84th Symphony (Haydn)

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The Symphony no. 84 in E flat major composed Joseph Haydn in 1786 for a Paris concert series.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The symphony No. 84 belongs together with the symphonies No. 82 to 87 to the so-called " Paris symphonies ". These are commissioned compositions for the Parisian “Le Concert de la Loge Olympique.” For the history of its genesis, see Symphony No. 82 .

In Symphony No. 84, as in some other symphonies of this period, the more prominent role of the woodwinds (flute, oboe, bassoon) in relation to earlier symphonies, especially in the slow movements (e.g. in No. 83, No. 87, No. 90, No. 92).

To the music

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

Performance time: approx. 25 minutes (depending on compliance with the prescribed repetitions).

With regard to 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. 84 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: Largo - Allegro

Largo: E flat major, 3/4 time, bars 1–20

Haydn opens the symphony with a solemn and serious introduction. At the beginning there are four distinctive forte chord strokes on E-flat, each of which is interrupted by piano interludes: the first two times by vocal lines in the upper parts, then by chromatic movements in the bass. The following passage of the woodwinds (bars 10 to 13) gives a special timbre and already indicates the special treatment of the wind section in the further course of the symphony. After a short clouding in C minor, the dominant B flat major stabilizes with another forte-piano change , in which the introduction ends with a fermata .

Allegro: E flat major, 2/2 time (alla breve), measures 21–267

Beginning of Allegro, 1st violin

The Allegro begins with an eight-bar dance theme, which is characterized by its double beats in the third and fourth bars. The melody is introduced piano by the strings and answered by a five-bar "episode" from the entire orchestra in the forte. Both together can be defined as the main theme or thematic unit (bars 21–32). The theme is then repeated with the flute, with the ending seamlessly transitioning into the energetic transition (from bar 46). First of all, a motif with a descending eighth line and suggestions is conspicuous (from bar 46), which is sequenced twice downwards , furthermore a tone repetition motif (bars 59-61) and an ascending line in the bass (with accents on the first beat of the measure, measures 62–69).

The second theme (bars 74-80) looks like a shortened version of the first: the oboes and bassoons play the top of the theme as a soloist, followed by the triad turn of the theme's ending (from bar 29). The theme then changes abruptly (bar 81) into a minor outbreak in the forte, which increases to the fortissimo in the harmonic distant G flat major. In the piano, Haydn switches back to the dominant B flat major. After a syncope passage (bars 101–103), the final group follows with triad breaks that end the exposure.

The development (bars 111 - 201) initially takes up the head of the main theme in B flat major piano, then changes abruptly with the head of the theme in tutti to G major. Then the section is varied according to bar 81 ff.: In fortissimo, the minor outbreak increases again in areas that are harmoniously distant from the tonic: After A flat major, Haydn reaches D flat major in the piano passage following the outburst with a short vocal Figure of the 1st violin (from bar 136) and over the syncope section in C major. Here, after a short general pause, the main theme begins in F major (from bar 148). The motif from the forte follow-up to the topic is then spun on in a varied manner. Continuous staccato chains on the violins lead again to a passage of strong harmonic changes and dynamic contrasts (from bar 179). Haydn arrives at the recapitulation via the syncope passage (from bar 192).

The recapitulation (from bar 202) begins with the main theme, with the flute immediately participating in the leading. In the transition, the syncope passage stands instead of the suggestion motif from measure 46, otherwise the sequence is structurally similar to that of the exposition. The exposition, development and recapitulation are repeated.

Second movement: Andante

B flat major, 6/8 time, 83 bars

  • The theme of the set of variations is first introduced by the strings piano (bars 1–16). The eight-bar main melody is periodically structured, upbeat and characterized by its even, calm movement with accents. The bass begins with the theme head offset to the upper part. The theme consists of two parts (bars 1–8 and 9–16), the second part is repeated. In the second part, the melody is divided between the upper and lower part, with an accompaniment similar to that of voices against the melody (similar structure in the other variations).
  • Variation 1 (bars 17–28) contrasts with the use of the entire orchestra in the forte and the change to B flat minor.
  • Variation 2 (bars 29-44) is only intended for strings in the piano and plays around the theme with figurations.
  • Variation 3 (bars 45–60) is similar (the theme is played around with figurations), but the whole orchestra takes part, with upper and lower voices (i.e. flute, oboes and violins on the one hand, bassoon, cello and double bass on the other) forming groups.
  • After a fallacy in G minor, a passage begins in the coda in which the woodwinds emerge as soloists. The instruments begin one after the other with the theme (flute, oboes, bassoons), accompanied by the strings in pizzicato . The movement ends with the four-bar main component of the topic.

Third movement: Menuet. Allegretto

E flat major, 3/4 time, with trio 54 bars

The first part of the minuet, in which "the boundaries between rural lightheartedness and courtly nobility" "effortlessly blur" , is consistently in the forte. The bassoons, horns and strings begin in the lower register with the four-bar thematic unit, which consists of an opening motif (opening with a Lombard rhythm and double tapping tone repetition) and a line descending in seconds . From bar 5 the whole orchestra takes up the theme.

The second part first processes the motifs of the first part in an eight-bar piano passage. After taking up the main theme again (from bar 19), Haydn adds a coda-like ending, also with material from the main theme.

The trio (E flat major) consists of two eight-bar parts. In the first part the solo bassoon and the strings play twice a melodic line descending in quarter notes with an accent on the last beat of the measure. The second part is initially marked by interjections by the orchestra (with a distinctive double strike of the flute) on the second beat. Since the violins continue to emphasize the third beat as in the first part, the center of the bar is obscured (normally the first beat is emphasized in 3/4 time). The final four-bar shows a descending line in regular pianissimo.

Fourth movement: Finale. Vivace

E flat major, 2/4 time, 292 bars

Beginning of Vivace, 1st violin

The song-like main theme with an upbeat, ascending E flat major - chord and accent is presented by the bassoons and strings piano. Similar to a three-part rondo theme, the eight-bar, periodically structured thematic unit is followed by an eight-bar continuation of the theme (only for strings, also piano) with a sequence of second steps upwards in its final turn. Instead of taking up the theme again, however, the orchestra now begins as a forte block, which first quotes the upbeat head of the main theme, then merges into a long passage with continuous, sometimes chromatic tremolo lines from the violins. Secondary steps also occur in the bass (bars 36–43), which can be derived from the preceding second steps. The forte block ends with a variant of the theme head.

An introduction to the dominant B flat major is via an intermittent pauses F major - seventh chord in the strings of darkly mysterious to cadential leads pianissimo. Here Haydn briefly touches E flat minor and then changes over to F major to the variant from the theme head to B major. Falling second steps lead to the “noisy” final section with violins and a striking unison staccato motif (bars 84 and 88).

The development begins (as in the first sentence) with the main theme in the dominant. The final turn of the topic is then taken up in an imitation minor. From bar 106 a chromatic tremolo line of the violins leads to the appearance of the theme head, which oscillates between F minor and C major and ends on a fermata (bar 119). The theme then appears again, now piano in the strings in the subdominant A flat major. The accent motif is extended with the participation of the oboes (from bar 127). In bar 137 a longer forte block begins. After another variant of the theme in G major and a syncopation passage, he repeats the sections from the exposition: The tremolo line (from bar 149 similar from bar 21), the variant from the theme (from bar 165 similar from bar 48) , the seventh chord interrupted by rests (now in B flat major as the base) and the gloomy pianissimo cadenza passage, which, however, has been extended from eight to 16 bars compared to the exposition section. A B flat major seventh chord with a long sound, which ends on a fermata, heralds the recapitulation.

The recapitulation (from bar 200) is different from the exposition: After the theme corresponding to the beginning of the sentence, the continuation of the theme is taken up again, but continued differently with the extension of the line that ascends in seconds (with violin solo). The forte block with the chromatic tremolo line is shortened, but there is a syncopation passage (from bar 239, similar from bar 144) and the opening motif of the theme (bar 247 ff.). After another fermata as a resting point (bar 256), the upbeat theme starts again and flows into the again “noisy” final group (initially with the theme in the bass), which is, however, greatly changed and expanded compared to the exposure. The exposition, development and recapitulation are repeated once.

See also

List of Joseph Haydn's symphonies

Web links, notes, literature

Individual references, comments

  1. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955: pp. 417, 418.
  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. ↑ Depending on the point of view, one can see (varying degrees of) relationships between the introduction and the following sentences, especially the Andante: Marggraf 2009, Robbins Landon 1955 p. 410.
  4. ↑ There is no contrasting second theme, ie the sentence is "monothematic".
  5. ↑ Picking up the main theme in the dominant at the beginning of the development corresponds to the listener's expectations. In the Paris symphonies, however, Haydn often deviates from this and begins in remote keys. “Of course, this becomes a system in which the listeners no longer pay attention to whether a surprise comes, but only how it is designed. Basically, the "normal" beginnings of the second main period in the cornerstones of No. 84 become an amazing effect. " (Michael Walter: Haydn's Symphonies. A musical work guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406- 44813-3 , p. 98)
  6. ↑ Can be interpreted as a mock reimbursement.
  7. ↑ a b The repetition of the development and recapitulation is not kept in many recordings.
  8. ↑ Depending on your point of view, this section can also be interpreted differently: "(...) the theme in the strings is followed by a B-flat minor section, which oscillates between variation (which would then be the furthest away from the theme) and the second theme ( which is then not varied). ” (Ludwig Finscher: Joseph Haydn und seine Zeit . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , pp. 340–341.)
  9. ^ Haydn Festival Eisenstadt: Hob.I: 84 Symphony in E flat major. Information text on Symphony No. 84 in E flat major by Joseph Haydn as part of the “Haydn 100 & 7” project. online , accessed June 1, 2012
  10. ↑ As in the first movement, there is no contrasting second theme, ie the movement is monothematic.