53rd Symphony (Haydn)

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The symphony in D major Hoboken index I: 53 , later given the nickname "L´Impériale" (not by the composer), was composed by Joseph Haydn between 1777 and 1779 during his employment as Kapellmeister with Prince Nikolaus I. Esterházy . The work, of which there are several final movements, achieved a high level of popularity and distribution.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn composed Symphony No. 53 around 1778/79 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy. The autograph of the symphony is lost.

After the great success of Symphony No. 56 in Paris in 1777, No. 53 was Haydn's first symphony to find international distribution (in the form of copies and arrangements). The work was printed in Berlin, Amsterdam, London and Paris; Copies were common in Austria, southern Germany, and Italy. At the concert series organized by Johann Christian Bach and Carl Friedrich Abel in London in the 18th century , the work was so successful "that the educated ladies in the kingdom soon played the piece in a piano arrangement."

The genesis of the symphony is complicated. The seven versions differ in their final movements and the presence of the slow introduction to the first movement. Two final sentences are considered authentic:

  • the finale, printed by various publishers, which also appears in numerous manuscripts. Haydn originally wrote this movement ( Hob.Ia: 7 ) as an overture to an unknown opera and used it again around 1780 as the opening movement to Symphony No. 62 .
  • the finale (“Capriccio”) present in the Esterhazy voices and in several contemporary manuscripts.

Of the versions with the authentic closing movements, it is mostly assumed today that Haydn first wrote the version with the overture and then the one with the capriccio.

“(...) the gap from the first to the last movement was obviously too great for Haydn, so that he replaced the movement with the (…) Capriccio, which is far from the traditional because it is so completely different from the first movement Rondo and demanding work was a better counterbalance to the first movement. "

In some cases, however, there are also different views: Anthony van Hoboken (1957) rejects the view that Haydn himself converted an overture to the final movement. Walter Lessing (1989) accepts the Capriccio as the first version and, based on the compositional deficiencies he sees in it, believes that Haydn had the movement written by a student or colleague due to lack of time and later replaced it with the overture - even dissatisfied with it.

The nickname "L´Impériale" (The Imperial) does not appear in any of the older sources (until at least 1840) and does not come from Haydn. Anthony van Hoboken (1957) rejects a connection with the Empress Maria Theresa and suspects that the second movement goes back to a French chanson with the same name.

Howard Chandler Robbins Landon (1955) assesses Symphony No. 53, with the exception of one passage each in Vivace (from measure 172) and in the Menuetto (from measure 25), as rather superficial in terms of musical content (compared to the previous symphonies) . According to Michael Walter (2007), however, the "pleasing" tone probably promoted their widespread use and popularity:

“The symphony No. 53 is of a pleasing character that demands neither effort nor comprehension difficulties from the listener, and its content clearly lags behind other symphonies of the seventies. That this symphony of all things was very popular in England and was printed again and again, i.e. obviously corresponded to the popular expectation of listeners of contemporaries, is probably not surprising because the expectation of listeners in England was shaped by the symphony composers common there and was by no means the same as Haydn could be expected from the audience in Esterháza, which was influenced by his own symphonies (and which should also have been the one in Vienna, where one had more listening experience with Haydn's symphonies than in London). "

To the music

Instrumentation: flute , two oboes , bassoon , two horns , timpani , two violins , viola , cello , double bass . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies. The first movement is the only one with timpani parts. In addition to the timpani, the original final movement of the overture was also missing the flute, and it features a two-part bassoons, which Haydn could no longer perform with his band when he later composed the other movements. Only in the final version are all movements equally covered with a flute and a bassoon. Haydn seems to have retained the timpani in the first movement. Only in a few sources are timpani added for the other fast movements, in several sources the timpani have been left out in the first movement. A set of parts from Haydn's possession shows a timpani part that probably did not come from him, but it could have been added on his instructions.

Performance time: 20-25 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 Symphony No. 53 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: Largo maestoso - Vivace

Largo maestoso: D major, 3/4 time, bars 1–16

The solemn, pompous introduction is initially characterized by the contrast of motifs between the descending D major triad in forte unison with trills and the legato string figure in the piano. From bar 12 the dominant A major stabilizes , with the trill reappearing. The introduction ends with a fermata on A including a drum roll.

The sudden piano start of the following Vivace would probably have been risky due to the tendency of courtly and relatively small groups to listen to distracted music. Haydn probably re-composed the introduction as a “curtain opener” in order to catch this piano beginning with a splendid beginning and thus to get the listeners' attention (similar to the symphonies No. 50 and No. 54 ).

Vivace: D major, 2/2 time (alla breve), measures 17–246

Beginning of Vivace with the triad figure in the bass

The movement is mainly characterized by triad melodies. The first half of the first theme consists only of a broken D major - triad repeated three times (hereinafter: "main motif"). The main motif is performed piano first with voice guidance from the 1st horn and bass (D major), then from the 1st violin (A major with seventh). The second half is characterized by syncope and striding bass movement. The forte block that follows from bar 29 contains five two-bar (triad) motifs, each of which is repeated. The first of these motifs corresponds to the main motif. In bar 51 the main motif begins in staccato in the bass, overlaid by an eighth movement of the violins. Here sequenced Haydn A major on B minor to E major.

The second theme (bars 69–82, dominant A major) in the string piano is eight bars and contrasts with the previous event with its vocal melody. It is repeated with the participation of the oboe and then turns into a passage with forte piano contrast (piano passage with chromatics). In addition to the triad melody, the final group from bar 92 also contains tremolo and triplets.

In the implementation (clock 101-187) v. a. the main motif led through different keys and set in different timbres: Haydn reached A major, F sharp minor, E minor, C sharp major and E major alternating between forte and piano and with sustained chords on the wind instruments. From bar 149 the second theme follows in B minor with an unscrewing spinning, with the syncopation reminiscent of the second half of the first theme. Then the main motif begins in the forte unison in F sharp minor and then leads to the recapitulation in measure 188 , via piano “in a long series of quiet, mysterious lead chords through several minor keys” .

The recapitulation is structured similarly to the exposition. Small deviations concern, for example, the repetition of the second theme, in which the oboe is replaced by the flute. The exposition, development and recapitulation are repeated.

Second movement: Andante

A major, 2/4 time, 128 bars

Beginning of the Andante

Haydn constructed the movement as a double variation, i. H. the theme appears in twofold variation, alternating between major and minor (depending on the point of view, it can also be interpreted as two different themes):

  • Presentation of the (folk) song-like main theme with characteristically dotted, upbeat-like rhythm; the theme is divided into two repeated subsections (also in the variations); Measure 1-16.
  • 1st variation part; A minor; only strings; Voice leading in the 1st violin, accompaniment with continuous, "floating" sixteenths ; Bars 17–32.
  • 2nd variation part; A major; only strings; initially as at the beginning, from bar 40 variation; Voice leading with decoration of the theme in the 1st violin; Bars 33–64 (the repetitions are written out here).
  • 3rd variation part; A minor; whole orchestra; Beginning similar to the 1st part of the variation, from bar 73 part leading in the bass including bassoon; Bars 65-96.
  • 4th variation part; A major; Strings, flute, bassoon; Melody in flute and bassoon; Accompanying violins with continuous sextoles; consisting of two repeated sections; Measure 97-112.
  • 5th variation part; A major; whole orchestra; Voice leading in the wind instruments (except horn) and the 1st violin; Section based relatively closely on the original; Bars 113–128.

The movement was evidently very popular in Haydn's time: 28 arrangements are known, including ten for voice and piano and one for three-part choir. The melody can also be found among the themes carved on the monument erected in 1793 in Rohrau, Haydn's birthplace.

“The Andante theme sounds as if Haydn borrowed from a popular melody, even if no model could be found; most likely he wrote it himself. It stands for his whole world, in which high art is hidden under apparent simplicity. "

Third movement: Menuetto

D major, 3/4 time, with trio 66 bars

The energetic minuet is characterized in the first part by its prelude, the triad melody and the three or two-fold tone repetition. The second part begins with a contrasting piano, but shortly afterwards changes back to the forte with the opening theme. However, this surprisingly ends on the E major seventh chord with fermata (fallacy). This is followed by a “breathtakingly beautiful” section in pianissimo with an extended organ point on A, above which a “bold chromatic chord movement” takes place with a falling tendency, before the final figure in forte unison (bars 39–43) ends the minuet.

The trio for strings and flute is also in D major. It is characterized by its peasant-like melody that runs through even eighth notes. At the beginning of the second part, the bass picks up the melody line.

Fourth sentence

Version 1: Presto

D major, 4/4 time, 167 measures

The first "theme" consists (according to its origin as an overture, see above) of a sequence of operatic, effective elements: At the beginning there is a motif consisting of a descending triad with an eighth note movement interrupted by pauses, a double beat and an alternation of forte and piano, followed by a crescendo, Tremolo and drum roll. The sequence is repeated (the "triad motif" initially piano), whereby after the crescendo the forte section and the drum roll are longer and are followed by other energetic motifs / figures (staccato chord strikes, energetic tone repetition, accents, tremolo).

The second theme (from measure 42) in the dominant A major has a swaying character. The first half is repeated, the second has double beats and closes as a formulated cadence with a trill. In the final group, the eighth-note movement from the opening motif, interspersed with pauses, occurs again, which now increases in multiple repetitions (initially interspersed with pauses, then in the tremolo and forte).

The development initially processes a new, calm motif over long stretches of an ascending triad in half notes (can be interpreted as a reversal of the initial triad) and a double stroke figure. The motif is played piano in four-bar sequencing steps through different keys (A major, F sharp major, B minor, G major, E major, C sharp major), whereby the beginning of each phrase is emphasized. In C sharp major, the music comes to a halt from bar 101 and finally stops completely (general pause). A contrasting sequence of the head motif then starts abruptly from the first theme (forte) with the pause through eighth note movement (piano), which leads from F sharp minor to the recap in the tonic D major.

The course of the recapitulation largely corresponds to that of the exposition. The development and recapitulation, like the exposition, are not repeated. The movement closes with three quarter beats in D major chords. The original overture contains a further 13 bars and modulates with these quarter beats, ending in G major.

Version 2: Finale. Capriccio. Moderato

D major, 2/2 time (alla breve), 160 bars

Outline suggestion:

  • Bars 1–28: Presentation of the main topic with ABA structure, where A and BA are repeated. The A section consists of a five-bar, "bucolic-contemplative (en)" melody, first performed by the strings piano, then repeated by the entire orchestra forte. The B-part, on the other hand, consists of two four-measures: the first continues the melody piano, the second changes to the forte with its energetic tone repetition motif. Then the A part is repeated.
  • The two-part middle section (bars 29-96) is predominantly in D minor and processes the head motif from the main theme. The first, short and repeated part (up to bar 44) ends as a piano “appendix” in a new seven-bar string melody in F major. In addition to the head of the main theme, the second part also contains a “third motif” with repeated broken thirds (as eighth notes and in half notes :, from bar 49), eighth runs (with the third in the bass in countermovement, from bar 61) and a longer passage , in which the theme from bar 29 is combined as an upward variant with three ascending or descending half notes and is led through different keys.
  • Repetition of the main theme in D major, bars 97–124.
  • The coda from bar 125 takes up the main theme and continues it. From this "(...) a final punch line that turns the compositional logic upside down is formed - a completely new melody which, as if to mockery, despite the slow tempo, finally shows something of the character of a rondo ritornell" (in contrast to the beginning of the sentence, where the theme “(had) no resemblance to what one would recognize as a rondo theme.” There is also a surprise effect in the final chords with the “too early” bang in the forte.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ^ Howard Chandler Robbins Landon: Haydn, Symphony No. 53, D major (L´Impériale). Ernst Eulenburg Ltd. No. 537, London / Zurich without year (pocket score, foreword from 1955)
  3. ↑ a b c Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, 848 pp.
  4. ↑ Hans-Joseph Irmen: Joseph Haydn. Life and work. Böhlau Verlag, Cologne 2007, ISBN 978-3-412-20020-6
  5. ↑ a b c A. Peter Brown: The Symphonic Repertoire. Volume II. The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, Bloomington & Indianapolis 2002, ISBN 0-253-33487-X ; Pp. 24, 178.
  6. ↑ a b c d Stephen C. Fischer, Sonja Gerlach: Symphonies around 1777–1779. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 9. G. Henle-Verlag, Munich 2002, page IX.
  7. ^ A b Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 364, 367.
  8. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766 - 1790. Thames and Hudson, London 1978, pp. 562–563: “Haydn (…) wrote a new, formally interesting 'Capriccio' as a new Finale for No. 53. "
  9. ↑ a b c d e f Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  10. ^ A b c d e Walter Lessing: The symphonies of Joseph Haydn. In addition: all trade fairs. A series on Südwestfunk Baden-Baden 1987 - 1989. Baden-Baden 1989
  11. ^ Also Lessing 1989 and Robbins Landon 1955.
  12. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 66
  13. ↑ 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).
  14. ^ Robbins Landon (1955, p. 356): "Curtianraiser".
  15. ↑ The repetitions of the parts of the sentence are not observed in some recordings.
  16. ↑ James Webster: Hob.I: 53 Symphony in D major ("L'Impériale") . Information text on Symphony No. 53 of the Haydn Festival Eisenstadt, see under web links.
  17. ↑ Robbins Landon (1955, p. 349): "breathtakingly beautiful pedal point with a chromaticism that one usually associates with late Mozart (...)."

Web links, notes

See also