82nd Symphony (Haydn)

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The Symphony Hoboken Directory I: 82 in C major was composed by Joseph Haydn in 1786. It belongs to the series of the “ Paris Symphonies ”. The nickname "The Bear", which refers to the last sentence, does not come from Haydn. Contrary to its number, it is chronologically one of the last symphonies in the series.

General information on the “Paris Symphonies” No. 82 to 87

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The symphonies nos. 82 to 87 were commissioned from Haydn in 1784 or early 1785 by Claude-Francois-Marie Rigoley, a co-founder of the Paris concert series “Concert de la Loge Olympique”. The “Concert de la Loge Olympique” has been the most important Parisian concert series since 1781, alongside the “Concert spirituel”. It was worn by the noble and wealthy Masonic lodge "de la Parfaite Estime & Société Olympique", which held its concerts in the Salle des Cent-Suisses in the Tuileries. At least two-thirds of the orchestra consisted of professional musicians who played in blue frock coats and wore swords. The concerts were not open to the public. In 1786 the maximum number of people was 65, significantly more than in Haydn's main place of work at the court of Eszterházy.

However, Haydn only carried out the commission in the following two years. According to the dates on the autographs , nos. 83 and 87 were created in 1785, then nos. 82, 84 and 86 in 1786. Only the undated introduction of no. 85 is preserved as an autograph, based on Haydn's letter of August 2, 1787 (see below), however, it can be assumed that it was composed in 1785. Haydn sent the autographs to his clients in Paris, where they were presumably performed immediately.

Although the Loge Olympique very likely acquired the publishing rights, the history of the Paris symphonies is a complicated one. Michael Walter gives the following brief overview (for details see below):

“The early publication history of the 'Paris Symphonies' is not atypical of Haydn's dealings with publishers. Together with the symphonies, he had also sold the publication rights to the 'Loge Olympique'. This exclusive right naturally only applied to France; so he was able to sell the works to the Viennese publisher Artaria without any problems. However, Haydn's assurance that Artaria should 'be served entirely by himself' was just as much a lie as the assurance to the London publisher Forster that the symphonies had 'not yet been given out of my hands'. […] Admittedly, because of the lack of copyright at the end of the 18th century, a composer had to see that he sold his symphonies to publishers if possible before they could use pirated copies (or simply have a competitor's edition re-engraved); in this respect it will be difficult to apply the modern moral standards of exploitation law. "

The symphonies were first published in 1787 by the publisher Artaria in Vienna, but Haydn seems to have sought permission from the “Loge Olympique” and received them (see letters from May 2, 1787). When Haydn was already negotiating with Artaria, a stranger apparently tried to make a deal with illegally acquired copies by offering them to Artaria of all people (letter of April 26, 1787). Excerpts from the letters to Artaria:

  • April 26th, 1787 to Artaria: “... especially, if you, as a true friend and righteous man, only openly confess to me who it is when my new symphonies are offered to you, I swear, on my honor, not to give it a word; but since such a theft can make me very unhappy in the future, and you too may suffer damage in the future, your winnings order it to confess the truth to me and to discover this dangerous misappropriation in time ... ".
  • May 2, 1787: “I am extremely pleased with the untruth in relation to my symphonies. I expect a letter from Paris every day: as soon as I have permission, you should be served with it all by yourself. "
  • June 21, 1787: "... If you want to have the first 3 symphonies from me, please let me know your opinion ..."
  • August 2, 1787: “... I forgot to indicate the order of the symphonies, and they have to be engraved as follows. The symphony Ex A. Numero 1, Ex bfa Nro. 2, Ex g Nro 3, Ex Es Nro 4, Es D Nro 5, Ex C No. 6. "

After the directors of the “Concert de la Loge Olympique” had apparently sold their publishing rights, Artaria did not fulfill Haydn's request to print the symphonies in the order No. 87, 85, 83, 84, 86 and 82, but published them accordingly the numbering in use today ("first authentic edition").

In England, the symphonies appeared in the same order as Artaria's by publisher Longman & Broderip (Artaria's London business partner) around the turn of the year 1788 based on Artaria's models, but re-engraved.

Furthermore, in April and August 1787, Haydn also offered the symphonies to the publisher Forster in London, listing the symphonies in the order number 82, 87, 85, 84, 83 and 86. Forster paid but swapped numbers 83 and 85 when it was published (“second authentic edition”). The publication took place shortly after that at Longman & Broderip. "The embarrassment was great." Longman & Broderip seem to have criticized the Forster edition as a competitor. Haydn wrote on February 28, 1788: “Dearest Mons. Ranger! Don't be angry with me if you have troubles with H. Longman. […] So much you will see for yourself that if you want to own 6 new pieces for yourself you have to spend more than 20 guinée. ”This statement probably relates to the Paris symphonies that Haydn had sold to Forster while Longman & Broderip had legitimately received them from Artaria. Haydn was apparently sentenced to pay a fine after his arrival in London in 1791 (see Symphony No. 93 ).

The “third authentic edition” was published in 1788 by the publisher Imbault in Paris, who presumably had acquired the publishing rights from the directors of the “Concert de la Loge Olympique”. He published the works in the order No. 83, 87, 85, 82, 86 and 84.

Also in 1788 the symphonies were published by the Parisian publisher Sieber in the order No. 85, 83, 87, 86, 82 and 84. He had received the templates from the then concertmaster of the orchestra of the Loge Olympique (Joseph-Boulogne Chevalier de Saint-Georges). It is possible that the concertmaster was entrusted with the negotiations between Haydn and the Lodge Olympique, was able to assert rights to the symphonies and "cede them" to the publisher Sieber.

“In 1781 Haydn's share in the listed symphonies was 17%, in 1782 39%, 1783 73%, 1784 64.5%, 1785 57%, 1786 75% and 1787 63%. In 1788, the year in which the Paris symphonies probably first came to public concerts, it was 90%, in 1789 84% and in 1790 80%. Other composers rarely appeared […]. ”Haydn was celebrated and praised in the local press. The “Mercure de France” wrote on April 12, 1788: “One has performed symphonies by Mr. Haydn at almost all concerts. Every day one perceives them better, and as a consequence one admires the more the productions of this great genius, who in each of his plays knows so well how to derive such rich and varied developments from a single theme, in contrast to the other inefficient ones Composers who constantly go on from one idea to the next without being able to present a single one in changed forms, and who, without connection and without taste, are constantly increasing effect after effect in a mechanical way. "

The frequent repetitions of Haydn symphonies in the concert series, in which up until then new performances were common, meant that the works could be studied more closely and became more and more popular. This gave an additional feedback effect on the repetitions. This is also where the stable symphonic repertoire began.

The nickname "Der Bär" (L`ours), which refers to the beginning of the fourth movement, does not come from Haydn. In 1788 the term “Bärentanz” appeared in an arrangement of Vivace for piano by the publisher Heinrich Philipp Boßler. Ernst Ludwig Gerber took up the title in 1812, and in 1831 the title “L`Ours. Bärentanz ”, which is also printed in an edition of the score from 1860/61. Then the nickname was shortened to "L`Ours".

“The Paris symphonies are Haydn's first cycle of symphonies, in which unity and diversity are combined on a large scale at the level of the organization of the entire opus, in principle just as it was realized earlier in the string quartets: six clearly different works - Individualities based on a personal and genre style worked out down to the last detail and linked to one another through a clear gradation of requirements, forms and affects and through subcutaneous relationships from work to work. In addition, there is [...] the orientation of the genre towards a public, of which the composer has at least an approximate idea. […] The most striking feature in which the Paris symphonies go beyond the older works and groups of works is the way they are treated by the orchestra […]. Above all, it is about the woodwinds, which are used with a previously unheard of imagination [...]. "

“Whether the 'Paris Symphonies' by Haydn were conceived as a cycle is an open question that must probably be answered in the negative. Because Haydn demanded a different order for the printing of the symphonies at Artaria in Vienna [...] than for the printing done at Forster in London [...] The fact that Haydn probably knew the abilities of the - large - orchestra quite well is shown by his treatment of the orchestra, especially the one Solo use of the woodwinds, for example in the concertante woodwind solos in the Adagio of Symphony No. 87. "

On the 82nd Symphony by Joseph Haydn in C major

Instrumentation: flute , two oboes , two bassoons , two horns or two trumpets , two violins , viola , cello , double bass , timpani . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies.

Performance time: approx. 25 minutes.

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 a work composed in 1786 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 assai

C major, 3/4 time, 261 bars

Opening fanfare of Vivace assai

Haydn opens the symphony as an ascending fortissimo fanfare (C major - triad) in unison (bars 1–4). In contrast, the strings answer piano with a four-bar, vocal phrase (bars 5–8). This is immediately replaced by another forte unison section of the entire orchestra with a signal-like march-like tone repetition (“signal passage”) (bars 8-20). Then the triad motif and the signal motif come side by side, the signal motif now as a simple, four-fold tap (without marching rhythm), initially piano with the repetition of the woodwinds. Accompanied by syncopation, Haydn then changes over A minor and D major to the dominant G major. After a chromatically enriched section, the previously energetic, flowing musical action comes to a halt, initially as a sequence of sigh-like accents, then descending and interrupted by pauses in the piano of the strings. However, an upward suggestion motif (which also appeared in the piano phrase of the strings in bar 7) brings new momentum and increases to the forte, before the second theme begins after a caesura (at the end of this passage the signal motif appears briefly, Measure 67/68).

The second theme (bars 70 ff.) Is - similar to the piano string phrase at the beginning of the movement - kept singing. It contains the suggestion from the previous "run-up" and a double tone repetition. The flute and 1st violin lead the part, accompanied only by the 2nd violin and sustained, low tones of the bassoon. The final group (bars 84 ff.) Is characterized by ascending and descending staccato runs. The exposition ends piano in measure 102.

The development begins with the string answer from the beginning of the sentence (bars 5–8), which changes to the subdominant F major. After the march-like signal passage (corresponding to bar 8 ff.) In F major, Haydn touches various keys (G minor, A major, D minor, E major, with the triad and signal motif passage (corresponding to bar 21 ff.) , A minor). The previously always ascending-broken triad now also occurs downwards. After an increase to fortissimo and the brief appearance of the signal motif, the second theme begins piano in A major, but here without bassoon accompaniment. The theme continues as a polyphonic passage in which the suggestion wanders through the instruments and is accompanied by an opposing voice-like, chromatically ascending figure. The dominant G major is reached again via the accent passage that breathes in pianissimo.

The recapitulation (bars 174 ff.) Begins with the C major fanfare and is initially structured in a similar way to the exposition. However, the signal motif in the passage with the triad motif (corresponding to bar 21 ff.) Now has the marching rhythm and the triad motif also occurs downwards. The sigh-like accent passage is missing. On the second theme, the bassoon takes the lead instead of the flute with the first violin, while the brass section accompanies it with low tones. After the final group with the staccato runs up and down, after a hesitant chromatic section, a coda (bars 248 ff.) With the march-like signal passage begins.

Second movement: Allegretto

F major, 2/4 time, 217 bars

Beginning of topic 1 in the 1st violin

The movement is structured as a double variation with one theme in F major and one in F minor. The first topic is varied twice, the second once. The movement ends in an extended coda.

According to Howard Chandler Robbins Landon , the Allegretto, which is reminiscent of comparable symphonic movements of the late 1770s and early 1780s, is somewhat superficial in its quality compared to the other movements of Symphony No. 82. Bernard Harrison, on the other hand, describes the movement with reference to the naturalness and simplicity of the melody as "appropriate to the dignity of the symphony".

  • Presentation of theme 1 (F major, bars 1–32): The first part consists of two repeated sections that are only played piano by the strings. In the first, eight-bar section, the periodically structured, memorable and (folk) song-like theme is presented. The second part continues the topic material with two- and four-bar modules.
  • Presentation of theme 2 (F minor, bars 33–59): The second part also consists of two repeated subsections. The winds join for the first time. Theme 2 is rhythmically related to theme 1.
  • Theme 1, Variation 1 (F major, bars 60–100): Compared to the first part, only the instrumentation has been changed (addition of the woodwinds). The second subsection is not repeated.
  • Theme 2, Variation 1 (F minor, bars 101–128): The theme is broken down into regular eighth notes, interrupted by pauses, accompanied by propelling sixteenth notes in the bass.
  • Theme 1, Variation 2 (F major, bars 129–168): Here, too, the theme is varied primarily through the instrumentation, while the structure is only slightly changed.
  • The extended coda (F major, bars 169–217) takes up the melody structure of theme 1, but forte strikes rustic-rural tones (e.g. dance passage bar 184 ff. With organ point and accompanying syncopation). The G minor (bars 1–2 and 5–6) indicated at the beginning of the theme is emphasized here more clearly in bars 193–197. The sentence ends pianissimo with the closing phrase from topic 1.

Third movement: Menuetto

C major, 3/4 time, with trio 78 bars

The first part of the festive, symphonic minuet consists of the ten-bar forte main idea with a suggestion and triple tone repetition, underlined by evenly striding quarters in the bass. This main thought is followed by a four-bar “afterthought” in the piano, in which the solo oboe also plays an upward run in addition to the triple tapping tone repetition. The second part of the minuet processes this final turn through sequencing and chromatic enrichment.

The trio is also in C major and consists of five eight bars. The theme is "carried out in changing constellations of winds and strings and in differentiated thematic work and in C minor and E flat major far removed from its innocent, bucolic basic form."

Fourth movement: Finale. Vivace

C major, 2/4 time, 280 bars

Beginning of Vivace with drone bass and theme in 1st violin

The Vivace is characterized by several short-cut motifs reminiscent of signals, as is the Vivace assai. The movement begins piano with a bordoon-like , beat-by-beat C (with suggestion) in the bass, above which the first violin begins with its upbeat motif. This motif is characterized by the figurative minor third (fd) and the ascending major third (ce). The motif (main motif) is repeated twice and given a final twist (bars 1–12). The eight-bar melody has a popular Slavic character. From bar 12 there is a short interlude of the wind instruments with voice guidance in the solo oboes, in which the timpani beats on C indicate the drone. Then the melody is picked up again, now with voice guidance in the flute and the 2nd violin. The accompaniment again consists of the drone C in the bass, but is enriched by a sustained G in the bassoon, 1st violin and viola, creating a fifth (C - G). At the end of the theme, Haydn switches to the dominant G major with two fermatas . - The combination of drone bass and melody in the upper parts creates the association of a bagpipe or a “bear guide at the fair”, which ultimately led to the nickname “The Bear” for the entire symphony.

The transition to the second theme begins forte throughout the orchestra with the repeated appearance of the theme in G major, but then goes on to a passage with runs in which the main motif dominates. The second theme (bar 66 ff., G major), a “polka-like swinging melody”, is, like the first, upbeat and made up of two-bar components. The oboes leading the voice are only accompanied by bassoon and 1st violin. After just eight bars the whole orchestra breaks in in minor, and after a hesitant sequence of upbeats the theme reappears, now with accents and in C major. The final group (bars 100 ff.) Changes back to the dominant G major and ends the exposition as a forte throughout the orchestra with downward chromatic lines and trill closing phrases.

The development begins with the first theme in F major, in measure 129 Haydn moves the theme down to E flat major. Then there is a polyphonic passage with the main motif and descending counter voices (bars 140 ff.), In which a passage with an organ point on E is inserted (bars 153–159). The recapitulation is announced with chords on G.

The recapitulation (bars 179 ff.) Is shortened compared to the exposition, the second theme is missing. Instead, the first theme is emphasized again forte over an organ point (sustained fifth CG) (bars 222 ff.). After 14 bars of organ point, the movement seems to have ended. However, it is followed by a coda in which the second theme is first “submitted” before the movement ends with a repetition of the polyphonic passage from the development and the organ point from the end of the recapitulation.

See also

List of Joseph Haydn's symphonies

Web links, notes

Individual references, comments

  1. ↑ This place was used by the “Concert spirituel” until 1784. Haydn's farewell symphony was played to mark his departure and his move to the Salle des Machines (Finscher 2000 p. 330).
  2. ↑ a b c d e f g h Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 330 ff.
  3. ↑ a b c d e f g h Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, Volume I. Schott-Verlag, Mainz 1957, p. 133 ff.
  4. ↑ a b c Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, p. 88 ff.
  5. ^ Walter Lessing: The symphonies of Joseph Haydn, in addition: All masses. A series on Südwestfunk Baden-Baden from 1987-89. 3rd volume, Baden-Baden 1989, p. 22.
  6. ^ Terms according to van Hoboken 1957, p. 133 f.
  7. ↑ Quoted and translated from French by Walter (2007) p. 86.
  8. ↑ Horst Walter: L`ours / The Bear. In: Armin Raab, Christine Siegert, Wolfram Steinbeck (Hrsg.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , p. 558.
  9. ↑ 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).
  10. ^ A b c d Bernard Harrison: Haydn: The "Paris" Symphonies. Cambridge University Press, Cambridge 1998, ISBN 0-521-47164-8 , pp. 45-61.
  11. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 402.
  12. ↑ "On the other hand, an otherwise excellent symphony will be weakened by one of its movements: the splendid opening Vivace assai of no. 82, with its enormous energy and remarkable dissonances [...], though matched by a fine minuet and one of the best finales of the whole series, is weakened by the second movement (Allegretto) - a theme and variations in the manner of the late 'seventies and early' eighties which, however artful, does not escape a certain superficiality. "
  13. ↑ "[...] quintessential natural melody [...]"
  14. ↑ "[...] appropriate to the dignity of the symphony [...]."
  15. ↑ a b c Jürgen Mainka: Joseph Haydn: Symphony No. 82 in C major “L'ours” Hob. I: 82 (1786). In: Malte Korff (ed.): Concert book orchestral music 1650-1800. Breitkopf & Härtel, Wiesbaden / Leipzig 1991, ISBN 3-7651-0281-4 , pp. 363-364.
  16. ↑ According to Jacob (Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952: p. 21), according to the South Slavic music researcher Kuhac, the melody is supposed to be a South Slavic folk tune. Pahlen (Kurt Pahlen's Symphony of the World. Schweizer Verlagshaus AG, Zurich 1978, foreword from 1966, p. 161) speaks of a "melody that could be mistaken for Slovak or Slovenian."
  17. ↑ Bernard Harrison (1998: 58) sees a relationship to the second movement, especially to its coda, in the simple melody structure of the first 32 bars.