64th Symphony (Haydn)

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The Symphony in A major Hoboken directory I: 64 wrote Joseph Haydn probably in 1773 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy . The work is sometimes referred to by the nickname "Tempora mutantur".

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn probably composed the symphony No. 64 in 1773 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy. In the 1960s, a copy of the voices from Haydn's circle was discovered that bears the inscription "Sinfonia in A. / tempora mutantur etc." on the cover. The Latin words are the beginning of an epigram by Shakespeare's contemporary John Owen , who was best known as the author of Latin, mostly pessimistic epigrams.

"Tempora mutantur, nos et mutamur in illis. Quomodo? Fit semper tempore peior homo. (Times change and we change in them. Why? Man gets worse as times get worse.) "

The envelope with the inscription apparently originally belonged to a different set of parts, so it is not certain whether the inscription relates to Symphony No. 64. The eccentric character of the Largo has led to the assumption that it is a piece of the incidental music allegedly composed by Haydn for Shakespeare's Hamlet , which the actors of Carl Wahr performed in Pressburg in the 1773/1774 season. The background of the Largo should therefore be Hamlet's central saying “The time is out of joint. O cursed spite / that ever I was born to set it right ”, whereby a relationship with the inscription“ tempora mutantur ”can be established, as the Largo is a study of“ time out of joint ”on a musical level. There are no records of any performances of Hamlet for Esterháza in 1773 and 1774, and it is unclear whether Haydn really wrote a piece of Hamlet music. Attempts to underline the text with the opening theme of the fourth sentence are just as uncertain. According to another view, “the authenticity of the nickname, which has not been passed down anywhere else, (...) can be ruled out. All attempts to relate the Latin motto to music are consequently futile. "

To the music

Instrumentation: two oboes , two horns , bassoon , 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).

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. 64 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 con spirito

A major, 4/4 time, 151 measures

Beginning of the Allegro con spirito

The first theme is constructed as a contrasting theme from a vocal-lyrical piano figure of the strings with dotted rhythm as well as a sequence of four forte chord strikes of the entire orchestra (similar beginning e.g. in the symphony No. 75 , dynamically reversed with the initial forte -Motif e.g. in Symphony No. 44 ). The figure of viola and bass in bars 3 and 4 with tone repetition and sixteenth-note double beat ("double beat motif") is characteristic for the rest of the movement, sometimes as a variant (sixteenth note figure without double beat or in triplets ). It is already dominant in the passage following the theme, first in the upper parts, later also in the lower parts. The passage is initially characterized by its changes in harmony, dynamic and rhythmic contrasts ( syncopation ). Between the processing of the double strike motif, another motif with a scale progression appears, initially downwards (from bar 25) then - interrupted by the tremolo of the violins - upwards (bar 35). The rhythm of the violin figure in measure 36 is reminiscent of the head from the first theme. The passage closes with a chromatic ascending cadence in half notes in the dominant E major. The double-beat motif as a triplet variant then leads to the second theme (from bar 49, E major), where the voice-leading 1st violin and the viola piano play a romantic-chromatic melody, which with its major-minor shades echoes the music of Franz Schubert remembers. The final group from bar 58 repeats the cadenza with the line rising in half notes and ends the exposition with the double beat motif.

At the beginning of the development, the head is confronted by the first theme with the double beat motif, from bar 77 onwards Haydn takes up the triplet variant of the double beat motif, which ends in a tremolo sound surface with an energetic octave jump bass figure. The flow of music slows down after a few bars and comes to a stop in pianissimo. The first theme then starts in the subdominant D major, followed by further processing of the double beat motif alternating between upper and lower voices, the octave jump figures and further changes in harmony (bar 98 double beat motif in the tonic parallel in F sharp minor).

The recapitulation from bar 101 is structured in a similar way to the exposition, but the above in the shortened first theme emerge as a soloist, and the beginning of the passage after the first theme is shortened compared to the exposition. Development and recapitulation are repeated, as is the exposition.

Second movement: Largo

D major, 3/4 time, 108 bars

Beginning of the Largo

The Largo is composed in free form. Up to about the middle of the movement, the movement is only for strings (violins play with mutes), after which the winds join in. A theme is repeated four times with slight changes in the tonic in D major, two "interludes" with strong dynamic and harmonic contrasts are switched on. The "hymn" theme begins with its distinctive ascending triad. The dynamic contrasts (pianissimo to forte) as well as the melodic flow interrupted by pauses are characteristic of the rest of the movement. The pauses also occur in places "where the harmonious gait does not suggest such an interruption in any way."

“In other respects, too, the movement seems to be torn by repeated pauses and pauses, as well as by the sudden outbursts of fortissimo (mm. 59, 76, 79), in sharp contrast to completely withdrawn pianissimo passages: a wealth of dynamic contrasts like them hardly any other slow movement has to show. "

  • At the beginning, a detailed theme is introduced by the strings (bars 1 to 16), the theme is then repeated in full (bars 17 to 32). Except for a few places, it is kept pianissimo to piano.
  • Interlude 1 (bars 33 to 67) consists of two halves: the first half is again piano to pianissimo except for a few accents; its final turn from bar 43 corresponds to the final turn of the theme. The second half from bar 47 initially repeats the beginning of the first, but then increases with the oboe entry from bar 57 to fortissimo after G minor, where the dynamics are abruptly reduced to the piano with the use of the horn.
  • A sweeping, chromatic gesture of the 1st violin leads to the third appearance of the main theme in D major in bar 68, now with wind participation. After just seven bars, however, the theme breaks off and abruptly changes to
  • Interlude 2 (bars 76 to 90) without pauses interrupting the flow of music. Its first half contains two-dimensional dynamic contrasts. The sweeping gestures of the 1st violin appearing three times are reminiscent of the transition to the third appearance of the theme.
  • The fourth themed appearance (from bar 91, again with winds) remains incomplete, like the third. Its turn from bars 4 and 5 is repeated and then, after two contrasting forte chord strikes, the movement ends in pianissimo with shades of major and minor. First the 1st horn, then the oboes of the violins take the lead, while the 2nd horn and bass accompany with tones in a very low register.

“In its wide melodic breath, in the delicacy of the harmonic and dynamic shades, this Largo already suggests the slow movements of the Paris and London symphonies ; at the same time it demonstrates in an exemplary manner Haydn's art of creating tension through pauses (...) .. "

“One could write an entire article about this extraordinary symphony movement. I am only mentioning the inability to properly complete musical phrases and its discontinuity in terms of material, dynamics and register, the refusal to achieve a clearly understandable form and, above all, its deliberately strange and almost incoherent ending. "

“What remains is an (...) excessive game with often contrasting motivic gestures (closed melodies and themes are completely missing), metrical shifts and postponed cadences (...). The three-part form is hardly recognizable, especially since the “recapitulation” is alienated by frightening fortissimo outbursts; the end forms, haltingly and metrically completely derailed, the dissolution of all motivic contours. It is abundantly clear that this is an extremely rhetorical sentence - but what he is talking about cannot be verbalized. It is a drama of motifs, a musical drama in musical terminology. "

Third movement: Allegretto

A major, 3/4 time, with trio 48 bars

The minuet is characterized by its Lombard rhythm , the large leaps in intervals and the trill figures, only in the middle section is the regular, separated eighth note movement dominated. The beginnings of the first and second minuet parts are only meant for strings. As the final turn of the minuet, Haydn repeats the opening bars - but now with a different dynamic: piano and with closing forte chords.

In the trio (also in A major), the soloists' tops alternate with the horns in a dialogue with the strings. The unexpected and abrupt onset of the veiled transition from the minor middle section to the return of the opening theme is unusual.

Fourth movement: Presto

A major, 2/2 time (alla breve), 198 measures

The Presto (similar to the Largo) also has an unusual structure. The movement consists of three themes that alternate unexpectedly and abruptly. The beginning of the sentence is reminiscent of a rondo theme , where a two-part ritornello is introduced. Both parts are built up periodically : The first, vocal part (“Topic A”) consists of two six-measures, it is only intended for strings in the piano. The second part (“Theme B”) for the whole orchestra with its characteristic pendulum-like eighth note movement consists of two four-beats. Both parts have in common that each phrase ends with a "strange, unaccompanied look-up" from the 1st violin.

From bar 21, theme B is continued in the dominant E major. The event suddenly breaks off as a general pause, followed by theme A in E major, which is just as abruptly followed by a new, "dramatic" forte theme of rocket-like ascending minor chords in forte ("theme C"). After that, themes A and B are repeated in A major. In bar 79 there is again an abrupt change from F sharp minor to a longer passage with theme C in fortissimo. In bar 113, the tonic A major with theme A is reached again, which is repeated as a variant in A minor, followed by the beginning of polyphony.

After repeating Topics A and B (both in A major), Haydn has put a coda at the end of the sentence , which falters after the first attempt, lets the head of Topic A ebb away in pianissimo and then closes the movement as a fortissimo flourish.

See also

Web links, notes

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ a b c Horst Walter: Tempora mutantur. In Armin Raab, Christine Siegert, Wolfram Steinbeck (eds.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , p. 781.
  3. ^ A b c 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. 88 to 89.
  4. ^ Elaine R. Sisman: Haydn's Theater Symphonies . In: Journal of the American Musicological Society Vol. 43, No. 2, quoted in Ludwig Finscher (2000 p. 287).
  5. ↑ a b c Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , pp. 287, 290.
  6. ^ Andreas Friesenhagen, Ulrich Wilker: Symphonies around 1770–1774. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Row I, Volume 5b. G. Henle-Verlag, Munich 2013, ISMN 979-0-2018-5044-3, page VII.
  7. ↑ Friesenhagen & Ulrich (2013: VII): “Apparently the cover [note: the symphony] was originally intended for another work, a symphony by Carl Ditters von Dittersdorf , and was only later used for the set of parts in Hob. I: 64 used and labeled with the appropriate title; the style of writing differs from that of the set of parts, as does the type of paper. Presumably, the envelope was combined with the set of parts when the copy went on sale (...). "
  8. ↑ 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).
  9. ^ Antony Hodgson: The Music of Joseph Haydn . The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , pp. 93 to 94.
  10. ↑ Antony Hodgson (1976 p. 94): "(...) one extraordinary passage (...) where Schubertian darkness closes in so suddenly that the blood momentarily runs cold."
  11. ↑ The repetitions of the parts of the sentence are not kept in many recordings.
  12. ↑ a b c Wolfgang Marggraf : The Symphonies of Joseph Haydn. The symphonies of the years 1773-1784. http://www.haydn-sinfonien.de/ Accessed June 24, 2013.
  13. ↑ a b c James Webster: Hob.I: 64 Symphony in A major. Information text on Symphony No. 64 by Joseph Haydn of the Haydn Festival Eisenstadt, see under web links.