50th Symphony (Haydn)

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The Symphony in C major Hoboken directory I: 50 wrote Joseph Haydn to 1773/74 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy . The first two movements were originally part of the overture to a play.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed Symphony No. 50 around 1773/74 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy. At the end of August / beginning of September 1773, Empress Maria Theresa and her court visited the Prince of Esterházy . The puppet opera “Philemon and Baucis” was also performed. The (preserved) prologue to this marionette opera consists of two movements and is entitled "Der Götterrath". The autograph originally contained another piece from this prologue. Haydn removed it, however, and added the first two movements by adding a minuet and finale to a four-movement work: Symphony No. 50. Symphony No. 48 may also have been performed in the same context .

The compilation of movements that were actually intended as drama music or the like to form a four-movement symphony can also be found in the symphonies No. 59 , No. 60 and No. 63 .

To the music

Instrumentation: two oboes , two horns in C alto, two trumpets , timpani , two violins , viola , cello , double bass . In the instrumentation of the first movement, the trumpets are not indicated separately. It is possible that Haydn intended to have the trumpets played with the horns as in the third movement; only in the fourth movement horns and trumpets have independent parts. - 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.

Performance time: approx. 18–20 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 applied with restrictions to a work composed around 1773/74. - 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: Adagio e maestoso - Allegro di molto

C major, 4/4 time (introduction) or 3/4 time (Allegro di molto), 152 bars

The slow introduction is in the style of a French- Baroque overture . It is characterized by signal-like, ascending triad figures, dotted rhythms and tone repetitions. The first four bars are repeated, then the spinning continues with a chromatically falling line (CBA-As-G). The introduction closes with chords on the dominant G and a general pause with a fermata . Its majestic character corresponds to the original function of attuning the audience to the world of gods (see above).

The subsequent Allegro di molto also has an overture-like character, which is pervaded by a continuous, propulsive (on the coming drama) eighth note movement. Compared to other first movements of symphonies that were written in the near future, the movement seems quite short. In the first theme (bars 1–12) it opens with a three-bar motif of the violins in the piano, followed by a contrasting eighth run of the whole orchestra in unison . Then the violins pick up the opening motif again and - accompanied by the viola - briefly lead it to the dominant.

From bar 25 forte follows a passage which, in addition to chord melodies and tremolo, is characterized by its fanfare-like motif made up of four quarters. The fanfare motif appears in different timbres: initially (bars 25 ff.) As a powerful C major chord beats, in bars 39 ff. In the dialogue of violins and horns / trumpets, and in bars 45 ff. Even in the viola (including Echo effect; the viola is, however, suppressed by the dominant eighth note movement of the main voices). The passage leads to the dominant G major, in which the second theme starts in bar 51. This consists of a phrase with a swaying character and is quite short with a total of six bars. Similar to the first theme, the voice-leading violins play here only accompanied by the viola. The short final group (bars 57-61) ends the exposition with a change from dominant tonic to chord strokes. The exposure is repeated.

The development begins with a chromatically falling line (C sharp-CHBA-G sharp) based on the first theme. In bar 72 the theme appears in D minor, but Haydn changes from the beginning of the movement to F major with the forte unison eighth run. The theme breaks off halfway and goes into the passage analogous to bars 25 ff. The fanfare motif takes a back seat here, rather abrupt key changes dominate: (short) F major, D minor, G minor, B major, A major and E major are reached (the latter emphasized: bar 90 ff.).

The recapitulation (bars 111 ff.) Corresponds structurally to the exposition. The development and recapitulation are not repeated.

Ludwig Finscher points out in the first movement that the slow introduction to the piano beginning of the Allegro is buffered, since the beginning of a work in the piano " would probably have been risky due to the tendency of courtly and relatively small groups to absent-mindedly" (similar to the symphonies No. 53 and No. 54 , which were written at the same time ; on the other hand, Haydn also composed symphonies with a piano beginning beforehand, e.g. No. 8 or No. 16 ). HC Robbins Landon sees the slow introduction to Haydn's symphonies of this time as the successor to the earlier symphonies in the “ church sonatas ” style, which begin with a complete slow movement (e.g. nos. 21, 22, 49). Michael Walter suspects that the introduction is also “a substitute for the individualization of the symphonies, which Haydn often avoided from 1773 on in favor of a more non-binding tone, because No. 50 in particular lacks an individual expression.” Other authors express themselves similarly: Walter After the pompous introduction, Lessing feels disappointed by the “concise, pleasing” Allegro and says that this movement can keep up with the first movement of Symphony No. 48 in terms of “the originality of the invention and in terms of external effect” . For Gwilym Beechey, the first movement is still the best (in relation to the entire symphony) "although this Allegro is neither as long nor as full of tension as many other movements of this kind that Haydn wrote in those years."

Second movement: Andante moderato

G major, 2/4 time, 63 bars, only strings and (from bar 35) oboes

Beginning of the Andante moderato

The strings begin this vocal movement, which is consistently in the piano. The cello is mostly played in parallel with the violins leading the voice (especially the 1st violin). Originally the Andante was part of an opera overture (see above under General). Characteristic are wide, curved melodies, dotted rhythms and triplets or sextoles , which give the movement a flowing character.

The first topic (main topic) has four bars and is repeated in various ways (can be interpreted as a front and a trailer ). This is followed by a series of motifs with lead in combination with tone repetition, steady triplet or sextole movement and dotted rhythms. From bar 17, Haydn changes to the dominant D major with a passage of fluently repeated, broken triad figures. The short final group (bars 26 ff.) Is reminiscent of the final group of the fifth movement of the so-called “Farewell Symphony” ( No. 45 ) and closes the exposition in bar 28. It is repeated.

Instead of a development that uses material from the exposition, there now follows a six-bar transition section with triplets. From the recapitulation (bar 35 ff.) The oboes also take part and, especially in the continuation of the first theme (bar 39 ff.), Give a characteristic timbre with sustained chords.

Stylistically (because the first violin and cello are predominantly parallel), some authors see similarities to slow movements in symphonies from the 1760s (e.g. No. 16, No. 30 , No. 35 ) and therefore rate the movement as rather retrograde . It is possible that Haydn deliberately wanted to take the empress's conservative taste into account. The late inclusion of winds was used by Haydn e.g. B. also in the slow movements of the symphonies No. 42 and No. 59 .

Third movement: Menuet

C major, 3/4 time, with trio 102 bars

The fanfare-like main motif ("first theme") consists of broken C major chords as well as a dancing figure with an upbeat slider phrase, while the contrasting "second theme" (bar 13 ff.) Leads to the dominant G major and only from the strings in Piano is being played. The middle section (bar 21 ff.) Initially begins as usual with the motif from the beginning of the movement in G major, but then suddenly changes to a piano passage in which the violins imitatively play a two-bar motif, reaching into the distant A flat major . In measure 37, the beginning part begins again like a reprise.

The trio surprisingly begins like the beginning of the minuet with the C major - unison, but then slips abruptly to F major with a unison B. The main motif of the trio is a broken chord of the solo oboe (parallel with 1st violin). The first rural part of the trio is composed (ie the repetitions are written out). The second part, which is not repeated, begins as a sequence passage that reaches E major in bar 94. This key is retained until the end of the trio (ie the trio does not end in the tonic as usual ), with the oboe playing the main motif three times over an organ point-like bass - at the end all alone in pianissimo.

The sentence represents “an early example of the 'great' minuet with extended periods , two clearly contrasting themes, a development-like middle section and a complete recapitulation” , ie a sonata-like minuet. Howard Chandler Robbins Landon also emphasizes this structure.

Fourth movement: Finale. Presto

C major, 2/2 time (alla breve), 193 measures

The periodically structured eight-bar theme (main theme) is presented by the strings first pianissimo, then piano. It is interrupted by a forte unison - figure of the whole orchestra - similar to the beginning of the Allegro di molto. From bar 22, a series of emphasized dominant tonic chords follows, which merges into a longer tremolo passage with a falling line. In bar 35 the target note D is reached, which is now repeated for a total of nine bars: the first five bars are underlaid with a chromatic figure, then as a D major seventh chord in half notes. The last seventh chord is sustained with a fermata. The D acts harmoniously as a dominant to the following G major, in which the theme now has a further appearance (instead of its own second theme). Similar to bar 27 ff., There is another tremolo passage, which begins in E major and leads into the final group with C major (bar 61 ff.).

The implementation based on the main topic begins as a modulation passage of the topic head. The movement, however, comes to a standstill and also becomes harmonically unstable (bars 77 ff.), Begins briefly with a pendulum movement between A major and D minor (bars 81 ff.), And then switches to F major again (bar 88 ff.). In bar 98 unexpected forte sets in a sequence of two signal-like chord hits alternating between winds and strings, with the winds constantly insisting on C. This “signal passage 1” ends on a D major seventh chord followed by a general rest. The renewed use of the theme in G minor is interrupted after its antecedent by the chromatic figure from the exposition. This is expanded a little further here and ends in “Signalpassage 2”, with the wind players now holding onto E (instead of C before). The resulting dissonances are even stronger than in "Signal passage 1". The action breaks off abruptly in measure 126 with a general pause and fermata - just as abruptly and unexpectedly, the recapitulation begins in the piano. The note E, which was previously emphasized by the winds and with which the main theme now begins, has a connecting effect.

The recapitulation is structured in a similar way to the exposition, but the passage with the dominant tonic - chord strokes corresponding to bars 22 ff. Is missing. The tremolo passage at the end turns into a fanfare-like coda (bars 187 ff.), In which these are then "submitted" .

Overall, the movement has an overture-like character due to the numerous fanfares, the accentuated chord strokes and the tremolo passages as well as the opening movements. While Gwilym Beechey is rather disappointed with the finale, other authors praise the sentence as "witty and lively" or "rapid and imaginative". Howard Chandler Robbins Landon rates the symphony overall as rather "disappointing", but particularly emphasizes the Presto in addition to the minuet.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ^ A b c d Walter Lessing: The symphonies by Joseph Haydn. In addition: All trade fairs. Edition in 3 volumes, published by Südwestfunk Baden-Baden, 1987-89.
  3. ^ HC Robbins Landon , quoted in: Anthony Hodgson: The Music of Joseph Haydn: The Symphonies. The Tantivy Press, London 1976, p. 77.
  4. ↑ a b c d Gwilym Beechey: Joseph Haydn. Symphony No. 50 in C major. Ernst Eulenburg Ltd. No. 588, London / Zurich, no year (preface and audit report from 1970)
  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. ↑ a b Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  7. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 321, 350.
  8. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3
  9. ↑ Robbins Landon 1955, p. 339: “No. 50 (1773) is somewhat disappointing, and the attempt to merge the grace and light-stepping charm of the older type of Andante with the newer energy and brilliance of the quick movements does not result in a homogeneous conception, for the two styles are fundamentally antagonistic and will not coalesce. Consequently, the Andante Moderato of No. 50 seems out of place in its surroundings. "
  10. ↑ Robbins Landon (1955, p. 322): "[...] the wide harmonic vistas that open before us in the second part of the minute in no. 50, and the brilliant inspiration of connecting the trio with the minuet (notice particularly the delightful solo-oboe passage that leads hack into the minuet) [...]. "
  11. ↑ "The Finale is a straightforward but rather disappointing Presto."
  12. ↑ James Webster: Information text on Joseph Haydn's Symphony No. 50 as part of the project “Haydn 100 & 7” of the Haydn Festival Eisenstadt, No. 50 , as of March 28, 2009.
  13. ↑ Information text on Joseph Haydn's Symphony No. 50 for performance on August 22, 2009 at the Haydn Festival in Eisenstadt: (main page) , as of March 28, 2009
  14. ^ Robbins Landon (1995, p. 340): "On the other hand, the minuet is one of the most attractive of the period, while the finale is in many ways superior to those of Nos. 48 and 56. " .

Web links, notes

See also