70th Symphony (Haydn)

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The Symphony no. 70 in D major composer Joseph Haydn in 1779 during his tenure as Kapellmeister to Prince I. Nikolaus Esterházy .

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The autograph of the symphony is lost; it was probably destroyed in the fire of the Esterházy Palace theater in November 1779. The earliest of the copies of the parts for the first violin is dated “779 die 18tn Xbris” (December 18, 1779). On this day the foundation stone was laid for the new opera house. It is sometimes assumed that the symphony was written for this occasion and that it was first performed on December 18, 1779. The prince also celebrated his 65th birthday on this day, which could also be the occasion for a performance of the symphony. The assumption that this was the world premiere is countered by the fact that the dated set of parts is apparently not the earliest copy of the work.

Symphony No. 70 is characterized by its strong polyphonic work, especially in the second and fourth movements. The fourth movement represents a (triple) fugue . In earlier symphonies, Haydn used polyphonic mixed forms in the last movement, e.g. B. at No. 3 , No. 13 , No. 40 , later also at No. 95 .

Furthermore, the symphony stands out because of its major-minor contrasts, especially in the Andante. This contrast between the serious or "learned" and the light or "gallant" style was important for the music of the 18th century. Due to its high musical “content”, the work stands out from Haydn's other symphonies of the time, which, according to HC Robbins Landon , were composed in a scheme similar to “postage stamps from a machine” and have a certain superficiality.

To the music

Instrumentation: flute , two oboes , bassoon , two horns in D, two trumpets in D, timpani , two violins , viola , cello , double bass . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies. Haydn had initially written the work without timpani and trumpets, and it was in this version that it went to print in 1782. Only later did he add the voices for the two instruments.

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. 70 with restrictions. - The description of the 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 by brio

D major, 3/4 time, 179 bars

first theme of Vivace con brio: D major - triad (motif 1) and ascending line (motif 2)

The overture-like , energetic movement begins like a fanfare in forte unison with the eight-bar main theme in staccato . The main theme is based on the D major triad, which is initially played once with (bars 1–2) and once without (bars 2–3) a break. It is noticeable that the theme begins with a bar, but when the triad is repeated (third quarter of bar 2), the D can also be heard as a bar at bar 3. The second motif of the theme is an ascending line ("question", bars 4–6), which is answered by a falling line (motif 3, bars 7–8).

The first two motifs are now repeated piano by the violins (but shortened by the first opening triad and with a legato insert), again answered by the energetic final turn (motif 3). The transition (bar 15 ff.) Initially allows the opening triad, which was interrupted by the pause, to appear in a piano passage in a dialogue between the 1st violin and viola / bass, with the 2nd violin being accompanied by eighth notes. Bar 23 changes abruptly to a forte- tutti block with energetic, tremolo-like tone repetition and a twist derived from motif 2 with an accent on the first beat, which appears first in the violins and then in the other instruments. Three strikes and a pause herald the second topic.

As expected, this (bar 43 ff.) Is in the dominant A major and is played piano by the strings. The antecedent takes up the downward-going interval steps (fourth, third) from the main theme, with the viola and bass starting a quarter beat later than the violins. The end-to-end movement is given more weight by the continuous quarter movement. In bar 51 the triad movement then merges into a forte block of the entire orchestra, which energetically emphasizes the keynote of the dominant A through repeated repetition with an accent.

The final group (bar 61 ff.) Consists in the first part of a six-measure question-and-answer motif (almost a theme), which the strings play piano and repeat decorated with suggestions. The second part is again presented as a contrasting forte-tutti block, in which the four-bar closing phrase is played first in regular staccato quarters, then broken down into eighths.

The execution (cycle 83 ff.) Starts unexpectedly with a four-fold unison repeat of C. In the actual processing part of the strings play enables the (by the pause interrupted) opening triad, wherein on each beat of the clock using an instrument (this is the sensed clock gravity loosened on the 1st beat of the 3/4 measure). In this passage Haydn modulates from D major, E minor, C major, A major and F sharp major to B minor, where the violent movement finally comes to rest as a fermata . This is followed by a short transition section with a knocking, even tone repetition in the strings, which ends in the recapitulation from bar 120.

Compared to the exposition, the recapitulation is shortened overall (including the absence of the second theme) and partially changed: From bar 133 onwards, Haydn emphasizes a variant of motif 2 of the main theme through its staggered use in the instruments. The final group is somewhat expanded. The exposition, development and recapitulation are repeated.

Second movement: Specie d´un Canone in Contrapunto doppio. Andante

D minor / D major, 2/4 time, 130 bars, violins with mutes

Theme with main and counter voices, bars 1–4

Possible sentence structure: Variation sentence (double variation)

  • A part (bars 1–30, D minor): The A part is made up of three parts (scheme aba´): First, the eight bar theme, which is characterized by dotted rhythms and alternation of staccato and legato, is introduced. A canon in the narrower sense, as suggested by the heading (“Example of a canon in double counterpoint ”), is not available. However, the main voice ( cantus firmus ) and counterpart (counterpoint) are set in such a way that they can be swapped with one another at intervals of an octave: the main voice is in the violins in bars 1–8, while the viola and bass play the counterpoint. In the repetition of the theme in bars 9-16, the 2nd violin and bass play the main voice, the 1st violin and flute the opposing voice (counterpoint). The second section consists of a six-bar passage (bars 17-22) derived from the previous material, followed by the main part with counterpoint as the third section, now with the accompaniment of the other woodwinds (bars 22-30, counterpoint in the middle part = 2 . Violin + 2nd oboe, new bass for harmonic stabilization). The second and third sections are repeated.
  • B-part (bars 31-48, D major): As a contrast to the previous, dark and eerie D minor, there now follows a section with a singing theme in D major, which is no longer contrapuntal. From bar 41 the winds join the strings and complement the otherwise rather sparse timbre (violins with mutes). The section again consists of two parts that are repeated.
  • Part A variant 1 (bars 49–82, D ​​minor): First, the strings play the first four bars of the main voice with counterpoint. Then (bars 53 ff.) The counterpoint is repeated while the main voice is broken down into figurations. These figurations now also move through the other instruments, in bars 61/62 the head of the main theme appears briefly in its original form (1st oboe). The second section brings a variant of the six-measure from bar 17 ff. In the subsequent repetition of the theme (third section) the main part in the 2nd violin is resolved into a figuration. The second and third sections are repeated.
  • B-part variant 1 (bars 83-106): represents a figurative variation of the B-part. Again consists of two parts, the second part is repeated.
  • A part variant 2 (bars 107–130): “recapitulation” of the A part from the beginning of the sentence, but with a chromatic variant in the middle six-measure. The sentence breathes in pianissimo.

Third movement: minuet. Allegretto

Beginning of the minuet

D major, 3/4 time, with trio of 62 bars

Like the first movement, the very quick minuet also makes an overture-like, festive impression. Three and two tone repetitions are characteristic of the upbeat main motif; The piano echoes and the change to E minor (subdominant parallel at the end of the first part) and to the subdominant G major (main motif at the beginning of the second part) are also noticeable.

The very melodic ("bittersweet") trio is also in D major and contrasts with its vocal-soft melody in the oboes and strings (in countermovement or in parallel) in the piano to pianissimo to the minuet.

After the trio, the minuet is repeated as usual. Haydn then added a separate, separate section, expressly referred to as the coda , which emphasizes the main motif of the minuet again, but restricts itself to the alternation of tonic and dominant.

Fourth movement: Finale. Allegro con brio

D minor, from measure 162 in D major, 2/2 time (alla breve), 194 measures

The first 26 bars represent an introduction to the subsequent (triple) fugue. Characteristic is a tone repetition motif of the 1st violins in high register (on the three-stroke D), which is answered differently: The first two times by a two-bar, closing phrase of the remaining strings in the lower register (of which No. 1 in minor and No. 2 in major), the third time the string answer is extended to four bars and ends “openly” on the dominant A major. On the fourth use, the tone repetition motif is surprisingly forte and played in unison by the entire orchestra (tutti), the two-bar, deep string answer leads to G minor. In the fifth variant, the answer is extended to six bars (tone repetition motif as at the beginning) and again ends “openly” in A major, where the movement in bar 26 comes to rest with a fermata .

From bar 27 the fugue a 3 Sogetti begins in Contrapunto doppio (= with three themes in double counterpoint). The strings start with the introduction of the three "themes" (motifs):

  • Motif 1 (first in bars 27–28 in 2nd violin) with four-fold tone repetition (reminiscent of the tone repetition in the introduction) and fifth down, beginning on the first quarter beat of the bar;
  • Motif 2 (first in bars 27–29 in 1st violin) with a note sustained above the bar, eighth beat, third up and fifth down, beginning on the third quarter beat of the measure;
  • Motif 3 (first in bars 37-38 in viola): with a figure of four tones downwards, then a second upwards, beginning on the second quarter beat of the measure.
Excerpt from bar 44 ff .: whole orchestra continues with all motifs (motif 3 not shown)

From bar 44 the entire orchestra begins. The instruments take up the themes imitatively and modulate them into the most varied of keys. From bar 105 the movement becomes even through the predominance of quarter notes, then the typical organ point for a fugue follows on the dominant (here A major), whereby Haydn returns to the tonic in D minor (bars 135 ff.). In a further polyphonic section, the three motifs are then processed again (up to bar 143).

From bar 144 an interlude follows, which takes up the "dialogue" between high and low strings from the introduction. Insert 1 and 2 correspond to the introduction. A strong, almost dramatic contrast is formed in the third use by the unexpected shifting of the tone repetition motif in the forte up a semitone step (from D to E flat and the following Neapolitan sixth chord , bars 152/153). The answer of the strings in the lower register is eight bars longer than the last, six-bar answer in the introduction. It also ends “openly” on the dominant A major.

Once again, there is a strong contrast in the timbre: the entire orchestra begins with the three motifs up to bar 172, but now in radiant D major.

The last section is structured similarly to the introduction, which gives the sentence a closed form. Bet 1 and 2 are repeated (both in major). Insert 5 only consists of the tone repetition motif: The 1st violins play it twice, but the answer in the lower register is missing. Instead, the tone repetition motif is answered by itself: reinforcing in forte and unison.

Individual references, comments

  1. ↑ a b c Stephen C. Fischer, Sonja Gerlach: Symphonies around 1777–1779. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 9. G. Henle-Verlag, Munich 2002, page XIII.
  2. ^ Howard Chandler Robbins Landon: Haydn: Chronicle and works. Haydn at Eszterháza 1766 - 1790. Thames and Hudson, London 1978, p. 563.
  3. ^ A b Walter Lessing: The Symphonies by Joseph Haydn. In addition: All trade fairs. Edition in 3 volumes, published by Südwestfunk Baden-Baden, 1987-89.
  4. ↑ James Webster: Joseph Haydn - Symphony No.70 in D major, Hob.I: 70. Information text from Joseph Haydn's Symphony No. 70 as part of the “Haydn 100 & 7” project of the Haydn Festival in Eisenstadt, http://www.haydn107.com/index.php?id=2&sym=70 , as of September 2010
  5. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955: “Just before Christmas of the year 1779 Haydn completed, or at any rate performed, a new Symphony in D major, a work which stands out among its predecessors and contemporaries like a Hercules. Obviously discontent with the number of mediocre symphonies which, someone unkindly pointed out, were produced with the regularity and efficiency of postage stamps coming out of a slot machine, Haydn set himself to do something different. As was the case many years before, when the pre-classical symphony was in danger of stagnation, the composer turned to contrapuntal means in order to rid his symphonic form of its dangerous tendencies. Strict fugues or canons, however, were not considered sufficient in themselves to effect this change; they had to be combined with the newer stylistic elements to form a homogeneous whole. And this is what he did in Symphony No. 70. (...). "P. 371
  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. ↑ Robbins Landon also suggests that the flute and bassoon should be doubled in the forte passages if the symphony is played by a larger orchestra (preface to the Eulenburg pocket score).
  8. ↑ Howard Chandler Robbins Landon: (Preface to the pocket score of the 70th Symphony by Joseph Haydn.) Eulenburg pocket scores No. 559. Verlag Ernst Eulenburg Ltd., London / Zurich (without year)
  9. ^ Anthony Hodgson: The Music of Joseph Haydn. The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 100

Web links, notes

See also