85th Symphony (Haydn)

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The Symphony no. 85 in B flat major composed Joseph Haydn around the year 1785 for a Paris concert series. It bears the nickname "La Reine" (The Queen), which does not come from Haydn and refers to the French Queen Marie Antoinette .

General

The French Queen Marie-Antoinette

The symphony No. 85 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." The work was probably composed in 1785. For the history of its genesis, see Symphony No. 82 .

The nickname "La Reine" (The Queen) is probably based on the subtitle "La Reine de France" in the first edition of the work by the publisher Imbault. The origin of the title is probably that the French Queen Marie Antoinette was protector of the concert series of the “Loge Olympique” (and) or that she should have particularly appreciated the symphony.

Bernard Harrison emphasizes the original treatment of formal conventions of sentence structures in the first and fourth movements, which are balanced in the middle movements by emphasizing “grace and color”.

To the music

Instrumentation: flute , two oboes , two bassoons , two horns , two violins , viola , cello , double bass and possibly harpsichord . There are different opinions about the involvement of a harpsichord continuo in Haydn's symphonies.

Performance time: approx. 20-25 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. 85 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: Adagio - Vivace

Adagio: B flat major, 2/2 time (alla breve), measures 1–11

The introduction, which is consistently fortissimo and in which the whole orchestra participates, shows typical elements of the baroque French overture with fanfare-like chords and dotted, striding rhythms . The dotted rhythms, interrupted by pauses, are played in alternation with the chords, initially in unison , then over flowing eighth notes and with ascending virtuoso scales. With a fermata on the dominant F major, the movement comes to rest.

Vivace: B flat major, 3/4 time, measures 12–276

Beginning of Vivace

The beginning of the movement contrasts strongly with the majestic introduction: the strings play piano a calm and vocal theme consisting of three four-bar phrases. Each phrase is made up of a descending bass line with the upper part lying down and an answering, closing phrase in the upper part. In bar 23, the whole orchestra ( tutti ) begins with a motif consisting of a scale run up (reminiscent of the upward run of the introduction) and a broken chord down (recalls the descending line in the bass of the opening theme). Both components of this "transition motif" are played in unison and staccato . The theme from the beginning of the sentence is then repeated piano, with the wind players making throbbing interjections in the pauses between the phrases. In measure 42 the tutti begins again with the transition motif. It is now spun in the rapid tremolo and appears in both the bass and the upper parts. In bar 60/61 the double dominant C major is reached, which is reinforced with four chord strikes.

Instead of the expected second theme in the dominant F major, fortissimo surprisingly inserts a passage in F minor that has striking similarities to the first movement of Symphony No. 45 from 1772. This was performed in April 1784 in Paris at the last concert in the “Concert spirituel” series. Haydn had already used this quote in the first movement of Symphony No. 60 from 1774. However, it is not entirely certain whether No. 85 is an intentional quotation or a coincidental match: In the case of a quotation, this is cleverly built in, as it is derived from the descending eighth notes of the main theme and the descending chord of the transition motif and thus "necessarily on the level of the thematic work, surprisingly as a quote" appears or "is ambiguous as the passage does not have a motivic effect as a quote". The transition motif then leads to a variant of the main theme in which the 1st oboe takes on the role of the upper part. Here Haydn also changes to the dominant F major. A chromatic continuation leads over to the lively final section (from bar 96, F major), which, after suggested tone repetitions, brings tremolo figures with a characteristic accent in the bass. The exposure is repeated.

Haydn begins the development with two harmonic moves: starting from the F major of the final group, four chord strokes lead abruptly to D major. Immediately afterwards, the motif of the farewell symphony starts from E flat major. The syncopation in the violins makes it even more reminiscent of the beginning of the movement in the symphony of 1772. The motif is led through different keys before the passage in bar 133 leads back to E flat major. Now follows - starting from A flat major - the processing of the material from the main theme by tonal dilution down to the eighth note sequence (the bass figure from the beginning of the sentence), minor clouding and thematic condensation. From bar 181 the accented motif of the final group is processed. The recapitulation is achieved via the transition motif in D major and a chromatic passage.

The recapitulation (from bar 212) is shortened compared to the exposition (the transition from the first to the second appearance of the main theme is reduced, the motif of the farewell symphony is missing), but the final group is somewhat expanded. Development and recapitulation are repeated.

“There is not a single note in this sentence that cannot be explained as a derivative or variant of the material exposed in the slow introduction and the topic. (...) This is music that requires the effort of understanding and precisely thereby entertains. "

Second movement: Romance. Allegretto

E flat major, 2/2 time (alla breve), 126 measures

Beginning of the Allegretto

The view, which goes back to the Haydn researcher Carl Ferdinand Pohl, that the main theme of the movement is based on the French folk song “La gentille et jeune Lisette” (the graceful and young Lisette), is today rejected as incorrect. The sheet of music from the archive of the Breitkopf & Härtel publishing house , to which Pohl refers, is more likely a subsequent text for the symphony movement. The theme is subject to four variations. The tone of the sentence "is socially binding almost to the point of impersonal."

  • The strings introduce the upbeat main theme piano (bars 1–22). As in other sets of variations, the section of the main theme is structured according to the structure aba, with the a-part and the ba-part repeated. The a-part (the topic in the narrower sense) is eight bars, the b-part (a continuation of the topic) six bars. The b part is only performed by the two violins.
  • Variation 1 (E flat major, bars 22–44) is characterized by an alternation of piano passages, in which the theme appears largely unchanged (with the accompaniment of flute or horn), and rhythmic forte passages from the entire orchestra. Depending on your point of view, you can see a reference to the first movement in this contrast between graceful and pompous.
  • Variation 2 (E flat minor, bars 44–64) is only intended for piano strings. At the beginning of the main melody, the 1st violin plays a counter-vocal, ascending accompanying figure. The middle section temporarily changes to G flat major. In order to get from E flat minor at the end of the second section to E flat major of the next variation, Haydn added a transition (bars 64–72).
  • In Variation 3 (bar 72–94, E flat major) the strings play the theme largely unchanged, accompanied by countervote-like eighth-note figures and bird-like suggestions from the flute.
  • Variation 4 (E flat major, bars 94–116) with a solo bassoon breaks the theme down into a continuous, partly chromatic eighth note movement.
  • Haydn ends the movement with a short coda based on the theme with the knocking prelude. The accompanying figure of Variation 2, similar to opposing voices, briefly appears. The sentence breathes in pianissimo.

In the older literature it is sometimes stated that Haydn also used the main theme in an earlier lyre concert and in the second movement of Symphony No. 100 . Except for the rhythm at the beginning of the sentence, there is no similarity between the topics. The theme of the movement is also among the Slavic melodies of the Croatian ethnomusicologist Franjo Zaver Kuhav.

Third movement: Menuetto. Allegretto

E flat major, 3/4 time, with trio 78 bars

In the first, eight-bar part, the whole orchestra plays forte and mostly in unison, the powerful dance theme, which is characterized by its ascending triad, regular quarter movement and dotted (Lombard) suggestion rhythms. The second part first processes the elements of the theme (triad and suggestion) in a further eight-bar string passage piano, before the first part is repeated like a reprise. To these eight bars, Haydn added a coda that takes up the elements of the theme again. With 14 bars, the coda with its “pastoral oboe solo” is unusually extended (as groups there are 8 + 8 + 8 + 14 bars).

The trio is also in B flat major. In the first part, bassoon and 1st violin perform a country melody over strings in pizzicato. At the beginning of the second part, “the head motif is gradually reduced to a cadence figure, then the woodwinds hook one after the other to an organ point of the horns on this figure, then the whole movement comes to a standstill, and order is only restored when the lander comes back - the entry after the perplexed general break is exquisite comedy. ”The prolonged organ point on the dominant F and the pizzicato accompanying strings create“ an episode of dark, dreamy puzzlement ”.

A detailed examination of the sentence can be found in Scott Foglesong.

Fourth movement: Finale. Presto

B flat major, 2/4 time, 220 bars

Structurally, the movement is partially viewed as a mixture of a rondo and a sonata movement. A rondo corresponds to the repeated recurrence of a main theme, the intermediate parts remind of the sonata movement form, some of which process material from the main theme like an execution.

  • A part (bars 1–24): Presentation of the periodically structured, dance-like rondo theme in the strings with a solo bassoon. The topic is structured like that of the second sentence in the aba scheme, whereby the a-part and the ba-part are repeated. The a-part (the topic in the narrower sense) is like the b-part (a continuation of the topic) in eight bars.
  • The B part (bars 25-69), which changes from B flat major to the dominant F major, is a loose continuation of the material from the rondo theme: between the change from forte and piano passages, the upbeat head motif sounds like the theme over and over again.
  • From bars 70 to 85 the rondo theme is repeated in the same instrumentation as at the beginning of the sentence (A1 part), but only its elements a and b.
  • In the C part (bars 86–163) the material on the theme is processed more like in the B part: In addition to minor clouding and contradicting interjections, the rhythmic, sometimes dissonant stagnations are particularly noticeable. In addition, energetic staccato eight-note figures create a contrast to the previously rather easy musical events.
  • When the rondo theme is taken up again (bars 184–189), the repetition of the a section, in which the whole orchestra participates, is varied and extended to 10 bars.
  • Haydn ends the movement with an extended coda (from bar 190) in which the upbeat head motif from the rondo theme plays the main role.

See also

List of Joseph Haydn's symphonies

Web links, notes

Individual references, comments

  1. ^ A b Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog of works. Volume I. Schott-Verlag, Mainz 1957, p. 152.
  2. ↑ a b c d Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3 , pp. 88-93.
  3. ↑ a b Wulf Konold: Symphony No. 85 in B flat major (Hob. I: 85) “La Reine” In: Wulf Konold (Hrsg.): Lexikon Orchester Musik Klassik A - K. B. Schott's Sons, Mainz 1992, ISBN 3-7957-8224-4 , pp. 162-164.
  4. ^ A b Haydn Festival Eisenstadt: Hob.I: 85 Symphony in B flat major “La Reine” information text on Symphony No. 85 in B flat major. http://www.haydn107.com/index.php?id=2&sym=85 , accessed August 28, 2012.
  5. ^ A b c Walter Lessing: The symphonies of Joseph Haydn, in addition: All masses. A series on Südwestfunk Baden-Baden 1987-89. 3rd volume, Baden-Baden 1989, pp. 9-12.
  6. ^ A b Bernard Harrison: Haydn: The "Paris" Symphonies. Cambridge University Press, Cambridge 1998, ISBN 0-521-47164-8 , pp. 69-80.
  7. ↑ "(...) emphasis on grace and color (...)."
  8. ↑ 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).
  9. ↑ a b c d Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , pp. 334-345.
  10. ↑ It is possible that Haydn intended that the slow introduction should be repeated, since at the beginning of Vivace (as in other symphonies with an introduction) there is no delimiting double line with repeat symbols. The conductor Nicolaus Harnoncourt also has the introduction repeated in a recording.
  11. ↑ This repetition is not kept in many recordings.
  12. ^ Horst Walter: La Reine de France / La Reine. In: Armin Raab, Christine Siegert, Wolfram Steinbeck (Hrsg.): The Haydn Lexicon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , p. 613.
  13. ↑ e.g. Kurt Pahlen: Symphony of the World. Schweizer Verlagshaus AG, Zurich 1978 (preface from 1966), p. 161; Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952: p. 253.
  14. ↑ Anthony van Hoboken (1957, p. 152): “The only thing that is correct about all of this is that Haydn later used the Allegretto from his Lyra Concerto in G major for his military symphony, expanded accordingly and instrumented differently. With the romance from “La Reine”, this melody only has the eighth figure in common in the second half of the first measure, which, however, has a different melodic connection in both works. While in “La Reine” it leads from the third to the root note above the tonic in the bass, in the “Military Symphony” it starts from the root note and returns to it, with the harmony changing over the eighth figure to the dominant . Apart from that, the further course of the sentences is so different that it is not appropriate to want to construct a direct connection between the two because of this frequently occurring figure. "
  15. ↑ This Lombard rhythm already appeared in the introduction and in the first movement, bar 21.
  16. ↑ Scott Foglesong: Haydn Symphony No. 85 ("La Reine") Menuetto. http://www.scottfoglesong.com/essays/analysis_haydn_85_minuet.pdf , accessed August 31, 2012.
  17. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955: p. 423.
  18. ^ Walter Lessing: The symphonies of Joseph Haydn, in addition: All masses. A series on Südwestfunk Baden-Baden 1987-89, 3rd volume. Baden-Baden 1989, p. 10.