62nd Symphony (Haydn)

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The Symphony in D major Hoboken directory I: 62 wrote Joseph Haydn in 1780 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy , where Haydn for the first set on a 1777 composed overture fell back.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The first movement consists of the edited Hoboken catalog Ia: 7, which Haydn wrote for an unknown piece and which had already been used as one of the possible final movements in Symphony No. 53 composed a few years earlier . Another special feature is that “the second movement is also in the basic key of D major, while otherwise it is usually in the dominant or subdominant key. In Symphony No. 62, both of these led to (unproven) speculations about a pasticcio ”. In addition to the first movement, the Allegretto also shows signs of Haydn's intense preoccupation with opera at the time.

Wolfgang Amadeus Mozart noted the beginnings of the first movements of the symphonies No. 47 , No. 62 and No. 75 , possibly with the intention of performing them at one of his concerts.

To the music

Instrumentation: flute , two oboes , two horns , two bassoons , two violins , viola , cello , double bass . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies.

Performance time: approx. 20 to 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. 62 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: Allegro

D major, 2/2 time (alla breve), 167 measures

The Allegro is a variant of the overture Hoboken catalog Ia: 7, which Haydn had composed in 1777 and also used in Symphony No. 53 (see above, in Symphony No. 63 Haydn also used an overture as the first movement). The movement begins as a contrasting theme (first theme) consisting of a descending D major triad in forte and a piano answer in a separate eighth note movement (partly interrupted by pauses). The five-measure theme is repeated. The subsequent forte passage initially continues the detached eighth note movement with enrichment of staccato and then brings several energetic motifs / figures in succession: triple chord strikes, four-fold tone repetition and a double strike motif with accents, at the end there is also the eighth note movement interspersed with pauses (similar to the end of the first topic). The second theme (from bar 36) in the dominant A major has a sang-like character, the antecedent is first introduced by the strings, then repeated with the participation of the flute. The ending consists of a double stroke motif and a closing cadenza with trills. In the final group, the eighth-note movement interspersed with pauses occurs again from the end of the first theme, which now increases in multiple repetitions (initially interspersed with pauses, then in the tremolo and forte). The exposition ends with a triad melody and chord strikes on A.

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 led through different keys in four-bar sequencing steps (A major, F sharp major, B minor, G major, E major, C sharp major), whereby the beginning of each phrase is emphasized in the forte. In C sharp major the music comes to a halt from measure 97 and finally stops completely (general pause). A contrasting sequence of the head starts abruptly from the first theme (forte) with the detached eighth note movement (piano), which leads from F sharp minor to the recital in the tonic D major.

The course of the recapitulation largely corresponds to that of the exposition. Development and recapitulation are repeated, as is the exposition.

Second movement: Allegretto

D major, 6/8 time, 105 bars

Beginning of the Allegretto

The movement opens unusually with a minimalist, "droning" figure of muted second violin ascending triads, in the first of the cellos, then also muted first violins brief interjections from secondary -Vorhalten give. In this “enigmatic” beginning of the sentence, the listener can initially perceive the triad figure as an accompaniment, but later it becomes clear that it is an important motivic component: “It emerges more and more decisive, pervades the entire sentence in many variations, including in the upper parts gains real thematic quality. ”- The four-bar“ openwork fracture of the opening bars, which to a certain extent only suggests a harmonic framework ”is repeated with the upper and lower parts being swapped, followed by the four-bar follow-up to the theme, in which the 1st violin comes in from the second steps Melody fragment forms. According to Peter Brown, the sentence is reminiscent of a barcarole in which the Venetian gondoleri has forgotten the melody.

In the transition to the dominant A major (from bar 13) the flute takes up the accompanying figure, while the melody line now develops into 2nd violin, viola and then with chromatics in the bass. The orchestration and the rhythm also gradually become denser and more complex: in bar 22 oboes and bassoons come in, and in bar 28 the horns too (the whole orchestra is now in forte). The passage from bar 28 (“second theme”) is striking because of its dynamic contrasts: Haydn repeatedly varies a motif four times in which an ascending chord figure (derived from the previous triad movement) in flute and 1. Violin is connected with a falling line in the decrescendo that is also emphasized on the first center of the bar . (Furthermore, Haydn increases the kinetic energy by using sixteenths for the first time .) This is “a decidedly theatrical, operatic effect that Haydn never used so demonstratively in his symphonies”. Howard Chandler Robbins Landon points out the peculiarity of this extensive use of the decrescendo and, because of the strong dynamic contrasts of the Allegretto, suspects that the movement has a relation to theater / opera. The final section in the piano, which "evaporates again into the ethereal", contains elements from the previous passage (shortened chord figure downwards as well as sixteenth note movement).

At the beginning of the development, the wind players imitate the figure from the end of the final group. Then there is a change to F major, where the motif from the “second theme” is repeated four times. With a variant of the passage with the chromatic melody line and the triad movement, Haydn changes to the dominant A major, which heralds the beginning of the reprise.

In the recapitulation (from bar 64), Haydn adds “a graceful counter-melody” to the first theme, with the winds continuing to play an accompanying role. The “rhythmically complex passage” before the second theme is expanded, the actual second “theme” is missing except for the ascending chord figure, which ends in a fermata on the dominant seventh chord. The final group is extended by a coda (with material from the final group)

“The stylistic and psychological center of this symphony is the second movement (…). The character of this sentence is almost unique for Haydn: ethereal, delicate, a wonderful dream or a beautiful reverie. "

Third movement: Menuet. Allegretto

D major, 3/4 time, with trio 56 bars

The gallant minuet is held throughout in the forte and contains an emerging, powerful triad theme. At the beginning of the second part, an even, stepped eighth note movement dominates. The movement is far removed from the popularly inspired minuets of other Haydn symphonies and is more reminiscent of a salon than a ballroom .

The trio is in G major and is instrumented for bassoon and strings, with bassoon and 1st violin leading the part. The numerous syncopations are reminiscent of the trio in Symphony No. 92 .

Fourth movement: Finale. Allegro

D major, 4/4 time, 174 bars

Beginning of the Allegro

As in the Allegretto, the beginning of the movement is unusual: Haydn begins the Allegro in the string piano with “a gesture of metrical and harmonic uncertainty” that sounds as if it “already came from somewhere”. The three-bar gesture first ascends in half notes from F sharp as a diminished chord and then as a sixteenth-note figure and a lead in half notes downwards. The gesture is repeated one step lower from e. It is not fixed in terms of key (hint of E minor, D minor and G minor). Haydn later used such structures cautiously at the beginning of other sentences. Only in bar 7 does the whole orchestra start in the tonic with the motif shortened to two bars (without the lead) and build a stable structure that alternates between D and A. Due to the initial downward sequence, reaching the tonic in bar 7 appears as if it were only the third part of a descending sequence.

The tutti block ends as a sequence of chord strokes and the sixteenth phrase, which is reminiscent of a similar passage from the first movement in Wolfgang Amadeus Mozart's Symphony in C major, K. 425 . The contrasting string passage in the piano that follows in bar 20 is more vocal, it stands out due to its lead (reminiscent of the beginning of the sentence) and the suggestion flakes. From bar 29, the first theme is repeated as a variant (in the piano passage with voice leading of the 2nd violin and imitation by the 1st violin), in the forte part of the theme the bass takes over the voice leading in bar 41 with syncopated accompaniment. Several consecutive accents lead to the second theme (from bar 55, dominant A major). Similar to the previous piano string passage, it has a strongly contrasting effect, here due to the playful character, the economical accompaniment and the Lombard rhythm . The exposition ends as a forte block, which processes the Lombard rhythm initially in the bass, then in the upper parts.

The development begins as an extended variant of the string passage from bar 20, followed by the detailed processing of the Lombard rhythm from the second theme in the forte. This passage is filled with “dark, subtle espressivo and, with a few pauses, has an almost breathtaking effect.” At the end of the development, elements from the first theme (half note with sixteenth note down) are added.

The recapitulation, which begins after a relatively long general pause, is condensed in the piano passage from the first theme as well as in the contrasting piano-string passage (after the first forte block) by imitative enrichment; the complex from the first theme is not repeated. The exposition, development and recapitulation are repeated.

See also

Web links, notes

Individual references, comments

  1. ↑ a b c James Webster: The Symphony with Joseph Haydn. Episode 10: Hob.I: 62, 63, 70, 71, 73, 74 and 75. Accessed April 22, 2013.
  2. ↑ Walter Lessing (1989, p. 159) suspects a puppet opera.
  3. ↑ Stephen C. Fisher ( Haydn's overtures and their adaptations as concert orchestral works. Dissertation University of Philadelphia, 1985, page 303. Quoted in Heide Volckmar-Waschik 2016, page VII) suspects that the missing marionette pasticcio Genovefens fourth part , Hoboken directory XXIXa: 5 from 1777 comes into question.
  4. ↑ Charles Rosen: The Classic Style. Haydn, Mozart, Beethoven. Bärenreiter-Verlag, 5th edition. 2006, Kassel, ISBN 3-7618-1235-3 , pp. 168-169.
  5. ↑ According to James Webster (The Symphony with Joseph Haydn) only the first movement is occupied by two bassoons, the rest with one. In the Philharmonia pocket score (see sheet music below), two bassoons are prescribed for all movements.
  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. ↑ a b c d e f James Webster: Hob.I: 62 Symphony in D major. Information text on Symphony No. 62 by Joseph Haydn of the Haydn Festival Eisenstadt, see under web links.
  8. ↑ a b The repetitions of the parts of the sentence are not kept in many recordings.
  9. ↑ a b c d Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , pp. 288, 295.
  10. ^ Wolfgang Marggraf : The Symphonies of Joseph Haydn. The symphonies of the years 1773–1784. Accessed June 24, 2013.
  11. ^ A b c d e f 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. Volume 2, Baden-Baden 1989, pp. 158-160.
  12. ^ A. Peter Brown: The Symphonic Repertoire. Volume II. The First Golden Age of the Vienese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, Bloomington & Indianapolis 2002, ISBN 0-253-33487-X , p. 183.
  13. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 368.
  14. ↑ Robbins Landon (1955, p. 368): “In No. 62 / II, the decrescendo is exploited to ist fullest capacity and, after this, practically rejected from widespread use in the symphonic form. To Haydn, the decrescendo represented a special effect to be employed with great fastidiousness. "
  15. ^ Antony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , pp. 91-92.
  16. ↑ Ludwig Finscher (2000, p. 295); Finscher highlights the beginning of the string quartet opus 33 No. 1 as an example.
  17. ↑ Haydn Festival Eisenstadt: Information text on the performance of the Symphony No. 62 by Joseph Haydn on August 29, 2009. Accessed July 2, 2013.
  18. ↑ Hodgson (1976, p. 92), based on the passage from measure 32 in the first movement from Mozart's Symphony KV 425.