92nd Symphony (Haydn)

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The symphony No. 92 in G major was composed by Joseph Haydn in 1789. Along with the symphonies No. 90 and No. 91, the work was probably originally a reorder for the successful Parisian concert series of the “Loge Olympique”. Haydn then sold the three works a second time to Prince Oettingen-Wallerstein. The title "Oxford Symphony" comes from the alleged performance of the work at Oxford University in July 1791, when Haydn was awarded an honorary doctorate.

General

Joseph Haydn (oil painting by Thomas Hardy, 1791)
Brasenose College, Oxford University

The symphony No. 92 (as well as No. 90 and 91) was commissioned by the Count of Ogny ("Comte d´Ogny") as a "reorder" of the successful symphonies No. 82-87 for the Parisian concert series of the "Loge Olympique" (see general remarks on Symphony No. 90 ). The autograph is dedicated to the Comte d'Ogny. It is possible that Haydn did not finish the work in time; in any case, it is not clear whether it was performed in Paris. The first known performance took place on March 11, 1791 in the Hanover Square Rooms in London and was a great success. The slow movement had to be repeated, and the repetition of the minuet, also demanded by the audience, failed only because of the modesty of the composer. Upon special request, the work was repeated in the second of the so-called "Salomon Concerts" (cf. Symphony No. 93 ) and in a benefit concert on May 16.

According to van Hoboken (1957), the following notes from Dies (1810) after his meeting with Haydn on December 9, 1805 refer to Symphony No. 92: “He had put on a symphony that began with a short adagio. Three harmonious notes opened the song. But since the orchestra struck the three notes too forcefully, Haydn interrupted with a wave and 'St! St! '. The orchestra was silent, and Salomon had to interpret Haydn's opinion. The three grades were then struck again, but with no happier success. Haydn interrupted again with 'St! St! '. During the silence, a German cello player very close to Haydn expressed his opinion against his neighbor and said in German: "You, the first three notes are not all right, how will the rest of them look?" Haydn was happy, Hearing Germans talking, took these words as a warning and said with the utmost politeness that he was seeking a favor which was entirely in their power and that he was very sorry not to be able to express himself in English; they would therefore like to allow him to express his opinion on an instrument. He then took a violin and made himself understandable by the repeated painting of the three notes that the orchestra understood him completely. "

Another performance, which is said to have taken place between July 6th and 8th on the occasion of the appointment of Haydn to an honorary doctorate from Oxford University, initiated by the English music historian Charles Burney, later led to the nickname "Oxford Symphony", but the performance has not been proven with certainty. This (1810) noted on his visit to Haydn on June 18, 1806: “Thereupon Haydn was dressed in a white silk coat, with sleeves on the red side, a black silk hat put on him, and so dressed he had to sit on a doctor's chair. (...) Haydn was asked to give something of his composition. He climbed the organ in the hall, turned his face towards the assembly, whose eyes were all on him, took the doctor's coat on his chest with both hands, opened it, closed it again and said as loudly and clearly as he could : 'I thank you.' The congregation understood this unexpected expression well; She liked Haydn's thanks and she replied: 'You speak very good english.' - I felt very cute in this coat; and worst of all, I had to be seen masked like that in the streets for three days. However, I owe much, yes, I would like to say, everything to this doctorate in England; through her I became acquainted with the first men and had access to the largest houses. "

To the music

Instrumentation: flute , two oboes , two bassoons , two horns , two trumpets , two violins , viola , cello , double bass , timpani . There are different opinions about the use of a harpsichord or fortepianos as a continuo instrument in Haydn's symphonies. The trumpets and timpani added later are missing in the autograph , but are believed to be authentic.

Performance time: approx. 25 to 30 minutes (depending on compliance with the prescribed repetitions)

With the terms used here for the sonata form, it should be noted that this model was only designed at the beginning of the 19th century. - 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 - Allegro spiritoso

Adagio : G major, 3/4 time, bars 1–20

Haydn opens the symphony with a four-bar, vocal turn of the strings on the piano, beginning with three staccato eighth notes interrupted by pauses. The following four-stroke, which follows, leads via a suggestion phrase and chromatic clouding to a knocking tone repetition, which increases in the tutti to the forte. The introduction ends with recitative and questioning phrases in the double dominant .

Beginning of Allegro spiritoso with the "pendulum motif" of the 1st violin

Allegro spiritoso : G major, 3/4 time, bars 21–232

The Allegro begins piano in the strings as a four-bar, pendulum-like questioning movement on the dominant seventh chord (D major - seventh chord; main motif or main theme). Instead of the expected closing ending, the tonic in G major is followed by a “stabilizing” forte block of the entire orchestra, which begins with an upward interval jump (decime) and continues with virtuoso runs and chord breaks (forte block 1). In bar 41 the pendulum motif with the participation of the woodwinds has a second appearance, again followed by a forte block in the tutti , which, however , is varied from the previous one by syncopation and running sequences and leads to the dominant D major (forte block 2) . In D major, the pendulum motif then has its third appearance in bar 57, further enriched with an upward-going, counter-vocal-like figure in the oboes. The subsequent Forteblock 3 contrasts with its minor cloudiness, the changes to other keys (D minor, B major, G minor, A major, D major) and the emphasis on a march-like fanfare-like rhythm (three knocking eighth notes) to previous events.

Closing group motif, bars 72–75, 1st violin

Energetic unison runs lead to the final group (bars 72 ff.) With a memorable, short question-answer motif, whose “simplicity - after the detailed, structurally dense development - appears naively quoted.” The final group motif is given with runs in opposite voices in the Repeated flute before the exposition ends with affirming runs (as before in the flute). The exposure is repeated.

At the beginning of the performance, the final group motif changes its character through leadership in a strictly threatening unison . The pendulum motif leads as a variant with countermovement from bar 95 to a three- to four-part passage in which the strings (partly also oboes and bassoon) process the material from the pendulum motif through staggered use and countermovement. The fort block from bar 110 corresponds structurally to fort block 3 of the exposition. It turns into an energetic passage in which an ascending chord break is sequenced upwards. The “questioning” seventh chord reached in bar 123 heralds the recapitulation.

The recapitulation (from bar 125) has changed significantly compared to the exposition and continues the thematic work of the development. It begins with the pendulum motif, but now with the involvement of the flute starting in an offset manner. Forteblock 1 follows according to the exposure. The second appearance of the pendulum motif (from bar 145) is varied by staggered use in the bassoon, other harmonies, chromatics and switching on a quieter passage with sustained notes and interjections from the woodwind. Forteblock 2 (from bar 155) is characterized by tremolo on the violins and viola and by leaps in intervals in the bass. Unexpectedly, from bar 159, the final group motif follows in the dialogue of strings, flute and oboe. The third appearance of the pendulum motif (from measure 166) is similar to the third appearance in the exposition, but contains (like the previous appearance from measure 145) a staggered use of the motif head, now in the 2nd oboe and 2nd violin. In contrast to the exposition, the fort block 3 does not contain the fanfare rhythm, but begins with the pendulum motif in countermovement and then brings the upward motif according to bar 117 ff. And the sequencing of runs known from bar 51 (fort block 2 of the exposition). In the final group, first the 1st oboe, then the flute next to the 1st violin, leads the part. The coda (bars from 201) initially brings the pendulum motif similar to the third appearance from the exposition (ie with countervoice-like upward movement) and from bar 212 brings up the forte block 3 "left out" in the recapitulation with a harmony change (E flat major, A flat major , B major, G major, C major), chord breaks and fanfare rhythms. From bar 220 the pendulum motif has a last appearance. The movement ends with the final group motif, accompanied by figurative runs of the flute and oboe. The development and recapitulation are also repeated.

Second movement: Adagio

Beginning of the Adagio, 1st violin

D major, 2/4 time, 111 bars, three-part form

Part A (D major, bars 1–39): The melancholy, vocal theme in sweeping melodies is first presented in the strings with the leading violin and well-formulated middle parts (bars 1–8). The theme is then repeated with the accompaniment of the woodwinds, with the flute helping to lead the voice. From bar 16 a transition passage with chromatics follows. A pronounced, dissonant lead leads to the third appearance of the theme (from bar 23, theme in six bar form). At the beginning the oboe starts with the voice guidance parallel to the 1st violin, but then continues the melody in independently varied variations. The theme ends here for the first time "closed" on the tonic in D major (previously the dominant ending in A major). The following section from bar 29 corresponds to bar 17 ff., Here now also with the use of the woodwind. From bar 35 the theme appears a fourth time, the flute now plays the oboe part from bar 23 f. This five-bar appearance of the topic flows seamlessly into the middle section.

B-part (D minor, bars 40-71): The middle part is again divided into three parts: the frame is formed by a march-like D minor section, which, through the use of the entire orchestra, begins in fortissimo and its energetic character to the previous Contrasted happening. In the piano phases of the strings, the ticking staccato sixteenth-note movement that runs through the entire middle section becomes clear. The eight-bar thematic main idea changes from the “marching motif” (ascending D minor chord) to a motif with tone repetition and suggestion in the parallel key of F major. This unit is then repeated (from bar 9) with emphasis on the march-like fanfare-like rhythm. In the middle section (bars 56–65) the solo woodwinds take up the tone repetition motif, after which it wanders through the strings in a staggered manner. In measure 66 the “marching motif” starts again and after six measures it seamlessly merges into a reprise-like take-up of the A section.

A 'part (D major, bars 72–97): The “recapitulation” initially corresponds to a varied take-up of the theme, corresponding to bars 9 ff. (Now oboe instead of flute). The bassoon accompanies a few bars in the transition. The second thematic appearance in bar 86 then leads to the free continuation of the melody line, which finally penetrates into harmonically distant areas in pianissimo and is delayed more and more by general pauses.

In the coda (from bar 98) the theme begins again, but is then replaced by the solo woodwinds, which take up the tone repetition motif from the middle section in staggered use. The movement ends with this motif and minor opacities over an organ point on D in the bass in pianissimo.

Third movement: Menuet. Allegretto

Beginning of the minuet, 1st violin

G major, 3/4 time, with trio 104 bars

At first, the minuet appears simple folk, but is structured in a differentiated manner, especially with regard to the rhythm. The first part of the minuet consists of two six-measure units. The first unit contains three upbeat motifs: Motif A with a sixth upwards, Motif B with triple tone repetition, suggestion and countervoice-like run upwards, Motif C with a rural eighth note movement. The second six-bar brings motif A and a varied motif C extended to four bars. The second part begins with motif B, which is now varied by accents on the third unstressed beat of the bar (syncopation). The music breaks off unexpectedly with a general pause of two bars, before the strings process motif B, then also motif C (with the participation of the winds). In measure 33, the beginning of the movement is taken up again, the final turn is extended with the head of motif A.

The trio is also in G major and is linked to the minuet by several elements. A special timbre is created by the parallel bassoons and horns, which, accompanied by the strings in the pizzicato, take up the syncopation motif from the beginning of the second minuet part and enter into an echo-like dialogue with a lander-like piano string reversal according to motif C. The second part of the trio begins with the syncopation on the third quarter of the measure in the bass, from measure 72 the center of the measure is further obscured by accentuation on the second quarter of the measure. In bar 87 the beginning part of the trio is taken up again; the final turn is expanded and changed by combining the syncope motif with elements from motifs A and C.

Fourth movement: Finale. Presto

Beginning of Presto, 1st violin

G major, 2/4 time, 342 bars

The Presto is a rapid phrase with a "sweeping character". The first theme with periodic structure (bars 1–16) is initially only performed by the leading violin and the cellos accompanying on G. The overflowing and moving theme is upbeat, contains a "run-up" upwards and chromatic elements. It is “like a kitten at first, but soon shows tiger muscles.” This is followed by a repetition enriched with flute, bassoon, 2nd violin and viola (bars 17–31). The transition ends abruptly as a forte block of the entire orchestra, in which the tonic in G major is emphasized with a suggestion motif (including short trumpet fanfares). Rapid tremolo figures lead to the further appearance of the theme head in the bass, contrasted by a descending opposing voice in the 1st violin (bar 54 f.). The subsequent tremolo passage increases to a fortissimo outbreak, before the perpetuum mobile-like second theme sets in (from bar 79, D major). It is performed piano by the strings with the flute throwing in opposing voices. The final group (from bar 96) brings the beginning of the first theme again in the bass, now accompanied by syncopation, and closes the exposition with the "starting motif" from the first theme (here: falling-closing and questioning-rising).

The energetic beginning of the development with the first theme in a minor variant breaks off abruptly after a few bars. Interrupted by general pauses, the strings piano try two new, halting attempts. From bar 130, a long forte block of the whole orchestra begins, in which the material from the first theme is processed by changing the keys, changing the vocal range (upper voices, middle voices, bass) and polyphony created by motifs split off from the theme. After a total of five appearances of the theme, a tremolo passage and the second theme in C major (bars 178 ff.), Which is finally sequenced upwards, follow. Haydn created the transition to the recapitulation with distinctive turns in unison: starting from a fourth , the first theme gradually emerges via the “start-up motif”, but then pauses again shortly before the recapitulation begins as an echo-like piano phrase of the flute.

The recapitulation (from bar 222) is structured largely similar to the exposition: It begins with the first theme, followed by the transition (forte block of the tutti). The renewed appearance of the theme in the 1st violin is above an organ point on D in the bass, accompanied by motifs similar to voices that are derived from the theme. After the second theme (bars 268 ff., Now in G major), the final section begins in unison and also leads to the short-term conclusion in G major. Then the woodwinds in the coda (from bar 299) start again with elements from the first theme, and shortly afterwards the entire orchestra in the forte. The last appearance of the theme in flute and 1st violin is held piano as a variant with two further leads. The sentence closes with the “start-up motif” (descending) in the tutti. The development and recapitulation are also repeated.

Individual references, comments

  1. ^ A b Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog of works. Volume I, Schott-Verlag, Mainz 1957, p. 172
  2. ^ A b Wulf Konold: Symphony No. 92 in G major (Hob. I: 92) "Oxford" In: Wulf Konold (Hrsg.): Lexicon Orchestermusik Klassik AK. Schott-Verlag, Mainz 1992 (second edition, first edition from 1987).
  3. ↑ a b Information text on the performance of Symphony No. 92 on September 20, 2009 at the Haynd Festival Eisenstadt, http://www.haydn107.com/index.php?id=32 , as of November 10, 2011.
  4. ^ A b Albert Christoph Dies: Biographical news from Joseph Haydn. Based on oral accounts of the same, designed and edited by Albert Christoph Dies, landscape painter. Camesinaische Buchhandlung, Vienna 1810. Re-edited by Horst Seeger with a foreword and notes. Reprinted in Bärenreiter-Verlag, Kassel, no year (approx. 1950), p. 82 ff: thirteenth visit, December 9, 1805 (quoted on p. 84) and twenty-third visit, June 18, 1806, p. 133 ff. ( Quote pp. 135-136)
  5. ^ After Horst Walter (Horst Walter: Oxford (Sinfonie). In Armin Raab, Christine Siegert, Wolfram Steinbeck (eds.): Das Haydn-Lexikon. Laaber-Verlag, Laaber 2010, ISBN 978-3-89007-557-0 , P. 563) after 1860.
  6. ^ Wolfgang Marggraf: The Symphonies of Joseph Haydn. Between Paris and London: the symphonies of the years 1787–1789. http://www.haydn-sinfonien.de/text/chapter7.0.html , accessed November 10, 2011
  7. ↑ Peter Cossé: Symphonies No. 88 - 92. In: Attila Csampai & Dietmar Holland (ed.): The concert guide. Orchestral music from 1700 to the present day. Rowohlt-Verlag, Reinbek bei Hamburg 1987, ISBN 3-8052-0450-7 , p. 111
  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. ^ Andreas Friesenhagen: Symphonies 1787 - 1789. In: Joseph Haydn Institute Cologne (Ed.): Joseph Haydn Works. Series I, Volume 14. G. Henle-Verlag, Munich 2010, page IX.
  10. ↑ Howard Chandler Robbins Landon ( The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955) rates the treatment of timpani and trumpets in the first and last movements of this symphony as inappropriate: “… in No. 92 the trumpet and drum parts are far from satisfactory. Whether or not they were added later remains an open question: all the authentic sources, however, include them. (...) In the slow movement, they are used with good effect to reinforce the rhythm of the 'minore' section, but in the first and especially the last movements they are often woefully inadequate. "P. 428.
  11. ↑ Depending on the point of view, it can be interpreted as derived from the turns of the violins in bars 2–3 or 5–6 and 11.
  12. ↑ The rhythm of the suggested figure is already indicated in bars 9 and 35.
  13. ↑ The repetition of development and recapitulation is omitted in many recordings.
  14. ↑ Depending on the point of view, it can also be interpreted as an independent motif D, e.g. B. in Finscher (2000, p. 353).
  15. ^ Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Christian Wegner Verlag, Hamburg 1952: p. 211.
  16. ↑ As with the first movement, the repetition of the development and recapitulation in Presto is omitted in many recordings.

Web links, notes

See also

List of Joseph Haydn's symphonies