46th Symphony (Haydn)

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The Symphony in B major Hoboken directory I: 46 wrote Joseph Haydn in 1772 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed Symphony No. 46 in 1772 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy. It is Haydn's only symphony in the then unusual key of B major. Due to similarities (related keys, unusual design of the final movement) or contradictions (strong motivic work in the first movement of No. 46), it is often viewed as a counterpart or sister work to Symphony No. 45 .

To the music

Instrumentation: two oboes , two horns , two violins , viola , cello , double bass . At that time, a bassoon was used to reinforce the bass voice, even without separate notation . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies.

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: Vivace

B major, 4/4 time, 151 measures

Beginning of Vivace

The movement begins with a signal-like motif in forte unison , consisting of a sixth down and a third up ("signal motif", motif A; structurally similar beginning in the first movement of Symphony No. 44 ). After a break, the strings answer the piano (motif B). The theme is now repeated in various ways, with the signal motif appearing in countermovement, the string response is extended to a total of six bars by moving up and down and leads into the transition (bars 12-21) without a caesura. Here Haydn modulates with an ascending motif in the strings (motif C) and syncopated interjections of the wind instruments from the tonic in B major to the dominant in F sharp major. At the end he takes up the string answer from the beginning of the sentence (motif B).

In the second, again motif-like theme (bar 22 ff.,) The 1st violin initially plays the (shortened) inversion of the signal motif from the first theme, accompanied only by a staccato eighth figure of the 2nd violin, like a contradicting voices, and then answers its "question" even with an analogous “answer.” In the forte-tutti the thought continues, which in measure 31 merges into the closing group-like eighth run with a characteristic semitone step (motif D). Unexpectedly, however, a fortissimo outbreak of motif C in F sharp minor sets in in bar 36, underlaid with syncopation. From bar 42, the outbreak fades away with a string hum, which with its calm movement in half notes (motif E) is somewhat reminiscent of the signal motif. With another approach over motif D, the exposition with motif C can then close in the “correct” key of F sharp major ( dominant ).

In carrying out the signal motif motif C and E motif are processed. First of all, the strings play the signal motif with a staggered entry in narrow form . In bar 70, a sham recapitulation of the signal motif in the tonic in B major begins , which is then followed from bar 76 by motif C in F sharp minor with syncopation in the 2nd violin. As in the exposition, the movement comes to rest through motif E. After the two violins have jumped the octave, they swap roles: from bar 99 the 2nd violin plays motif E, the first violin the accompanying eighth note figure.

The recapitulation begins in bar 105 with the signal motif on B. It has several implementation-like elements, such. For example, when the first theme is repeated, the signal motif is narrowed again and flows directly into the passage with motif D, followed by the fortissimo outburst with motif C in B minor. The second subject is missing. The exposition, development and recapitulation are repeated.

Second movement: Poco Adagio

B minor, 6/8 time, 66 bars, violins with mutes

As in other slow symphonic movements of Haydn's time, the violins play with mutes. The strings begin the movement with a plaintive melody, which alternates in bars with spinning staccato sixteenth notes (first theme). In the third variant, the sixteenth-note figure is lengthened and ends in a radiant, ascending motif in D major - tutti (second theme), under which the sixteenth-note movement continues and then emerges dominantly again in unison to conclude in D major (tonic parallel) respectively. After two bars with a sweeping, plaintive-song-like legato movement, a Hoquetus passage follows , which changes back into the lamenting movement, now in energetic forte unison. The sixteenth note movement then runs through to the end of the exposition, at the end as a staccato movement in the bass.

The middle part (development) begins as a variant of the first theme and then spins it on in a modulating manner as a sweeping legato movement, underlaid by the detached movement from the Hoquetus passage. The recapitulation (bars 39 ff.) Varies the second theme, in which the second violin now leads the part with a sequential downward movement, and the group-like mourning figure is also extended compared to the exposition. The sentence breathes in pianissimo.

Third movement: Menuet. Allegretto

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

The minuet is characterized by the alternation of full-time notes and eighth note chains with "sigh-like" second steps in stepped motion. In the first part (forte) the full-time notes alternate with the ascending eighth note chains mark the (ascending) B major - triad, viola and bass accompany in regular quarters. The final turn leads to the dominant F sharp major. Starting from F sharp major, the second part continues the material as a sweeping legato movement of the 1st violin. After six bars, Haydn switches to the piano, where the strings take up the opening theme - but now with the eighth notes down instead of up - and lead back to the tonic B (“dying sinking”). This phrase is then repeated forte by the whole orchestra. The character of the minuet is judged differently: Antony Hodgson describes the minuet as “warm”, “stately” and “incredibly sad”, according to Howard Chandler Robbins Landon the movement is graceful and graceful, while according to Walter Lessing the minuet “breathes old-fashioned comfort ( ...). "

For the accompaniment of the bass in the minuet, the stepped movement in the last two quarters of the full-time notes of the upper parts is characteristic, which returns in the trio with its atmospheric timbre in B minor: Both violins play a slow, serene melody that surrounds the tone D circles, accompanied by the bass figure already present in the minuet. The first part of the trio is not repeated to the exact note, but with the change that the melody is divided between the two violins leading the voice (viola now parallel to the 2nd violin). This is done by creating a characteristic dissonance by adding a new tone or leaving it where it is. In the second section the winds join in, with the oboes picking up the main melody in thirds, while the bassoon and viola reinforce the separated bass movement.

Fourth movement: Finale. Presto e Scherzando

B major, 2/2 time ( Alla breve ), 214 measures

The movement begins with its dance theme, which is initially only played piano by the violins, from bar 8 onwards, in the downwardly displaced variant, bass and winds join in. The topic is then taken up again, but ends in energetic unison in a semi-final on the dominant F sharp. Now, instead of the regularly expected second theme in F sharp major, Haydn uses another variant of the main theme in F sharp minor (similar to Vivace) and then sequences in forte with the tone repetition motif from the theme to C sharp major, where the head of the Theme is emphasized again in the oboe leading part.

Then (bars 49 ff.), First the violins (without any other accompaniment, piano) and then the bass (with tutti, forte) take up the “sequence motif” again. At the end of the exposition, Haydn gradually takes the instruments back until finally only the 1st violin, which is caught in its repetitions, is left, and the orchestra finally falls silent (two bars of general pause).

The development is initially limited to the processing of the head from the main theme: After the interruption of the theme on D-flat, it is repeated in a different form, but now only by the strings, until from bar 83 only the violins are left. A line falling in half notes is also noticeable as a voice-leading element, which appeared for the first time during the sequence group from bars 35 ff. And is now being spun again. The recapitulation (bars 104 ff.) Goes directly from the main theme into the sequence passage. After a ten-bar organ point on the F sharp and another general pause, the action stops abruptly.

Now up to bar 181 there is a section in 3/4 time, which is entitled “L´istesso Tempo die Menuet” and represents an excerpt from the second part of the minuet (from its “recapitulation”). Then the head of the main theme is taken up again at the original tempo, but the movement immediately stops again in repetitions of the main motif, and as at the end of the exposition, only the first violin is left, whereupon the orchestra falls completely silent again (two bars general pause ).

As in the echo, the theme starts again in pianissimo over a ten-bar organ point on B, this time with a closing twist. Two strong chords (dominant - tonic) in fortissimo finish the movement.

The insertion of the minuet could possibly be interpreted as a counterpart to the final adagio of Symphony No. 45, but Haydn's specific intention is not known. Perhaps the two unusual final movements of symphonies 45 and 46 are “an ironic conclusion to the symphonic experiments up to 1772”.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 .
  3. ↑ Hans-Joseph Irmen: Joseph Haydn. Life and work. Böhlau Verlag, Cologne 2007, ISBN 978-3-412-20020-6 .
  4. ↑ a b c Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 .
  5. ↑ 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).
  6. ↑ The repetitions of the parts of the sentence are not observed in some recordings.
  7. ^ A b Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766 - 1790. Thames and Hudson, London 1978, p. 304.
  8. ↑ James Webster: Hob.I: 46 Symphony in B major. Information text on Joseph Haydn's Symphony No. 46 on the website of the “Haydn 107” project of the Eisenstadt Haydn Festival. www.haydn107.com/index.php?id=2&sym=46, as of November 2009
  9. ^ Antony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 74.
  10. ^ Antony Hodgson (1976, p. 74): "the warm Menuet is stately and unaccountably sad."
  11. ↑ "graceful"
  12. ^ Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series on Südwestfunk Baden-Baden 1987-89. Volume 2. Baden-Baden 1989, p. 73
  13. ↑ Irmen (2007) writes about the inset: "a moment of resigned reflection, at the same time a wistful memory of past happiness"

See also

Web links, notes