st violin continues the material from the first theme, including the minor turbidity, with the accompaniment of the other strings being structured as in the second half of the final group. Eventually the main voice transitions into sustained notes while the accompaniment continues as before. The entry of the winds in a C major seventh chord with fermata heralds the recapitulation.

The recapitulation from bar 56 is structured in a similar way to the exposition, but Haydn has inserted an insert between the first and second theme with material from the second half of the final group (melody line with 1st violin divided into thirty-second notes). The exposition, development and recapitulation are repeated.

Third movement: Menuet

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

The impressive minuet in the “gallant, accented style” is characterized by contrasting, two-bar phrases with trills alternating with the festive tutti and string piano and a four-bar final turn with triplets.

The trio is also in C major and consistently in the piano. In the first part, oboes, horns and violins lead the voice and play a dance melody made of two-bar building blocks. At the beginning of the second part, the strings with the 1st violin leading the voice continue the melody as four-bar phrases in the dominant G major, before the first part is repeated in C major.

Fourth movement: Presto

C major, 2/4 time, 143 bars

Beginning of Presto

The fast-paced movement, which "actually has no subject and consists entirely of a ceaselessly pushing eighth note movement", begins piano in the strings. The voice-leading 2nd violin plays a descending scale fragment, the other strings accompany - the 1st violin in continuous triplets. These are characteristic for the whole movement, are reminiscent of a perpetual motion machine and can create the impression that there is a 6/8 time signature. It is possible that Haydn was influenced by a Slavic dance in this idea. The type of the Presto is reminiscent of the final movement of Symphony No. 56 , the dominating tone repetitions to that of Symphony No. 57 . After the “first theme”, a block of forte-piano contrasts begins, introduced by a fanfare with prelude. The dynamic contrasts can also be found in the second “theme” in the dominant from bar 31, which is based on a shortening of the scale from the first theme. More rapid runs and hammering tone repetitions end the exposition.

The short development sets the scale fragment from the first theme first to G minor, then to D minor and A minor, interrupted by the triplet chains in the forte. A variant of the fanfare with the opening twists leads seamlessly to the recapitulation.

The recapitulation from bar 90 is initially largely similar to the exposition (both violins briefly swap roles in the first theme), but the second theme is left out. As in the first movement, a small coda ends the movement in fortissimo. The exposition, development and recapitulation are repeated.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ James Webster: The Symphony with 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
  3. ^ A b c d e Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 302 to 305
  4. ↑ Robbins Landon 1955, p. 302: The Symphony No. 41 "has a breadth and spaciousness, particularly in its first movement, undreamt of in any of the earlier, festival pieces - even no. 38. "
  5. ^ A b c d e f g h 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. 37 to 38.
  6. ^ Antony Hodgson: The Music of Joseph Haydn: The Symphonies. The Tantivy Press, London 1976, pp. 71 to 72.
  7. ^ Klaus Schweizer, Arnold Werner-Jensen: Reclams concert guide orchestral music. 16th edition. Philipp Reclam jun. Stuttgart 1998, p. 130, ISBN 3-15-010434-3 .
  8. ↑ a b Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 268
  9. ↑ 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).
  10. ^ Andreas Friesenhagen, Christin Heitmann (editor): Joseph Haydn symphonies around 1766 - 1769. G. Henle Verlag, Munich 2008, ISMN M-2018-5041-2, page VIII.
  11. ↑ a b Wolfgang Marggraf: The symphonies of the years 1766-1772. http://www.haydn-sinfonien.de/ , accessed May 14, 2013.
  12. ↑ Robbins Landon 1955 p. 303: "False recapitulation", Walter Lessing 1989 p. 38 + Klaus Schweizer & Arnold Werner-Jensen 1998 p. 130 + Ludwig Finscher (2000 p. 268): "Scheinreprise".
  13. ↑ a b c d James Webster: Hob.I: 41 Symphony in C major. Information text on Symphony No. 41 of the Haydn Festival Eisenstadt, see under Weblinks.
  14. ↑ A solo flute appeared in the slow movement of Symphony No. 24 .
  15. ↑ Robbins Landon (1955, p. 304): “The treatment of the wind instruments is of particular significance in No. 41 / II (...). (...) rich tapestry of sound woven by the flute and other instruments over the discreet accompaniment of the strings. "
  16. ↑ Antony Hodgson (1976 pp. 71 to 72) praises: "The fullnes of the Menuet e Trio is highly impressive - a piece early in style, with an unhurried galant air, yet too complex to have graced any ancient ballroom."

Web links, notes

See also