69th Symphony (Haydn)

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The Symphony in C major Hoboken directory I: 69 wrote Joseph Haydn probably 1774/75. The work bears the title "Laudon", which does not come from Haydn and refers to Field Marshal Gideon Ernst von Laudon .

General

Field Marshal Laudon

Haydn probably composed Symphony No. 69 around 1774/75 when he was employed as Kapellmeister by Prince Nikolaus I Esterházy . The name “Laudon” goes back to the Viennese publisher Artaria . In 1784 he published a piano version of the work as the "Loudon Symphony". The name refers to the popular Austrian field marshal Gideon Ernst Freiherr von Laudon (1717–1790) and should probably have a sales-promoting effect. Haydn had looked through this arrangement and wrote to Artaria on April 8, 1783:

"In the meantime, your Wohledlen, send the symphony, which was so full of mistakes that the fellow, if it was written, should be cut off. The last or 4th piece of this symphony is not practicable for the piano: I also do not find it necessary to add the same: the word Laudon will contribute more than ten finals to the promotion of sales. "

The finale was then omitted from the piano arrangement, but appears in other piano reductions of the work. Artaria had apparently planned a violin part for the piano reduction, which Haydn refuses in his letter of June 18, 1783:

"Hereby send the Laudonic Symphony, of which the violin part is not necessary at all and can therefore be left completely out."

The name “Laudon” can also be found on copies of Symphony No. 48 , which is probably confused because of the similar beginning of the first movements. The symphony No. 69 is evaluated differently in the literature: It was printed in 1784 by the publisher Hummel as "Opus 20" together with other symphonies (including No. 61). Ernst Ludwig Gerberg mentions the symphony No. 69 in the review of this print in his “Lexikon der Tonkünstler” (1812–1814) as “excellent”:

"Op. 20) Berlin b. Hummel, 1784 (...). No. 1 is the Laudon, and since the two following are not inferior to these in excellence, this is enough said. "

Due to the same key, the similar beginning of the first movements and the epithets with a historical personality, Symphony No. 69 is often compared with No. 48 ("Maria Theresia"). Taking up the very negative criticism of Symphony No. 69 by Howard Chandler Robbins Landon (1955), Walter Lessing (1989) also describes the work as a disappointment:

“(…) And now the beginning of No. 69. Here, too, the theme appears twice - with the same characteristic octave jump at the beginning - but this immediate succession does not create any particular tension, no contrast, even the subsequent crescendo and the fortissimo tutti des whole orchestra by no means come close to the great effect of the older C major symphony (...). One notices that the other sentences are not taken from a very inspired lesson. A rather meaningless slow movement, filled with tiring repetitions of notes, is followed by a harmlessly pleasing, rococo-like minuet, to which only a splendid sonic garment is slung. And in the rondo-shaped finale, the sheen of the horns and trumpets cannot hide many bleak spots. There is no doubt that if Haydn had only left symphonies like this one, his name would hardly have gone down in music history. "

Other authors do not see the work so negatively, despite its traits of routine:

  • In this work, Anthony Hodgson (1976) points out the particular importance of the conductor's choice of tempo and rhythm for the overall effect and praises Presto as an effective “battle music”.
  • According to James Webster (1999), the symphony is as interesting and original as the previous ones, although very different in character. The work is an example of the aspect of “easy hearing” in Haydn's creative phase at that time: “directly accessible and compositionally worked with a light hand; it moves within familiar styles and conventions and has few spots of expressive intensity; the extended sections, thematic groups, transitions, etc. are crystal clear. "
  • According to Michael Walter (2007/2010) “it can hardly be denied that the symphonies No. 69 and No. 61 are examples of a certain routine feature in Haydn's symphony compositions, which can probably be explained by the fact that since 1776 he has also been called Opera impressario was active in Esterháza and also had to appear as an opera composer. ”The symphony No. 69 offers (as well as No. 61)“ cultivated entertainment on a level that Haydn's composer colleagues would have had difficulty achieving because of his original ideas . "

To the music

Instrumentation: two oboes , two bassoons , two horns , two trumpets , timpani , 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. 69 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

C major, 2/2 time (alla breve), 184 measures

Beginning of Vivace

The first theme is made up of two four-bar halves, with the first half, with its fanfare to march-like character, strikingly similar to the beginning of Symphony No. 48. Except for the chord beat, which is played by the whole orchestra, the rest of the theme is sung in the piano, the first half is orchestrated only for oboes and violins, the second for violins and accompanying cello. The theme is repeated, then the head of the second half rises in a crescendo to fortissimo, where the action comes to a halt after a fanfare-like chord melody with three chord strikes in the dominant G major. The head of the second half of the theme is now repeated again, starting in G major, spiraling upwards, followed by a short processing with the two eighth-note figures of the first theme. After falling staccato chains in the dialogue between the instruments, chord strokes (now as D major - seventh chords) lead to a jam, which heralds the second theme.

The second theme (from bar 45, G major) is structured like the first from two four-bar halves. The strings play a vocal melody piano, which is repeated with the participation of the 1st oboe and accompanying bassoon. The final group initially brings energetic, ascending eighth notes in unison, at the end of the exposition the solo oboes and violins give short, constricting piano interjections as staccato thirds.

The development begins as a variant of the first theme in E major: the change from forte to piano only takes place in the second bar (not after the octave jump downwards); the second half is also replaced by a variant of the first. The music then seems to lose itself in the figure with the dotted rhythm (from measure 3 of the theme) in A minor pianissimo, before in measure 84 the whole orchestra fortissimo processes the eighth figures of the first theme with syncope accompaniment and touches different keys. This contrast between withdrawal in pianissimo and subsequent forte use is practiced two more times in the development: After a few accents, the music is again accumulated in chord strokes of E major, with which the development began. Then the second theme is given an appearance in A minor, and here too the first half is repeated as a variant (with a major ending). Once again, the music seems to ebb away pianissimo, as the tone repetition expands from the theme to the reclining tone, then an ascending crescendo begins with triad figures in half notes. The last section of the development draws on the staccato third from the final group, which is played upwards and downwards in the dialogue between the violins (staccato) and the oboes and bassoons (legato). In the transition to the recapitulation, the ending is performed in pianissimo followed by a forte for the third time with the third motif.

In the recapitulation from bar 136 onwards, the horns lead the part in the theme repetition in the first half, the varied second half then goes directly into the second theme. This is followed, as in the exposition, by the final group with its ascending unison eighth note chains, but instead of the third motif, the passage of the falling eighth note chains that is left out before the second theme follows. The coda is designed with a variant of the second half of the first theme and a final fanfare. The exposition, development and recapitulation are repeated.

Second movement: Un poco adagio più tosto andante

F major, 3/4 time, 122 bars

The strings introduce the extended first theme piano (bars 1 to 12, violins play with mutes). Main elements of the rising in repeated note F Major - triad and the subsequent, in seconds, falling line in stepped movement. Both elements are important for the further topic and the further structure of the sentence. The theme is repeated without the ascending opening triad (bars 13 to 21). Then first the bass (with bassoon), then the violins and finally the strings as a whole continue the detached movement and then change with the participation of the wind instruments with new material and including a short minor obscuration to the double dominant G major, which dominates the following entry of the second Theme in C major works.

The second theme (from bar 33, dominant in C major), a “delightfully cheeky hemiolan Hoquetus theme ”, is also only introduced by the strings. Its upbeat parting is divided between the upper and lower parts. The pendulum figure from the end of the theme then increases with the participation of the whole orchestra to the forte, and then falls back again to pianissimo - at the end of the exposition with a characteristic triad motif in the bass.

The development, which is mainly intended for strings only, changes from the pendulum figure in the bass in an operatic-dramatic gesture via the D major seventh chord to the first theme in G minor. In the further course, the tone repetition is then combined with the detached movement from the first topic. Haydn then switches to E major, which has a dominant effect on the following entry of the second theme in A minor. This is followed by another change to the C major seventh chord, which is emphasized in the sweeping, even movement of the 1st violin, before the music finally breaks off as a repeated "question" from the 1st violin.

In the recapitulation from bar 84, bassoons and horns are involved. After a few bars, the theme repetition turns into the shortened transition passage to the second theme. The second topic and final group are structured similarly to the exposure. The exposition, development and recapitulation are repeated.

Third movement: Menuetto

C major, 3/4 time, with trio 50 bars

The minuet is characterized by its simple harmony, the fanfare-like triad breaks and the opening triplets. It is consistently in the forte. In the second part, before the first part is taken up again, there is a shift in accent due to triplets on the first and second quarter beats.

In the trio (also in C major), 1st oboe and 1st violin play a song-like, dance-like, upbeat melody in a stepped eighth note movement.

Fourth movement: Finale. Presto

C major, 2/4 time, 241 bars

The sentence is structured as a rondo :

  • Presentation of the refrain (bars 1 to 20), which is structured according to the ABA pattern (A and BA are repeated). The upbeat theme with a periodic structure is performed by the 1st violin, accompanied only by the 2nd violin with its staggered counterpart voice.
  • The couplet 1 expands the topics head to the fanfare throughout the orchestra, then changes to the dominant G major, shines with tremolos, surprisingly harmonious distant chords, lively syncopated rhythms and dynamic contrasts with increase to fortissimo outbreak (cycle 43).
  • Refrain (bars 76 to 94) in the strings (ie with bass accompaniment).
  • Couplet 2 (bars 95 to 169) begins in the dramatic C minor - fortissimo: the violins play a motif of tone repetition and second down, reminiscent of the beginning of a fugue theme . Characteristic dissonances arise when playing together. The bass accompanies as a continuous movement, which is enriched with the rhythmic motif from the end of the first couplet. The rhythmic motif becomes independent up to unison. After further processing the "fugue theme" in the violins, the movement with the rhythmic motif in the 1st violin is reduced "over mysterious, slowly changing harmonies" in a long passage up to pianissimo (bars 131 to 169).
  • Refrain (bars 170 to 192) played in the forte and by the whole orchestra.
  • The coda (bars 193 to 241) starts with the headline in the staggered use of the violins and then ends the movement in a detailed, fanfare-like stretta .

Antony Hodgson praises the phrase as effective "battle music".

Individual references, comments

  1. ↑ Information page of the Haydn Festival Eisenstadt, see under web links.
  2. ↑ a b c Horst Walter: Laudon (Loudon). In: Armin Raab, Christine Siegert, Wolfram Steinbeck (Hrsg.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , p. 454.
  3. ↑ a b c Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, Volume I. Schott-Verlag, Mainz 1957, pp. 99-102.
  4. ^ Van Hoboken (1957) p. 60.
  5. ^ 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. 100.
  6. ^ A b Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 353-355.
  7. ^ 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 1, Baden-Baden 1989, pp. 133-136.
  8. ^ Antony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , pp. 97-99.
  9. ^ A b Antony Hodgson (1976, p. 99): "The Finale is an exciting Presto, light in touch and searching in spirit. Just as the old battle-pieces used to end with a celebration, so too this battle-piece must be joyful and not too deep; the brass parts are conventional but the string counterpoint is intentive. "
  10. ↑ James Webster: "Program Notes" Oiseau-Lyre CD 460-776-2 (1999), 12: "as finely crafted, as interesting, indeed as original, as the preceding ones, albeit very different in character." the English language website for Symphony No. 69)
  11. ↑ a b c d e f James Webster: Hob.I: 69 Symphony in C major. Information text on Symphony No. 69 by Joseph Haydn of the Haydn Festival Eisenstadt. see under web links.
  12. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , p. 65.
  13. ^ Michael Walter: Symphonies. In: Armin Raab, Christine Siegert, Wolfram Steinbeck (Hrsg.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , p. 701.
  14. ↑ 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).
  15. ↑ a b The repetitions of the parts of the sentence are not kept in some recordings.

Web links, notes

See also