54th Symphony (Haydn)

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The Symphony in G major Hoboken directory I: 54 wrote Joseph Haydn in 1774 (the extended version from 1774 to 1776) during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The oldest entries for this symphony begin with the Presto, the later ones with the Adagio. It is therefore reasonable to assume that the introduction was composed afterwards, but possibly before the publication of the work by Breitkopf Verlag in 1777. Also preserved as autographs from 1774 are the symphonies 55 , 56 , 57 and 60 .

Flutes, bassoon, trumpets and timpani were added later. This is the largest line-up that Haydn had planned for a symphony up to then and until his trip to London in 1791. The cast is unusually large for its time and in this respect points to the later Paris and London symphonies. The expansion of the cast may be related to contemporary performances of the work in London.

No. 54 also has a special position with regard to other aspects, which is particularly noticeable in the Adagio assai: the use of harmonic surprises (e.g. at the beginning of the development: abrupt change from G major to B major), the effects to create special timbres (e.g. the layering from measure 108) and the length of the movement. In the first movement, the introduction of a slow introduction and the beginning of the Presto theme in the lower register of the piano are unusual.

To the music

Instrumentation: two flutes , two oboes , two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , double bass . Possibly also one was Harpsichord - Continuo used, for which purpose there are different views in the literature.

Performance time: approx. 30–40 minutes (depending on compliance with the prescribed repetitions).

With the terms used here for the sonata form, 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. 54 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: Adagio maestoso - Presto

3/4 bars (Adagio) / 4/4 bars, 232 bars

Adagio maestoso, bars 1-17

Haydn opens the symphony as a simple sequence of tonic (G major) - dominant (D major) - tonic, which has a signal-like effect through the alternation of forte chord strokes and march-like, dotted rhythms in the piano. In measure 4, a movement in the violins begins, which is somewhat reminiscent of the main motif of the following Presto. In fortissimo, in bar 8, the entire orchestra breaks in with an ascending figure in a dotted rhythm that is enriched by leads and chromatics . Bars 13–16 develop a huge soundscape, especially in the wind section. The introduction ends as a unison- D including drum roll and fermata . The D as the basis of D major has a dominant effect on the subsequent G major of Prestos. For the function of the introduction, see Symphony No. 50 .

Presto, bars 18-232

Beginning of Presto, bassoon and 1st violin

The movement begins unusually for a symphony of the time: Under the eight-bar solo of the horns and bassoons, the strings in the piano and unison play a two-bar figure from an upward-going, broken G major triad; this figure is repeated four times during the wind solo ( ostinato motif). As a motivically independent answer (or as a follow-up within the first topic), a four-bar melody in the 1st violin follows, which is repeated. Only in bar 33 does the entire orchestral apparatus forte begin with a closing variant of the motif.

The following section from bar 37 lines up several motifs. Bars 56/57 with its “marching motif” are remarkable: a one-bar note repetition in forte unison on D (bar 56) and B (bar 57) in the rhythm of the ostinato motif. In measure 58/59 oboe and 1st violin and in measure 60/61 the woodwinds respond with a two-measure motif in the piano. In bars 68/69 the marching motif has a third appearance, now again in the forte, followed by a variant of the ostinato motif (bars 71–75) and the final group (bars 76–81), which emphasizes the ostinato motif in the bass.

The implementation (clock 82-147) connects initially to B major ostinato motif with the chromatic quarter motive of clock 48. Then comes the quarter motive piano in a shortened version in a dialogue with the main subject (forte), there are C major, Reached B minor and A minor. This is followed by a forte unison sequence with the ostinato motif in the strings (bars 100-106), before the movement in bars 106/107 breaks off with a general pause . The strings and bassoon begin again in a gentle, steady E major; from bar 116 the seventh is added to herald another passage in the sequence of the ostinato motif from bar 120. The next section (bars 127–134) contrasts the quarter motif with a counterpoint in the form of six ascending quarters. While the quarter motif initially continues in bass, flute and bassoon, the violins break free with their tremolo-like, tension-generating accompanying figure, which is reinforced by the appearance of the marching motif (bars 143–145). After a measure of general pause, the tension in the recapitulation discharges (measure 147 ff.).

The recapitulation differs from the exposition in the following points :

  • the four-bar melody of the 1st violin in the first theme is repeated twice, but varied (sequenced in minor and lower) and with a different continuation from bar 167;
  • In a new section, the main motif appears offset in the violins (bars 195–200);
  • Fallacy in bar 215 in pianissimo on an A major seventh chord with fermata;
  • Extended final group (bars 216–232): five bars transition of the strings with motif from the melody of the first theme (corresponding to bar 27) - main motif in forte - another five bars transition from strings - final group as at the end of the exposition.

The exposition, development and recapitulation are repeated.

Second movement: Adagio assai

C major, 3/4 time, 137 bars. Strings with mutes; Flutes, trumpets and kettledrums are silent. At the beginning of the movement in the strings: "cantabile" (Italian for "sanglich")

Beginning of the Adagio assai, violins 1 and 2

It is unusual that the Adagio is reinforced by an "assai". In terms of playing time, this movement is one of the longest slow symphony movements that Haydn ever wrote (especially if the prescribed repetitions are observed; however, in most of the recordings the repetition of the exposition is omitted). It is also unusual that the length of the sentence and the heavy content of the sentence mean that it requires a lot of attention from the listener. Also remarkable is the tone-rich atmosphere with its "hesitant, dream-like beauty" .

The section of the first theme (main theme) is 16 bars long. In the antecedent, the strings - overlaid by the sustained G of the 1st violin - play a stepped figure of a third, which turns into a cadenced closing phrase after two bars . In the aftermath, the oboes lead the part. First they play lead, the “gaps” of which are filled by a triplet motif from the 1st violin, then a vocal melody made up of descending quarters and, as an “answer”, a final twist with eighths.

The triplet motif is taken up in the following: First with a staggered insert and expanded by an eighth figure (expanded triplet motif, bars 17-20), then as a variant with a characteristic final interval upwards, underlaid by vocal, accentuated quarter movements in the bass (bars 21/22, is repeated ). After continuing the triplet motif, forte chords on G and D, which are surrounded by rests, herald a caesura. In fact, a kind of mini-solo cadenza (bars 28/29) of the 1st violin now follows, so that the listener feels reminded of the end of the concert movements. This impression is, however, uncertain again because now sextuplets Meg, first violin with accompaniment quarter of the remaining strings (30-35 clock) and a syncope following section for both violins (bars 35-38). Expectations for a cadence are built up again via two chords that are built up by tapping tone repetitions (F major and diminished chord, bar 39/40, "knock motif") and lead to a G major chord. The second cadenza for the 1st violin that follows is five bars longer than the previous one and is based on the expanded triplet motif. In the final group (bars 47–49, G major) the 1st oboe leads the part and plays a motif with ascending triad melodies.

The development (bars 50-74) takes up the “knocking motif” from bar 39, surprisingly, however, on the B, which is harmoniously distant from G major. A special emphasis on the B results from the fact that in addition to the strings, the horns also use the B in unison to tune in. If the harmony in bar 50 is still open (B flat major or G minor), the G in bar 51 indicates G minor. The turn in bar 52 suggests an ending in D minor, instead the unison B starts again. Only the second attempt then leads to D minor. Here the antecedent of the main theme is modulated with the triplet motif and the shortened knock motif : D minor (bars 57-62), F major (bars 62-68), then only with the triplet and knock motif (G minor, E Major, D major seventh chord). With the knocking motif on E in the horns, the transition to the recapitulation takes place (bars 75 ff.).

The recapitulation differs u. a. in the following points from the exposition: Variations in the ending of the first theme (bars 81 ff.); easily audible, sustained low C in the horn during the quarter bass figure (bar 88 f. analogous to bar 21 f.); Expansion and stratification in the structure of the chords, which announce the second cadence (bars 106 ff.); Connection of second cadence and extended sextolen section (bars 118 ff.). The last bars of the second cadenza (bars 133/134) are reminiscent of the introduction to Haydn's 6th Symphony . The exposition, development and recapitulation are repeated.

Third movement: Menuet: Allegretto

G major, 3/4 time, with trio 70 bars

The four-bar, swaying main melody is unusually performed by wind instruments and bass in the forte, while the otherwise voice-leading violins accompany with suggestion quarters. A second motif contrasts with this with a descending figure, which is first played in the piano by the violins, then in the forte-tutti. This motif is also the subject of the “development” at the beginning of the second part of the minuet.

In the trio (also in G major) the strings and bassoon solo play a memorable, somewhat wistful melody. The bassoon plays the voice of the 1st violin an octave lower. Haydn also used this combination of instruments repeatedly in later works, e.g. in the slow movements of symphonies 93 and 94 .

Fourth movement: Finale. Presto

G major, 4/4 time, 155 bars

Beginning of Presto, 1st violin and bass

The finale not only has the tempo designation in common with the first movement, the beginnings of both movements are similar: The melody begins as a full-bar note and is underlaid by a characteristic bass figure (here: walking movement in staccato quarters). The melody or main thematic unit (played by 1st flute, 1st oboe and 1st violin) is four bars long; 2. Violin and viola accompany with syncope, the other wind instruments with half or whole note values. After the theme has been run through for the first time, the last two bars are repeated echo-like in the piano before the thematic unit is played again in the forte-tutti. The transition section (bars 10–37) initially brings accented half notes on the second beat in the violins (including four energetic repetitions of G in bars 14–17), underlaid by an octave tremolo in the bass. In bar 18, a motif, important for the rest of the movement, appears in the bass for the first time, with an even eighth note, which is loosened up by two sixteenths. This motif is then also adopted by the strings, e.g. B. in unison at bar 24 f.

In bar 37 the double dominant A major is reached, which functions dominantly on the following second theme (bars 38–46) in D major. In the first half of the theme, the voice-leading 1st violin plays a detached, rhythmic figure, in the second half the oboes that have been accompanying with sustained A participate in the voice guidance. The following part, leading to the final group, takes up the motif from bar 18 and the accents and modulates from A major to D major. The phrase reminds us of bar 55 f. something about the second half of the second subject. In the final group (bars 63-65, depending on the view, can also be delimited beforehand), the motif from bar 18 sounds again in forte unison.

The development begins with a D minor hum of the strings, the structure of which is reminiscent of bar 49 (but now legato instead of staccato). In the following (from bar 74) the exposition runs as a shortened variant: the first theme is modulated according to A minor and C major, followed by the section with the emphasized accents and the motif from bar 18. In measure 93, B minor is reached, which has a dominant effect on the E minor entry of the second theme. This breaks off in the first half, however, and the recapitulation begins suddenly in measure 98 with the first theme in the forte. Surprisingly, from bar 102 onwards, the first theme is repeated once in the G minor piano, so that the listener does not know whether bars 98 ff. May have been a sham review. This impression is reinforced when Haydn then introduces the first theme in B flat major, which, however, breaks off after two bars and - initially still in B flat major - sequences the motif from bar 18. This sequencing takes place in a rather long section (bars 108–118) and contains a build-up of tension, as the main motif in the 1st violin is only changed minimally, while the bass line steps downwards chromatically in bars. This passage is accompanied by chords from the wind instruments and syncopation from the 2nd violin. In bar 119 the target point in D major is reached, and the tension can discharge in a trumpet fanfare. The structure of the build-up of tension is somewhat reminiscent of the beginning of the development in the finale of the 44th Symphony .

The second theme begins in bar 128 in the G major tonic, the rest of the recapitulation is structured in a similar way to the exposition. Depending on your point of view, you can set the recapitulation in measure 98 or with the beginning of the two themes in measure 128. The exposition, development and recapitulation are repeated.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ a b c d Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 .
  3. ↑ a b c Gwilym Beechey: Joseph Haydn: Symphony No. 54 in G major. Ernst-Eulenburg-Verlag No. 594, London / Zurich 1972 (preface to the pocket score)
  4. ^ 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, 1989.
  5. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 335.
  6. ↑ 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).
  7. ↑ James Webster: Hob.I: 54 Symphony in G major. Information text from Joseph Haydn's Symphony No. 54 as part of the project “Haydn 100 & 7” of the Haydn Festival Eisenstadt, No. 54 , as of May 2010.
  8. ↑ Depending on your point of view, this dialogical section can be viewed as a candidate for a second topic.
  9. ↑ The repetition of the development and recapitulation is not kept in many recordings, including the andante and the last movement.
  10. ↑ Robbins Landon 1955, p. 329: "hesitating, dream-like beauty".
  11. ↑ The section up to bar 10 can be interpreted as the first topic.
  12. ↑ The fanfare can be heard differently depending on the recording.

Web links, notes

See also