67th Symphony (Haydn)

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The Symphony in F major Hoboken directory I: 67 wrote Joseph Haydn probably 1774/75 as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The symphonies 66 , 67 and 68 were printed in 1779 by the publisher Hummel in the order No. 67-66-68 as "Opus 15". Ernst Ludwig Gerber writes about the symphony No. 67 in the review of this print in his "Lexikon der Tonkünstler" (1812–1814):

"Op. 15) Berlin b. Hummel, 1779 (...). These are from Haydn's most beautiful blooming period. (...) No. 1 in 6/8 time with the cute Leyer trio for 1st and 2nd violin is also engraved individually for London (...). "

Due to some peculiarities (the first movement has the character of a final, the theme of the Adagio is reminiscent of a theme from the closing bars of slow movements, the end of the Adagio itself, like the trio of the Minuet, is unusually orchestrated, the fourth movement has the type of a first movement and contains instead the expected development has a contrasting Adagio middle section) Symphony No. 67 is emphasized in the literature:

"It is really a work for connoisseurs, extremely original in its invention and equipped with various subtleties and surprises."

“Haydn wrote an anti-symphony here with great artistry - and it is precisely this that makes up the ingenious“ joke ”of the work, which is completely brushed against the grain, but which happens as artfully as only Haydn could. And only he could afford it, because the symphony requires knowledge of the “normal” symphonies of Haydn, so that those listener who knew these symphonies could amuse themselves at how ironic Haydn was about his own symphonic artistry. Whoever does not hear the symphony against the background of Haydn's symphonies of the early seventies will have to regard it as incomprehensible and strange. "

To the music

Instrumentation: two oboes , two horns , two bassoons , 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. 67 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: Presto

F major, 6/8 time, 259 bars

Beginning of Presto with phrase 1 and beginning of phrase 2, bars 1 to 13

With its tempo and the 6/8 time signature, which is unusual for an opening movement, the Presto bears typical characteristics of a final movement, whereas the fourth movement has characteristics of an opening movement (see below). The first theme is presented by the strings piano. It is made up of three eight-bar phrases (each consisting of two four-bar halves): Phrase 1 with staccato eighth notes, partly as a characteristic tone repetition and an "appendix" separated by pauses with a suggestion, and also phrase 2 in the dance-like alternation of legato and staccato interspersed with pauses and phrase 3 with an initial tone repetition and continuous, stepped movement. After this "graceful opening", the whole orchestra ( tutti ) breaks in in bar 25 in an energetic forte block, which in the first bars takes up the head of phrase 1 of the first theme, but then brings new material with its sixteenth- note grinder motif Measure 46 turns in unison to C minor, increases to the tremolo and finally comes to a standstill in three G major chords.

The second theme (from bar 58) with a vocal character in the dominant C major with question-answer structure is played by strings and oboes, with oboes only involved in the question. The theme is repeated, with the horns now supporting the oboes. From bar 71 the second energetic forte block follows, which is again partly performed in unison and contains tremolo passages. The unison motif at the end of the exposition is reminiscent of the motif at the beginning of the sentence with its tone repetition. The exposition ends with three chords in C major (similar to before the second theme).

The development repeats the three chord strokes moved to D major, then the strings play a new theme in G minor that contains material from phrase 1 of the first theme. Haydn finally switches to D minor, and based on phrase 1 of the first theme with the staggered use of the instruments, a longer forte passage begins with an energetic, continuous eighth note movement. From bar 132 the dynamic changes to the piano, and the dotted half notes of the voice-leading 1st violin make the musical character quieter - the eighth note movement continues in the 2nd violin. The return to the recapitulation is announced by hitting the headers of the second and first themes (bars 156 and 160, respectively).

In the recapitulation (from bar 162) the beginning of the first forte block has been changed. In the second theme the oboes play a part in the “answer” (not in the “question” as in the exposition), and when the theme is repeated, the bassoons play in the “question”. The rest of the recapitulation largely corresponds to the exposition. Haydn ends the movement with a coda in which the strings first play piano phrase 2 from the first theme. The winds then repeat the head of Phrase 1 in the forte in unison, answered by the three chord hits throughout the orchestra.

Second movement: Adagio

B flat major, 2/4 time, 122 bars

Beginning of the Adagio with the opening motif and the staccato motif

The first theme is played piano by the strings, with the violins playing muted. The theme is periodically built up from two five-bar phrases. It is characterized by an opening motif in dotted rhythm ("opening motif") and a staccato figure ("staccato motif"). The somewhat march-like theme "is limited to the bare cadenza levels " and is reminiscent of the character of the final formulation of a slow movement.

In bar 11, the opening motif is continued with the use of wind instruments, then continuous sixteenth and thirty-second movements of the violins dominate under a melodic line of the oboes. After the calm pole with the fermatas in bar 23/24, the second theme begins in the dominant F major in the oboes and bassoons leading the voice, while the thirty-second movement of the violins continues in broken chords. The dynamic increases in the crescendo to fortissimo and then fades away again as an echo effect, until finally only the violins with their stalled continuous movement remain. A cadenza figure with trills leads to the final group, which stands out due to its “bizarre” dialogue between rhythmic wind fanfare and string response.

The development begins with the head of the first topic in minor and briefly processes the opening motif. Then follows the processing of the “staccato motif ” as a canon between the two violins (bars 56–67), before the opening motif is taken up again with the gradual use of the instruments. The staccato motif in unison heralds the recapitulation.

After the first theme, the recapitulation from bar 81 passes over to the second theme with a few interim bars and otherwise largely corresponds to the exposition. For the end of the sentence with his coda, Haydn uses an unusual sound effect: the strings play the first half of the first theme “col legno” pianissimo, ie not brushed with the hair of the bow but hit with the bow stick, which creates a rough, brittle to eerie The exposition repeated, development and recapitulation not.

“The slow movement, together with that of Symphony No. 68, belongs to a certain subspecies that are characteristic of this period: adagio movements in the sonata main movement form, in which the violins play with mutes and which are based on short, aphoristic phrases with the Tendency to dissolve into delicate filigree work. However, they vacillate ambiguously in mood between comedy and sensation. They are not "popular" in any sense. Here this stylistic mixture emerges most clearly in the development; the central section of such movements consists of an extraordinarily "calm" filigree passage, here an extended canon of the two violin parts, which is enclosed on both sides by the most expressive passages of the movement. "

Third movement: Menuetto

F major, 3/4 time, with trio 46 bars

The main theme of the minuet is based on the broken F major - triad with prelude and staccato and a double stroke figure. The short middle section only for both violins in the piano continues the theme. When the first part is taken up again like a reprise, the bass now partly accompanies with a flowing eighth note movement.

Similar to the end of the Adagio, the trio in F major also has a special sonic feature: it is only played by 2 solo violins, both of which play muted. The popular melody is played in a high register by the 1st solo violin , while the 2nd solo violin intones a drone bass with its G string tuned down to F and also accompanies the 1st solo violin with double stops . This creates a humming, organ-like sound impression.

“Finally, as a curiosity, the very strange trio of Symphony 67 should be mentioned, which was probably inspired by popular music-making practices. It is consistently performed by only two solo violins with mutes, with Haydn prescribing that the lowest string of the second violin be tuned down from G to F, the keynote of the movement. It is held throughout the sentence, which has a very strange, bagpipe-like effect. "

Fourth movement: Finale. Allegro di molto - Adagio e cantabile - Allegro di molto

F major, 2/2 time (alla breve), 209 measures

By replacing the development with an independent, slow section, the movement shows the sequence fast - slow - fast and is thus reminiscent of an overture , the tempo designation is also more typical of a first movement. The fact that the Allegro di molto is at the end instead of the beginning of the symphony "seems like a curious counterpart to the first movement, which in turn is more like a finale."

The first theme is presented by the whole orchestra forte. It is made up of three four-bar phrases: Phrase 1 with the opening chord beats interrupted by rests and the ascending and descending figure made up of broken chords, the repeated phrase 2 as the “answer” to phrase 1 with its distinctive trill and phrase 3 with its unison motif. The theme is repeated (phrase 1 and 2 piano, phrase 3 forte). Via a four-bar transition motif, which is related to the previous motifs in its prelude and dotted rhythm, Haydn switches to the next forte block. This establishes the dominant C major with a continuous eighth note movement in the violins and a cadence figure interspersed with pauses. The second theme (from bar 47, C major) with a periodic structure is first performed piano by the strings and then repeated with the participation of winds. Like the previous motifs, it is characterized by upbeats and dotted rhythms and has a decidedly folk song-like character. The final group consists of chord strokes interrupted by rests and takes up the cadence figure from before the second topic. The exposure is repeated.

Instead of the development, Haydn set a serious Adagio e cantabile (bars 72 to 145) in 3/8 time with two themes, which contrasts strongly with the previous event. Both topics are structured according to the ABA pattern. Theme 1 in F major is orchestrated in the intimate chamber music style only for two solo violins and one solo cello; the whole orchestra only joins in the second A part. Parts A and BA are repeated. Theme 2 in B flat major begins with a solo wind instrument; the opening motif is identical to that of the Missa Sancti Nicolai, which Haydn had composed in 1772. In topic 2, only the A part is repeated, the BA part goes without repetition into the three-time, signal-like sequence of four powerful chord strokes with a piano answer (B major, G minor, E flat major) and then leads as descending line to the dominant C major.

"This Adagio is so broadly laid out, so richly executed that one almost forgets the previous Allegro and is surprised again when it suddenly appears again - as a recapitulation, so to speak."

The following Allegro di molto, as a “recapitulation”, largely corresponds to the exposition, but the first theme is not repeated, but goes straight over to the corresponding forte block. In the coda at the end of the movement, the 1st violin plays a pendulum figure in sixteenths for eight bars, while the upper and lower voices alternately add a three-note motif "as a final buffo idea" . When the music threatens to peter out in the pendulum figure, two fortissimo chords end the movement.

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ What is meant is Symphony No. 67.
  3. ^ Ernst Ludwig Gerber: New historical-biographical lexicon of the Tonkünstler (Leipzig 1812-14) with the additions published in the years 1792-1834 as well as the first publication of handwritten corrections and additions by Othmar Wessely (Graz 1966). Quoted in van Hoboken 1957 p. 96.
  4. ↑ a b c d e f g h i j k 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. 137 to 139.
  5. ↑ a b c d e Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , pp. 64 to 54
  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 Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 369 to 370.
  8. ↑ a b c d James Webster: Hob.I: 67 Symphony in F major. Information text on Symphony No. 67 by Joseph Haydn of the Haydn Festival Eisenstadt, see under web links.
  9. ^ 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.

Web links, notes

See also