65th Symphony (Haydn)

from Wikipedia, the free encyclopedia

The Symphony in A major Hoboken directory I: 65 wrote Joseph Haydn probably in 1769 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

Haydn probably composed Symphony No. 65 in 1769 while he was employed as Kapellmeister by Prince Nikolaus I Esterházy.

To the music

Instrumentation: two oboes , two horns , bassoon , two violins , viola , cello , double bass . On the participation of a harpsichord - continuos in Haydn's symphonies have different opinions.

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 drafted in the first half of the 19th century (see there) and can therefore only be transferred to Symphony No. 65 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: Vivace e con spirito

A major, 4/4 time, 129 measures

Beginning of Vivace e con spirito

The first theme is a contrasting theme made up of three chord strokes of the whole orchestra ( tutti ) separated by pauses and a four-bar, vocal piano figure of the strings. The string figure is repeated an octave lower and with bass accompaniment. Similar sentence beginnings with contrasting topics can be found e.g. B. in the symphony no. 44 , the reverse structure with an initial piano motif z. E.g. in Symphony No. 64 or No. 75 .

The repetition of the three chord hits (without a break) leads to the subsequent tutti block, in which a rhythmic motif in the eighth note chains of viola and bass is noticeable. This motif is important for the further structure of the movement: After repeating the head of the string reversal from the first theme only in the violins (one of which has a minor opacity and a slightly varied rhythm), Haydn lets both violins and viola process it from bar 23. The second theme (from bar 39) in the dominant E major has a sangally swaying character similar to the string reversal from the first theme. It is repeated with solo oboes and offset by two quarter beats. The final group contains ascending and descending eighth notes of the violins in staccato and legato.

Haydn begins the development with a “ theme- neutral thought” and then after eight bars surprisingly returns to the strings from the first theme in the tonic in A major. After four bars this goes over to the processing of the theme head, and in bar 70 a dramatic fortissimo outburst follows, in which the rhythmic motif is combined with “a jagged, falling triad motif” . The transition to the recapitulation is differentiated: three unison bars of the strings end "openly" on the dominant seventh chord, then the second theme starts in the subdominant D major, but after four bars of the three chords of the head it becomes the first theme ( without the pauses) interrupted (measure 87). Bar 88 again brings the head of the second theme, bar 89 then again the three chord strokes - now in the tonic A major as an abrupt beginning of the reprise. The string reversal of the first theme, which was already played at the beginning of the development, has now been left out - the chord strokes are thus the only part of the first theme that goes straight into the fort block corresponding to bar 11 of the exposition. The rest of the recapitulation largely corresponds to the exposition, with a few minor changes. The development and recapitulation are repeated, as is the exposition.

Second movement: Andante

D major, 3/8 time, 145 bars

The unexpected, sometimes disoriented juxtaposition of contrasting motifs means that the eccentric movement is sometimes associated with stage music. A total of six motifs can be distinguished:

  • Motif 1 (first in measure 1): upbeat, vocal turn of the strings in the piano, the prelude, which obscures the tonic in D major, contains a triplet. Sometimes only the prelude is processed in the sentence.
  • Motif 2 (first in measure 4): wind fanfare in (dotted) marching rhythm
  • Motif 3 (first in measure 9): long-lasting tone repetition.
  • Motif 4 (first in measure 21): ascending unison turn of the strings, forte.
  • Motif 5 (first in measure 36, dominant in A major): phrases interrupted by pauses from an eighth note and a broken triad in thirty-second notes.
  • Motif 6 (first in measure 41): quarter note with sixteenth “lookup” as a large upward interval jump.

On the sequence of motifs 1, 2 and 1 in the piano, motif 3 appears with its long-lasting tone repetitions, which, underlaid, increases from the tremolo of the other strings and the wind accompaniment to fortissimo. After motif 1 in the piano, there is a change from motif 1 (still piano) and the unison movement of motif 4 in the forte. The wind fanfare of motif 2 then leads to motif 5 in the dominant A major, which is followed by motif 6. Haydn ends the exposition with motif 1, whose triplets dominate the last bars.

The second section of the sentence begins with the brief processing of motif 1 in the dominant. After just seven bars, Haydn switches back to the tonic in D major with motifs 1 and 2. Instead of the tone repetition, however, the unison movement of motif 4 and motif 5 follows, motif 3 is only made up in measure 80, but now more extensive than the exposition, with the head of motif 1 in the bass and a staccato third in the winds . In the following piano passage with the head of motif 1, the wind fanfare of motif 2 is switched on forte, which is interrupted by two new, gestural ascending scale runs in string unison. After this gesture, the head of motif 1 is also confronted with the unison movement of motif 4. Another wind fanfare then leads to Motif 5 and Motif 6, and as in the first part of the sentence, a long passage with the triplet prelude from Motif 1 concludes. Both parts of the sentence are repeated.

Third movement: Menuetto

A major, 3/4 time, with trio 60 bars

First part of the minuet

The theme of the energetic minuet is characterized by its prelude, which together with the following triple tone repetition forms a signal-like triad, the double beats and the imitative beginning between violins and viola / bass. From bar 7 to 10, Haydn shifts the center of the bar with accentuation by double beats in the upper parts and accent in the bass so that a 4/4 time is created, after which he changes back to the “normal” 3/4 time. In the middle section, viola and bass lead the voice. Here as well as when the beginning part is taken up again, the wind instruments, especially the horns, are involved.

“The minuet amazes with its rhythm. A “normal” opening phrase with prominent double beat motifs on the first part of the bar is answered in the dominant; but now the double beat configuration appears accentuated on every fourth beat (...). The sudden outbreak in 4/4 time is shocking in this context; one could feel reminded of Brahms if this later admirer of Haydn had carried out his rhythmic games in an equally blatant manner. "

Haydn also uses a rhythmic surprise in the “slightly Balkan” atmosphere of the trio in A minor for strings in the piano: Accompanied by suggestion chains for tone repetition in the 1st violin, the other strings initially play an ascending and descending, even pattern Movement in 3/4 time. Starting with the fourth bar of the trio, Haydn shifts the center of the bar with the ascending melody line by grouping half notes so that a hemiole is created.

“[The trio] alternates between a stealthy conspiratorial ornamental ostinato and a clearly conspiratorial ascending sequence; the latter is designed as a hemiole: in the form of groupings of two notes in the context of a 3/4 time, and therefore in "opposite" rhythmic deformation as the minuet. "

Fourth movement: Presto

A major, 12/8 time, 84 bars

With its horn fanfares and rapid eighth note movement, the Presto is designed in the hunting style. The main theme in the first piano half consists of the alternation of rhythmic tone repetition horn fanfare and melodic phrase of the violins (bars 1 to 6; "Fanfare 1"), the second half with forte-piano - contrast contains another horn fanfare and pauses Interrupted chord strokes of the other instruments ("Fanfare 2", recalls the beginning of the first movement). The theme is repeated as a shortened variant that ends in a minor key (bars 11 to 15).

The rest of the course up to the end of the exposition is characterized by rapid, scurrying eighth note chains and hammering eighth note repetitions of the violins or the entire orchestra, with the exception of a somewhat more leisurely unison walk. The passage from bar 21 is introduced by an upbeat, “driving” triplet grinder. The final group stands out with the forte-piano contrast in its eighth note chains and tone repetitions.

The development begins with Fanfare 1: first piano in the dominant E major, then with minor opacity and a third time in fortissimo in the subdominant D major. The rest of the implementation processes the rapid eighth-note chains, in which the upbeat grinder is repeatedly installed.

The recapitulation from bar 58 is shortened compared to the exposition: After fanfare 1, fanfare 2 is left out, the music goes straight into the passage with the eighth notes and the opening grinder (corresponding to bar 21) and then structurally corresponds to the exposition up to the final group. Haydn ends the movement with a coda that brings Fanfare 1 in the piano and Fanfare 2 in the forte (ie as at the beginning of the movement). The development and recapitulation are repeated, as is the exposition.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ 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).
  3. ^ A b Wolfgang Marggraf : The Symphonies of Joseph Haydn. The symphonies of the years 1773-1784. http://www.haydn-sinfonien.de/ Accessed June 24, 2013.
  4. ↑ a b c The repetitions of the parts of the sentence are not kept in many recordings.
  5. ↑ a b c d e f James Webster: Hob.I: 65 Symphony in A major. Information text on Symphony No. 65 by Joseph Haydn of the Haydn Festival Eisenstadt, see under web links.
  6. ^ 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. Volume 2, Baden-Baden 1989, pp. 77 to 78.

Web links, notes

See also