44th Symphony (Haydn)

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Franz Joseph Haydn (painting by Ludwig Guttenbrunn, ca.1770)

The Symphony No. 44. In E Minor ( Hob I:. 44) composed Haydn to 1770/1771 during its employment as a conductor at Prince I. Nikolaus Esterházy . The work belongs to the Sturm und Drang period and bears the title "Mourning Symphony", not by Haydn. The playing time is approx. 23 minutes.

Origin and Effect

Symphony No. 44 was written around 1770/1771 as part of Haydn's musical activities at the court of the Esterházy family in Eisenstadt and is shared with the Stabat Mater (1767), the Salve Regina (1771) and the opera Philemon und Baucis (1773) to be assigned to the period of "Sturm und Drang". The work, whose autograph has not been preserved, was announced in the Breitkopf & Härtel catalog of 1772. The title “Mourning Symphony” does not come from Haydn, but probably goes back to his alleged wish to play the Adagio at his funeral (see third movement). It appears for the first time in 1868 on the title of a score published by André Verlag and was introduced to literature in 1879 by Carl Ferdinand Pohl. There are different opinions about the suitability of the title for the music.

“This famous symphony explains why Haydn's minor works from the 'Sturm und Drang' period are so important. The whole work is concise and focused - not a single note is too many - and it maintains its mood of grave suffering with remarkable continuity. The symphony is also unusual in that the minuet precedes the slow movement. This basic pattern can only be found in five other Haydn symphonies, all but one of which were composed early. "

The 44th Symphony shows characteristic features of Haydn's exploratory style between approx. 1768 and 1774 and has the following features:

  • antithetical topic formation (main topic, 1st movement)
  • contrapuntal sentence structure in the 1st, 2nd and 4th movements (with imitations and narrowings )
  • Position of the canonical minuet as 2nd and not, as usual, 3rd movement
  • expressive chromatics and lead formations
  • differentiated dynamics, e.g. B. from pianissimo to fortissimo in the first movement, numerous accents
  • differentiated rhythm, e.g. B. by numerous syncope and hemiolus
  • Use of muted violins ( con sordini ) in the 3rd movement

Besides the symphonies No. 12 and No. 29 , this work is one of Haydn's only symphonies in the symphony key E (major), which was unusual for the time. Other symphonies of this creative phase in unusual keys are z. B. No. 45 in F sharp minor, No. 46 in B major or No. 49 in F minor.

Musical shape (analysis)

The key of E minor can be seen as a specialty as well as the sequence of movements (with the Adagio as the 3rd movement), which deviates from the normative principle "fast - slow - minuet - fast". The key relationships between the individual movements (E minor and E major), however, are as usual close. As is so often the case with Haydn, the head and final movements are in monothematic sonata form , the minuet is canonical, and the slow, but serene movement is a sonata movement without development. The horn solo in the trio of the 2nd movement and the use of muted violins in the 3rd movement are exceptional.

“The corner movements show Haydn's newly awakened interest in unity of motif and contrapuntal movement. The gloomy minuet, a strictly executed canon, is a contrapuntal bravura piece in itself. Trio and Adagio, both in the major variant, are among the finest and most inward compositions of this period. In the finale, however, Haydn achieved a strength of emotional intensity that was seldom reached before. "

Preliminary remark on the analysis:

With the terms of the sonata form used here, it should be noted that this scheme in the sense of a "standard model" was only designed in the first half of the 19th century as a form of describing Beethoven's symphonies and can therefore only be transferred to Symphony No. 44 with restrictions can.

1st movement: Allegro con brio

E minor, 4/4 time, 157 bars

The exposition (bars 1-61) begins with the antithetical main theme (bars 1-12) in the basic key of E minor. Haydn opens here with a bar- like four- measure (4 in 2 + 1 + 1 measures), the section "X" (bars 1-4), which also recurs in the further course of the first movement in the sense of a "motto". Characteristic are above all the voice leading in unison , the harmonic ambivalence, the fragmentary structure and the high-contrast design of the two parts:

Bars Form / structure dynamics Melody articulation rhythm Harmony Instrumentation gesture character
Thesis X 1-2 2 cycles, compact forte by leaps and bounds marcato / staccato abtaktig tonic Strings + winds signal-like motif concise, powerful (con brio)
Antithesis Y 3-4 1 + 1 bars, structured in itself piano gradually, downwards portato / legato upbeat dominant only strings Holdings graceful, "hesitant"
Main theme, 1st movement (T. 1-12)

In the following section "Y" (mm. 5-12), the musical roles in melody (in the 1st violins) and accompaniment are particularly striking: The strings (with Splashes of color in the horn) with a set-like eight-stroke (8 in 2 + 2 + 4 bars). Although already in T. 3, for the scale type characteristic minor sixth is heard c, is the minor here third g the home key of E minor definitively established. Bars 5-8 are periodically structured in themselves (IV and VI) and remain melodically open (e-flat in bar 6 and f sharp-g in bar 8). In bars 9-12, which in turn are closely related to the antithesis, the subdominant (A minor) appears for the first time, but the movement ebbs again in the sequence and finally breathes in unexpectedly in bar 11/12 in pianissimo as a full-bar lead on the dominant B major. The 12-bar main theme thus remains harmoniously open ( Phrygian half-close ) and ends with an aposiopesis (bar 12).

monothematic page movement, 1st movement (mm. 20-28)

The transition (bars 13-20) begins after a " general pause " with an attempted repetition of the main idea. After the resumption of the head motif (thesis), Haydn deviates from the original course in bar 15 and surprises the listener with a novel gesture in order to subsequently modulate in the parallel key of G major.

When the subordinate level is reached in bar 20, the full orchestra sets in for the first time. Here, virtuoso sixteenth-note runs with tone repetition in the strings and oboes, and the concise head motif in the basses at the same time. After a cadenza in G major, contrapuntal processing of the head motif appears in bar 25 (as a narrowing of the original figure and inversion ), before Haydn after a fifth case sequence (bars 28-35) even temporarily changes to the variant in G minor (as an echo ) evades, only to flow into the head motif in m. 42 (cf. m. 13-15) and conclude the exposition with a more formulaic closing group (m. 47-55) in G major.

Return / transition, 1st movement (T. 57-61)

But that's not all ... In typical fashion, Haydn surprises his listeners here by adding a 6-bar, rather lyrical appendix to the final section, modulating it to the dominant B major. Bars 56-61 thus serve as a return line to the beginning of the movement - in the case of the obligatory repetition - or as a transition to the following development.

The implementation (T. 62-100) is divided content into two parts: The first section (T. 62-76) comprising 15 cycles, is worked with the main set of material and mainly held in the piano; the second section (T. 77-100) consists of 24 bars, mainly uses page-movement material, is entirely in the forte and is for long stretches imitative and modulating. The development is also opened again with the main theme: The four-bar "X" (cf. bars 1-4) in B minor (with a legato answer that differs from the beginning ) is followed in bar 66 by its sequence in the subdominant a -Minor. Corresponding to the original course, the section "Y" now appears (cf. bars 5-12), but here Haydn sequenced after only 4 bars into the mediante in C major and interlaced the two developmental parts in bar 77. The 2nd section now largely adopts bars 21-24 from the exposition with the final cadenza in C major. However, the resumption of the head motif in bar 81 is followed by a dialogue-like continuation passage, which in the meantime reaches the parallel in G major in bar 90 and syncopated rhythms are heard for the first time in the strings and winds. As part of the return (mm. 92-100), Haydn modulates back into the basic key of E minor before, after a dramatic outburst of the full orchestra - and the loudest passage in the entire work marked fortissimo - the recapitulation begins in m. 101 .

The recapitulation (mm. 101-157) begins with the main theme in E minor. Although the main movement largely corresponds to the original course in the exposition, it is expanded in bars 109-111 by a formal insert, which now extends the melody to the key e 2, expands harmoniously and has the following features, among other things: dynamic contrast through forte Piano effects, enhancement of the subdominant by means of interharmonics, sharp accents ( sforzato ), enrichment of the instrumentation by adding the oboes. In the closing bar of the theme (bar 115), Haydn now dispenses with the original pause (see bar 12) and instead anticipates the accompanying tone repetitions of the following section, which ultimately links the main theme more closely with the transition. The transition (bars 116-120) appears shortened and lingers - instead of an unnecessary modulation in the recapitulation - on the organ point of the dominant.

Side movement [recapitulation], 1st movement (T. 127-132)

The side movement (bars 121-132) is now greatly shortened compared to the exposition, remains entirely in the minor key and otherwise largely corresponds to its original course (cf. bars 35-47); Haydn only enriches bars 128-132 with an artistic variation, this time noticeably changing melody, pitch and instrumentation (cf. bars 42-46). The final group appears varied and in turn has been expanded to form a spacious coda (mm. 133-157).

Fugato [Coda], 1st movement (T. 141-146)

As at the end of exposure Haydn surprised the attentive listener now again at the end of the recapitulation: The clocks 136-140, this time sequence like and harmony to a total of 5 strokes by the Neapolitan sixth chord expanded, come into T. 140 completely unexpectedly by a pause on the diminished seventh chord of the seventh degree to a standstill (which rhetorically equates to a colon). After a caesura , in bars 141-146, an artistic fugato of the head motif is heard in three-part narrowing. Haydn uses two historical topoi here - the passage duriusculus and chromatic sigh motifs - and at the same time creates a synthesis of all three main harmonic functions (tonic, dominant and subdominant), which is particularly impressive testimony to his compositional skills ( counterpoint )! Bars 147-148 for their part correspond to bars 123-124 of the recapitulation or the analogous passage in the exposition (cf. bars 37-38) lead over to the resumption of the original closing group in bar 149. The three dismal final chords (like the opening motif) lack the third.

The exposition as well as the development and recapitulation are repeated obligatorily.

2nd movement: Menuetto. Allegretto ( Canone in Diapason ) - Trio

E minor, 3/4 time, 60 bars - E major, 3/4 time, 28 bars

The dance-melancholy and almost "eerie" minuet with the traditional structure in A / BA '(with obligatory repetitions of both parts) appears here - contrary to common conventions - in the second position and therefore exchanged with the Adagio , now the 3rd movement . In terms of structure, this movement, entitled Canone in Diapason , is designed as a two-part canon in octaves between melody and bass: A first part in the violins and 1st oboe is played by the cellos, double basses (and the bassoon) with an opening spacing of three quarter notes (1 bar), while the 2nd oboe and violas freely double the outer parts in thirds and the horns fill in the harmonies (often with motivic meaning).

Canon in Diapason [Minuet], 2nd movement (T. 1-7)

The repeated A section (bars 1-16) opens with a periodic four-bar in E minor, with the violins initiating the canon in the piano and being imitated by the basses one bar later. This is followed by a longer section (12 in 7 + 5 bars) in the forte, which is also canonical and modulates in the parallel key of G major. Haydn also continues the two-part canon in the B-part (bars 17-60), which is more than twice as long with 44 bars. In bars 17-31 the head motif (cf. bars 1-2) appears in G major in the forte, its sequence in E minor in the piano and a multi-part continuation passage in the forte, which goes back to the forte in the form of a descending scale Dominant B major leads. Here, the recapitulation of the main theme would begin in a normal minuet, but instead in bars 32-55 Haydn doubles the interval between the melody and bass parts from 3 to 6 quarter notes (2 bars) and now also extends the new melodic gesture - in In contrast to the previous two-bar arrangement of all motifs - on four bars. This descending gesture, beginning with a look-up, is first repeated in gentle pianissimo, and then modified and cadenced in the contrasting forte using a model and several sequences in E minor. After the expansive middle section (B part), Haydn only recapitulates the original four-bar (cf. bars 1-4) in the shortened recapitulation (bars 56-60) and then ends the minuet with an empty cadence in the forte. Both parts, i.e. middle part and recapitulation, are repeated in turn.

The lyrical trio in the contrasting E major is - in contrast to the minuet - relatively short and no longer canonical. What is unusual here, however, is the demanding solo horn in the high register, the high-contrast dynamic design ( pp to ff ) in the smallest of spaces, the play with the key points and Haydn's compositional handling of the recapitulation.

The A section (bars 1-12) this time comprises 12 bars, is divided into 9 + 3 bars and is repeated. It begins with a sequence of tones in pianissimo in the two violins in thirds and gradually descending, before the melody is picked up by the solo horn from m. 3 and then modulated in B major. In the B part (16 in 7 + 6 + 3) Haydn plays with the key points by artificially "weighting" the actually "easy" upbeats in bars 13 and 14 using sforzato and thereby overriding the conventional bar order. As in the minuet, the recapitulation (bars 26-28) appears shortened here too: Haydn restricts himself to the harmoniously arranged resumption of the final bars of the A section (cf. bars 70-73) in the variant key of E major. The middle section and recapitulation are repeated in their entirety.

The trio is followed by the obligatory resumption of the minuet ( Menuetto da capo ), but this time without the repetitions.

Haydn also uses a canonical minuet in symphonies No. 3 and No. 23 , a crab one ( al roverso ) in No. 47 - but there traditionally as the 3rd movement.

3rd movement: Adagio

E major, 2/4 time, 82 bars

The Adagio is a sonata movement without a development (the recapitulation, however, contains passages similar to development) of a solemn character, only the recapitulation touches darker regions at the beginning (minor dominant). The violins play this movement con sordino , and as in many other slow movements of the Sturm und Drang symphonies, the wind instruments are used very sparsely, which makes them all the more meaningful.

Main theme "con sordini", 3rd movement (T. 1-8)

The first part of the movement (bars 1-40) is structured like an exposition and begins with the main vocal theme performed by the strings (bars 1-8) in the piano in the muted violins. The first theme in E major is built up periodically (8 in 4 + 4 bars) and is subsequently repeated a little more agitated and varied, before it flows seamlessly into a new section with triplet accompaniment in bar 16 and now the winds in as well a prominent role - time seems to stand still here for a moment! The triplets also determine the further course of the movement and ensure a continuous flow of the music. In the context of a four-bar passage of strings (bars 20-23), Haydn modulates further into the dominant key of B major and thus leads to a second theme (secondary theme) in bar 24, which gradually descends from an octave jump upwards and finally into a longer one Triplet passage opens. The exposition ends together with the winds after an augmented cadenza with a two-bar codetta (bars 39-40).

Haydn initially treats the second part of the movement (mm. 41-82), the "recapitulation", more in the sense of a development, in that he begins the main theme in B major, but surprisingly changes to the variant in B minor in the postscript leads into a new, melancholy-filled passage. The return of the wind section in bar 57 in the basic key of E major, where the horns - as in the trio of the second movement - climb the highest heights (e 2 ), is all the brighter . This section (bars 57-67) also appears varied, is again darker in color and reaches a dramatic climax in bars 63-66 due to the sudden dynamic outbursts (by means of tone repetitions with falling figures of the violins in fortissimo and forte as well as harmonic expansion). The rest of the recapitulation (bars 67-82) now largely corresponds to the exposition (cf. bars 24-40): The second theme, this time in the key E major, leads the movement to a peaceful ending.

Both parts, i.e. the exposition and recapitulation, are repeated in their entirety.

According to legend, it was Haydn's wish that this Adagio be played at his funeral. However, this was not the case in Vienna in 1809; Mozart's Requiem was played instead . At the musical celebration of Haydn's death in Berlin, his alleged wish was granted and “the older symphony from E minor, with the touching Largo from E major (…)” was actually performed. It is possible that the name “Mourning Symphony”, which did not come from the composer (and is otherwise musically incomprehensible), goes back to this performance.

4th movement: Finale. Presto

E minor, 2/2 time (alla breve), 187 measures

The furious finale in the rapid Presto tempo even surpasses the Allegro in concentration and drive. As in the first movement, Haydn opens with a unison theme, which from now on will be present in the entire final movement - however, while the accompanying figures accumulate, the movement becomes increasingly contrapuntal until the second theme finally leads to a double canon (the most virtuoso performance of contrapuntal artistry) .

Main theme, 4th movement (T. 1-8)

The exposition (T. 1-74) begins with the energetic main theme in E minor, which is presented in unison by the strings. It is built like a sentence (8 in 2 + 2 + 4 bars), has a rather harsh effect due to characteristic staccato quarters and ends in a semi-coherent manner. This is followed by a 10-measure variant (bars 9-17) in sixths, this time on the piano and without the staccato instructions. In the following transition (bars 19–28), the full orchestra can now be heard for the first time in the Forte. Here Haydn sequences the head motif of the theme (cf. bars 1-2) in the lower strings and modulates on the dominant (D major) of the parallel key in G major.

Double canon [side movement], 4th movement (T. 29-43)

The side movement (bars 29-59) in G major is designed as a double canon (with a total of four voices): In bars 29-37 the 1st violins and the basses sequence bar by bar imitating the side movement motif related to the main theme (T. . 29-30); At the same time, a counterpoint, also shifted in bars, appears between the two outer voices in the 2nd violins and the violas. In bars 37-42, Haydn swaps the voices and swaps the roles of the instruments: the first canon now appears in the 2nd violins and the violas, the second in the 1st violins and the basses. The following passage temporarily tilts to G minor and ends in bar 50 in a new, dramatic section, which is characterized by energetic tremolos on the violins, sforzati and large interval jumps and finally cadences in G major. The final group (bars 60-74) is now - atypically - entirely in the piano and first takes up the head motif in thirds in the 2nd violins and violas, before Haydn in bars 68-74 - analogous to the Allegro - by means of an integrated return line (or transition to the following development) lands on the dominant B major with descending gestures and thus ends semi-conclusively.

The development (bars 75-118) consists of three sections and is also largely based on the head motif of the main theme. Haydn opens here with two contrasting variants of the head motif in unison, while modulating into the subdominant in A minor. In the first section (bars 79-96), the original head motif is now sequenced in the 1st violins in a steady upward movement, underlaid with syncopation and a chromatically descending bass line, and continues to C major. In the second section (mm. 97-112), Haydn shifts the head motif to the bass, but this time sequences in a downward direction and then modulates back to the dominant B major. The return line (bars 112-118) is again designed in an imitation, in that the counterpoint of the double canon (cf. bars 29-30) is now sequenced over an organ point in the two violins and finally flows seamlessly into the recapitulation in bar 119.

Return to the recapitulation, 4th movement (T. 113-120)

In the recapitulation (mm. 119-187), Haydn dispenses with the resumption of the main movement and instead starts directly with the secondary movement in the basic key of E minor. The beginning of the recapitulation is particularly unusual here, where in bars 119-120 a surprising fragment of the head motif from the Allegro (cf. bar 1) is heard and only then does the second theme (with the double canon) follow - but now directly interchanged Roles (cf. T. 37-42). In bars 139 and 141 Haydn then again quotes the head motif of the first movement (see bar 2) in the 1st oboe and the low strings. The final group (mm. 152-166) is introduced this time by a solo E minor triad of the horn, but otherwise largely corresponds to the exposition and again ends on the dominant B major.

In the context of a brilliant coda (bars 167-187), Haydn now returns to the main theme (left out in the recapitulation) in E minor, initially only in threatening fragments on the diminished seventh chord of the seventh degree in the strings, but finally in an increased cadenced form also in the bass with the participation of the full orchestra in fortissimo. The finale ends - as in the first two movements - with three final chords without a third.

The exposition, development and recapitulation are repeated in their entirety.

occupation

2 oboes , 2 horns (in E and G) and strings : violin (2), viola , cello and double bass (non divisi )

At that time, a bassoon colla parte was usually used to reinforce the bass voice - even without separate notation . There are different opinions about the involvement of a harpsichord as a continuo in Haydn's symphonies. Today's performances (e.g. John Eliot Gardiner) sometimes even use a fortepiano instead of the harpsichord.

See also

Sheet music editions

  • Joseph Haydn: Sinfonia No. 44 e minor. Philharmonia Band No. 744, Vienna without a year. Series: Howard Chandler Robbins Landon (Ed.): Critical edition of all of Joseph Haydn's symphonies.
  • Joseph Haydn: Symphony No. 44 in E minor “Mourning Symphony”. Ernst Eulenburg-Verlag No. 544, London / Mainz without year, 79 p. (Pocket score).

literature

  • Andreas Friesenhagen, Ulrich Wilker: Symphonies around 1770–1774. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Row I, Volume 5b. G. Henle-Verlag, Munich 2013, ISMN 979-0-2018-5044-3, 270 pp.
  • Hans Swarowsky, Manfred Huss (Ed.): Preservation of the shape . Writings on work and reproduction, style and interpretation in music. Universal Edition AG, Vienna 1979, ISBN 978-3-7024-0138-2 .

Web links

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ Howard Chandler Robbins Landon: Joseph Haydn, Symphony No. 44, E minor (“Mourning Symphony)”. Pocket score No. 544, Ernst Eulenburg, London / Mainz n.d.
  3. ^ Anton Gabmayer: Joseph Haydn: Symphony No. 44 in E minor, Hob.I: 44 "Mourning Symphony" . Text accompanying the performance of the symphony on May 30, 2009 at the Haydn Festival in Eisenstadt, www.haydn107.com/index.php?id=32, as of September 2009
  4. ^ Horst Walter: Mourning Symphony. In Armin Raab, Christine Siegert, Wolfram Steinbeck (eds.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , pp. 789-790.
  5. ↑ Howard Chandler Robbins Landon ( Haydn: Chronicle and works. Haydn at Eszterháza 1766-1790. Thames and Hudson, London 1978, p. 297) considers the title to be suitable ( the title, for once, is apt ). Andreas Friesenhagen, Ulrich Wilker ( Symphonies around 1770–1774. In: Joseph Haydn Institute Cologne (Ed.): Joseph Haydn Works. Series I, Volume 5b. G. Henle-Verlag, Munich 2013, ISMN 979-0-2018- 5044-3, p. VII) consider it unsuitable with reference to a publication by Sonja Gerlach.
  6. ↑ a b James Webster: Hob.I: 44 Symphony in E minor . Information text on Joseph Haydn's Symphony No. 44 as part of the “Haydn 100 & 7” project of the Haydn Festival Eisenstadt, http://www.haydn107.com/index.php?id=2&sym=44 , as of December 2009
  7. ↑ Ludwig Finscher ( Joseph Haydn und seine Zeit. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 ) rejects the classification in the Sturm und Drang context: "With the youth movement of literary Sturm und Drang, who only had a short life and was hardly received in terms of content in Esterhaza, as in the entire Habsburg court culture (...), Haydn's minor symphonies have nothing to do with the general tendency to use minor keys and the adoption of elements of the Opera language such as orchestral tremolo, chains of syncopation, large intervals, sharp contrasts, recitative formulas to enrich, deepen, and even make the language of the symphony speak. "
  8. ↑ HC Robbins Landon: Preface (pocket score) . Eulenburg, London 1957.
  9. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766–1790. Thames and Hudson, London 1978, p. 298.
  10. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's sons, Mainz 1959
  11. ↑ Allgemeine Musikalische Zeitung of October 11, 1809, quoted in Gabmayer
  12. ↑ 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 ( inter alia Paris and London symphonies ; Virgin, 1988–1995); Roy Goodman (e.g. Nos. 1-25, 70-78; Hyperion, 2002).