42nd Symphony (Haydn)

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The Symphony no. 42 in D major composer Joseph Haydn in 1771 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed Symphony No. 42 in 1771 while he was employed by Prince Nikolaus I Esterházy. The work is known for the deletion of three bars in the second movement with Haydn's remark “This was before even too scholarly ears”. The form of the fourth movement is also important for the development of the "Variationsrondo".

To the music

Instrumentation: 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. - Only in the fourth movement did Haydn prescribe “2 Fagotti” in bar 21 and later added “O violoncellos”, which led to confusion in the copies of the work (e.g. in the Viennese copy, which has only one bassoon part, here the part of the 2nd bassoon is assigned to the cello). Haydn may have added the trumpets and timpani listed in the Breitkopf & Härtel 1773 catalog and also in the so-called “Kees catalog” , which are not notated in the autograph .

Performance time: approx. 25-30 minutes (depending on compliance with 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 the symphony No. 42 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: Moderato e maestoso

D major, 2/2 time (alla breve), 224 measures

Beginning of Moderato e maestoso, 1st violin

The movement begins with a chord strike in forte and a string answer in piano. This consists of two characteristic "scratching feet" (suggestion figures) and a subsequent "polite bow". The four-bar, somewhat theatrical, but also march-like theme is repeated and concluded with a run in forte unison , but taken up again in bar 12 as a continuation. Although already beginning in the forte, there is a further increase through increasing "acceleration" in the note values ​​(initially in the winds, then in the violins) and through the ascending melody line, which culminates in bar 18 with the three-struck D of the 1st violin reached. This is emphasized for four bars with syncopation and triplets , then gradually descended again in a rapid unison passage with a range of two and a half octaves .

In measure 26 ff., The second theme in the piano follows the dominant A major, which, depending on the perspective , can also be viewed as a “small lyrical transition idea” due to its motif-like character . The core element is a two-bar motif with an eighth figure and a lead (derived from the “polite bow” of the first theme) in half notes, which occurs offset in the strings and consists of two two-bar “question-answer” units.

From bar 34, the 1st violin repeats the eighth figure, while the 2nd violin and viola play an ascending line in full notes. Haydn builds up tension again here, omitting the bass. The forte start from bar 41 with pendulum figure and runs downwards in the violins initially keeps the tension by emphasizing the double dominant E as a sustained recumbent tone in the horns and in the (high) bass. The tension is then released in the following section, which alternates between E major and A major and contains further smaller motifs: in the bass a broken chord figure descending over string tremolo (bars 47–51), a descending motif of the violins with chromatics (bar 51– 54) and an ascending, singing legato figure of the oboes (accompanied by the strings in the tremolo) with a final turn (bars 55–65).

Shortly before the end of the exposition , from bar 65, there is a catchy, echo-like “snippy little song” by the strings, answered by the vocal tutti with vocal oboes. Depending on your point of view, this passage can be seen as a third topic.

The implementation (clock 82-132) begins, surprisingly, with the "scrape" in F sharp major - Forte, but the movement died down and breaks in cycle 88 with a general break including pause completely. Then the first theme in the tonic in D major begins in a sham review , followed by mysterious, foggy modulations that lead from G major to the distant C sharp major and back (bars 93-107). After further processing the "scratchy feet" as well as a chromatic passage with tremolo of the violins and characteristic jumps in the bass, the return to the recapitulation follows from bar 124 .

In the recapitulation (from bar 133) the horns and oboes are now involved in the first theme from the beginning, the oboes also leading the part. After the repetition of the theme follows a “dreamy insertion, as if Haydn wanted to exaggerate the initial bow to the point of absurdity, until it finally sticks somewhere in the air and freezes.” The leading figures of the “bow” are then continued in a dialogical tutti and go into Measure 160 into the second topic, which is expanded to 18 measures compared to the exposure. With the sudden change to the forte and the entry of the wind players, the section takes on execution-like features. The rest of the recapitulation is similar to the exposition. The movement ends with a D major fanfare in fortissimo (bar 219 ff.). The exposition, development and recapitulation are repeated.

Ludwig Finscher speaks of a "dramatically excited" and "very clearly structured sonata movement". According to Howard Chandler Robbins Landon , the movement shows overall influences of Italian opera . Robbins Landon evaluates the passage from bar 65 as the second theme and accordingly sees the section between its announcement by reaching the dominant in bar 26 and the entry into bar 65 as greatly extended: Haydn allows himself the “luxury of an insertion of more than three dozen Clocking. “The topic from measure 65 then takes the position of a carefree afterthought that is no longer to be taken very seriously. Peter Brown sees the sentence as a parody of the Italian opera overture; B. with the sequence of musical "clichés" at the beginning of the sentence.

Second movement: Andantino e cantabile

A major, 3/8 time, 167 measures, strings with mutes

The first theme, which has a periodic structure, has a distinctly vocal, calm character. It is performed by the strings with the first violins leading the voice, with the whole movement taking on a foggy, overcast timbre due to the dampening of the violins. The theme is repeated three times: in the tonic in A major (bar 9 ff.), In the dominant E major (bar 17 ff.) And in the double dominant B major, whereby the variation becomes stronger from time to time.

The second theme (rather: motif) follows - as in the first movement - without a caesura from bar 34. It consists of a two-bar down-up movement of 1st violin and bass in dialogue, with the 2nd violin as a "mumbling" figure accompanied. This is then taken up by the 1st violin like a follow-up.

Then (bars 40 ff.) The music ebbs more and more until in bars 46/47 only the 1st violin in pianissimo with tone repetitions by B remains. Originally, Haydn intended a different version here with three additional bars of the 1st violin (in the first of these bars with the phrase His - Cis - Dis - Cis) But in retrospect, this seemed too daring to him: He crossed out the three bars the remark “This was too learned ears” (the three bars after bar 143 in the recapitulation are analogous). Karl Geiringer sees the deletion of the three bars as a "rejection of rationalism" and a sign of a new creative phase of Haydn, "in which the composer's expression assumes a strongly sensitive character and comes close to the literary 'Sturm und Drang'."

“But to whom could“ the learned ears ”have belonged, if not the prince himself, who could have induced Haydn to remove the phrase? (...) Perhaps it was the noble theme and its simple effect that ultimately prevented Haydn from going again via B to His to C sharp major, so that he simply commented on the measures in question with his remark “This was too learned ears” stroked. The place where he planned it is already noticeable enough in view of the "dying" first violin. "

The second theme is repeated again in bars 49 ff. With the participation of the oboes. This is followed by a passage with syncope and chromatics (bars 55 ff.) And a crescendo up to fortissimo in bars 64/65, which is followed by the phrase-like closing group in pianissimo with a throbbing bass on E and the exposition ends in bar 69.

The development (bars 70–110) is almost entirely in the minor key. It begins with the second theme in E minor and, after a brief outburst, moves from C major - forte to the first theme, which is led to E minor, B minor and F sharp minor. “At the end of the section it seems as if the music is anxiously looking for a way out of the dark region of F sharp minor, until this way out is found with the sudden return of the theme in A major, ie with the recapitulation - a part of great Urgency. "

In the recapitulation (bars 115 ff.), When the first theme is used, the horns are also involved for the first time in the movement in addition to the oboes (sometimes leading the part, bars 118 ff). The first sentence of the topic is repeated, but the first two repetitions are omitted. The rest of the recapitulation is structured similarly to the exposition. The exposition, development and recapitulation are repeated.

Third movement: Menuet. Allegretto

D major, 3/4 time, with trio 80 bars

The lively and cheerful minuet begins in the forte-tutti with chord strokes and triplets, followed by a contrasting answer in the piano, in which the first violin is led chromatically upwards and the bass chromatically downwards. The second part (bar 11 ff.) Is followed by an A major scale played around in triplets. After a brief caesura and interrupted insertion of the opening figure (chord beats + triplet phrase), a passage begins again in bar 21 in which the strings are led in legato quarters in countermovement. An E major seventh chord takes up the initial idea again in bar 29.

The trio is also in D major and is only for strings. A distinctive feature is the change from a "strutting" figure in pizzicato , which begins in the 1st violin with a broken D major chord (imitated by the 2nd violin), and a swaying legato section.

Fourth movement: Finale. Scherzando e presto

D major, 2/4 time, 148 bars

The form of the sentence is emphasized by several authors:

  • "(...) the finale, however, is a hybrid combination of rondo , variation and thematic work that Haydn never wrote a second time."
  • “It is a“ Variations-Rondo ”, the form that Haydn later used in many a symphonies, which was celebrated by the listeners of his time. Here, in Symphony No. 42, he does that for the first time. "

The sentence, which has some surprises in store according to its name "Scherzando e presto", can be roughly structured as follows:

  • Presentation of the main theme ( refrain ) in the string piano, bars 1–20. The theme is periodic and characterized by a continuous eighth note movement in the violins. The first and last sentence are repeated (this also applies to the rest of the sentence).
  • 2. Couplet, bars 21–36 for wind instruments and (double) bass, piano.
  • Variation 1 of the refrain, bars 37–56: The violins play around the theme in sixteenths, piano.
  • 2nd couplet, bars 57–97: three-part system: 1st part in D minor with characteristic opening motif and forte answer (first forte in the movement); 2nd part in F major, from bar 82 repetition of the D minor part, but this remains “stuck” with the opening motif in pianissimo.
  • Variation 2 from the refrain, bars 98–117: Strings as at the beginning, plus wind accompaniment, piano.
  • Coda bar 118 ff: The headline of the refrain is initially sequenced downwards, but the music remains on an A major chord with fermata again. The first “attempt” with the opening motif from the 2nd couplet leads, after a tremolo passage, to the fallacy in B minor. Again Haydn now lets the strings with the opening motif look for the right key. The second energetic attempt is then successful and ends the symphony with ascending sixteenth notes and tremolo.

There are similarities to the rondo in that the theme (refrain) is taken up again, interrupted by intermediate passages (couplets) in the course of the movement. On the other hand, the movement shows variations, since the theme is not repeated in the same form but in different ways.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ 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).
  3. ↑ a b Christa Landon : Joseph Haydn, Symphony No. 42. Ernst Eulenburg Ltd. No. 568, London / Zurich no year (preface and revision report to the pocket score from 1963)
  4. ↑ a b c d e f g Anton Gabmayer: Joseph Haydn: Symphony No.42 in D major Hob.I: 42 "For learned ears" . Text accompanying the concert on June 20, 2009 at the Haydn Festival in Eisenstadt. http://www.haydn107.com/index.php?id=32 , as of December 2009
  5. ↑ Walter Lessing (1989) rates this as a “compositionally brilliant, truly majestic movement opening” , and Anton Gabmayer (2009) also praises: “A remarkable dynamic study by Haydn!”
  6. ^ A b 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
  7. ↑ a b Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  8. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766 - 1790. Thames and Hudson, London 1978, p. 301.
  9. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955
  10. ↑ Robbins Landon (1955): "There are several works in which a perfect balance is effected between first and second subject, such as No. 48/1 and No. 56/1; but the transitional material separating the rest of the exposure from the charming subsidiary theme in No. 42/1 is prolonged to such a degree that when finally introduced, the second subject occupies the position of a sort of happy afterthought, not to be taken seriously at all. "(Pp. 319-320). - "As this whole movement is altogether on a broader scale than any symphonic movement of the past era, one is likely to overlook the startling transitional passage (meas. 26ff.) Which modulates sequentially through B major on the way from the dominant to the dominant. Having arrived at meas. 26 in V, sufficiently prepared by ag # occurring in five previous measures, the second subject would be normally introduced; Hut Haydn now allows himself the luxury of more than three dozen measures before he finally reaches his subsidiary subject. "(p. 325)
  11. ^ 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 , pp. 130-132.
  12. ↑ Presentation of the deleted measures in Robbins Landon 1955, p. 325
  13. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's sons, Mainz 1959
  14. ↑ Robbins Landon 1955, p. 322: “Such movements as the minuets to Nos. 42, 43 or 56 are so compelling, their rhythm so infectious and their joy so positive that only a jaded musical palette indeed can resist their charm. "
  15. ↑ According to Howard Chandler Robbins Landon (1980 p. 301) the violins here imitate distant trumpets.
  16. ↑ cf. on this note above under “Occupation”.
  17. ↑ Robbins Landon 1955, p. 323.

Web links, notes

See also