93rd Symphony (Haydn)

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The symphony No. 93 in D major (Hob. I: 93) was composed by Joseph Haydn in 1791. The work was written on his first trip to London and was premiered on February 17, 1792.

General information on the London symphonies

Joseph Haydn (1791), oil painting by Thomas Hardy

After Prince Nikolaus Esterhazy died on September 28, 1790 and his successor Paul Anton II dissolved the palace chapel, Haydn moved to Vienna and signed a contract with the violinist and concert entrepreneur Johann Peter Salomon for (initially) six new symphonies at the beginning of December . Salomon had successfully organized his own series of subscription concerts in London for years. The concerts were spread over two years, as the concert season in London was limited to spring. The subscription for this series of concerts included twelve concerts each, which took place between March 11th and June 3rd in 1791, and between February 17th and May 18th the following year. In this concert series, Haydn's works (in addition to the symphonies, an opera and several smaller works, for example) were an attraction, but they were not the only attraction.

In early January 1791 Haydn and Salomon arrived in London. Haydn was 58 years old when he set out on the trip, almost an old man by the standards of the time. The main reasons for the trip were the good business prospects on the one hand and the dissolution of the palace chapel in Esterhazy. Haydn's arrival in London was celebrated as a public event, in particular by the London press. Haydn was known in England, especially in London, before 1791. In his first detailed letter to Marianne von Genzinger on January 8th, he wrote:

“[...] my arrival caused a sensation through the whole city for 3 days I was carried around in all the newspapers: everyone is eager to know me. I had to eat 6 times already, and could be invited every day if I wanted, but I first have to look at my health and second at my work. [...] all of this my dear lady was very flattering for me, but I wished to be able to flee to vienna for a while to have several rest to work, because the noise in the alleys of the general different sales people is unbearable [... ]. "

From July 6th to 8th, 1791 Haydn stayed in Oxford, where he was awarded the title of honorary doctor. He had already composed Symphony No. 92 , which was probably played on this occasion , in 1788. The first stay in England ended on May 3 or 4, 1792, the second lasted from January 5, 1794 to August 22, 1795. The symphonies nos. 93–98 were written for the concerts of Salomon's first stay in England. No. 99-104 for the second English stay (No. 102-104 for the “Opera Concerts”). In the symphonies composed for the second trip to London, Haydn uses clarinets that are missing in the former.

In relation to the time of composition, the following order arises (since Haydn only inserted the year in the autographs , the order cannot be determined exactly):

  • 1791: No. 96, 95, 93, 94
  • 1792: No. 98, 97
  • 1793: No. 99
  • 1794: No. 101, 100, 102
  • 1795: No. 103, 104

However, the order of the premiere differs from this in some cases (see overview table of the symphonies ).

Emergence

The premiere of Symphony No. 93 took place on February 17, 1792 and was a great success. The slow movement had to be repeated, and on April 20 and May 18 the work was repeated in full again upon special request. The symphony was highly praised in the local newspapers. For example, on February 20, 1792 , the Times reported :

“A new overture from the pen of the incomparable Haydn formed a considerable branch of this fantastic musical tree. Such a connection of extraordinary quality was contained in every movement, which filled both performers and the audience with enthusiastic passion. The novelty of the idea, a pleasant Kaprice and a good mood, all combined with Haydn's usual sublime greatness, increasingly seized everyone's soul and feelings. "

Van Hoboken (1957) reports from the correspondence between Haydn and Frau von Genzinger about the creation of the symphony, which was apparently planned years in advance. Haydn wrote on March 14, 1790:

"[...] the promised new symphony will come to your graces in April [...] [...]" On May 30th, 1790 he explains that he "praise God, be healthy, and have an active desire to work"; On the other hand, Haydn regrets “with this pleasure that Your Grace has to wait so long for the promised symphony.” And in the letter of August 15, 1790: “This poor promised symphony has always been in my imagination since it was ordered, only a few (leyder) so far Urgent cases have not yet given birth to this symphony! "

On November 17, 1791, meanwhile in London, he informed Mrs. von Genzinger:

"My promised new symphony will be received by your grace in two months. but in order to get good ideas, please write to me, your grace, but write a lot […] ”But Haydn cannot keep this promise either, but writes on December 20, 1791.“ […] but that symphony , so destined for Your Grace, I will take over at the beginning of February at the longest. "Finally, on March 2, 1792, he can inform Frau von Genzinger of the symphony promised two years ago:" [...] because I produced the same past Friday for the first time; It made [...] the deepest impression on the listener. ”But Haydn still cannot send the work:“ First of all, because I am willing to change the last piece from it and to embellish it, as this is too weak in terms of the first pieces is […] and the 2nd cause is because I am actually afraid that the same would run the risk of falling into someone else's hands. […] Your grace must therefore show me your benevolence until I myself have the grace to hand over the symphony by the end of July […]. "

Apparently, Haydn never carried out the planned revision of the final movement.

To the music

Instrumentation: two flutes , two oboes , two bassoons , two horns in D, two trumpets in D, timpani , violin I a. II, viola , violoncello , double bass . Numerous sources such as concert announcements, press reports and memoirs prove that Haydn conducted the symphonies of his first stay in London from the harpsichord (“ harpsichord ”) or the pianoforte or “presided”, as Burney put it (“ Haydn himself presided at the piano -forte ”). According to the performance practice at the time, this is an indication of the original use of a keyboard instrument (harpsichord or fortepiano) as a non-notated continuo instrument in the “London 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 Symphony No. 93 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 - Allegro assai

Adagio : D major, 3/4 time, bars 1–20

The introduction begins with two signal-like unison beats on D in the forte- tutti, separated by a pause . The first violin then, accompanied by the other strings in the piano, presents a two-bar motif consisting of a broken chord and a figure with an ornamental phrase. Accompanied by the rest of the orchestra, this motif is modulated , among other things, to E flat major , which is framed by the far-off key of A major. The introduction ends with accented chord strokes on A, interrupted by pauses, which have a dominant effect on the following Allegro assai.

Allegro assai : D major, 3/4 time, bar 21, 262 bars

The first theme (bars 21–35) with a periodic structure in a song-dance-like character is presented in the string piano with voice guidance in the violins. In bar 36, a transition section in the forte tutti begins, which is initially based on broken, ascending chords (D major, A major), whereby a D major chord is repeated three times like an echo (flute, bassoon, oboe; each with 1 . Violin). In bar 53, the violins in dialogue begin as a falling figure, accompanied by energetic, almost opposing voices, eighth runs in the bass (this kind of use of eighth runs also occurs later in the movement). The following cadence section (bar 61 ff.) Modulates with an organ point and triplets from E major to A major and thus consolidates the latter key, in which the second theme now begins (bars 76 ff).

This is similar in character to the first theme: singing and dancing, performed in the string piano; however, the front and back endings are only four bars here. The first sentence is repeated with a solo flute and an imitation cello throw in. Instead of the suffix, a preface appears with energetic chord strokes on A.

The final group (bars 95–112) is dominated by ascending eighth runs of the strings in staccato forte with (again) repeated, haunting tone repetitions by the wind instruments on A. The exposition ends in bar 112 and is repeated.

The first, tightly crafted part of the implementation (clock 113 et seq.) Is based on a derived from the second theme Vorhalts motif. The processing is carried out by guiding the motif through the instruments in a modulating manner and contrasting it with an opposing vocal-like, continuous eighth note movement. Another opposing voice appears from bar 136 in the upper voices. - The second part (bars 154 ff.) Initially leads in the piano in a dialogue between flute (variant of the lead motif) and violin (broken chord repeated three times, analogous to bars 39 ff.) To the second theme, which is now in C major is introduced (bar 161 ff.), but breaks off in the antecedent. With two bars each from the antecedent, Haydn modulates from A major, B major and E major to F sharp major, whereupon another variant of the lead motif appears in fortissimo. With chord melodies in A major and the eighth runs already used, the development ends dominantly on the A major seventh chord, followed by a measure of general pause with fermata .

The recapitulation (bars 182 ff.) Is structured similarly to the exposition. In the follow-up to the first theme, however, the 1st violin plays an eighth note movement in the opposite voices, and the transition to the second theme is greatly shortened. The final group, on the other hand, is extended with chord melodies (can be interpreted as a separate coda depending on your point of view ).

“The first movement is a prime example of a“ singing Allegro ”; he is enveloped in a calm of development and softness of the subject, which one would hardly expect after the high-contrast, slow introduction and which is hardly known from Haydn before. "

Second movement: Largo cantabile

G major, 2/2 time (alla breve), 88 measures

The sentence can be structured as follows:

  • Presentation of the solemn march-like theme (bars 1–16): First in a string quartet (i.e. 2 violins, viola and cello as soloist), then in a string tutti with bassoon; each repeated once and in the piano.
  • Episode 1 (bars 17–22): Forte-Tutti, G minor, theme made Baroque with ornamentation and accentuated dotted rhythms.
  • Theme in the strings with continued spinning, piano, G major: bars 23–29
  • Episode 2 (bars 30–43): continuous, “floating triplet movement” with solo oboe melody; ends with broken D major triads.
  • Theme in the strings, piano, G major: bars 44–47.
  • Episode 3 (bars 48–60): First theme in G minor in the strings with wind accompaniment, from bar 52 dominant triplet movement with solo oboe melody; Fading out again with broken D major chords.
  • Theme in the strings with bassoon or flute, piano, G major, bars 61–64.
  • Episode 4 (bars 65–70): solo oboe melody in triplets over sustained tones of the violins and viola.
  • Theme, G major (bars 71–88): First the antecedent of the theme in the forte-tutti, the subsequent clause ebbs away like an echo in the instruments up to the pianissimo; in bar 80, surprisingly, an “obscene” low C of the bassoons in fortissimo, followed by the continuation of the marching melody, which gradually fades away in the piano.

Third movement: Menuetto. Allegro

D major, 3/4 time, with trio 98 bars

The juxtaposition of two contrasting sections is characteristic of the minuet and trio. The minuet begins as an energetic, symphonic figure in unison, which is juxtaposed with a dance-like "episode" from bar 7. The second part of the minuet initially takes up the figure from the beginning of the movement and modulates a motif split off from it, which occurs both in the upper voices and in the bass and is accompanied by counter voices like eighth notes. A six-bar drum roll on D announces the restoration of the recapitulation, of which only the dance part is brought. Due to the rapid tempo (Allegro), the dance passages seem somewhat exaggerated.

The trio is also in D major and is structured as follows in the first half of both parts: A hard, almost threatening wind signal of quarters and triplets, performed in forte and unison, is in dialogue with a "soft" string motif in the piano which is somewhat reminiscent of the march theme from the Largo. The winds insist on D and A, while the strings “suggest in vain keys related to thirds” (B minor, G major, F major). The second half of both sections is similar to the minuet with dance-like chord melodies.

Fourth movement: Finale. Presto ma non troppo

D major, 2/4 time, 312 bars

The first theme is introduced by the strings in the piano. It has a total of 16 bars and consists of eight bars each for the front and back notes (periodic structure). The opening motif (in the following: main motif) with an upbeat-like interval (here: sixth ) upwards and sixteenths downwards, as well as a legato figure (appears again in the coda), is characteristic and important for the further structure of the sentence . The section up to bar 16 that ends in D major is repeated once. The main motif begins in bar 17, like a continuation, and varies in the instruments to A major, then changes to a short passage in D minor (bar 25 ff.) And then emphasizes the prelude to the main motif several times. An A major seventh chord leads back to the first theme in D major, which is now performed with the winds as a variant. This section (up to bar 50) is also repeated so that the entire course of the movement up to this point is reminiscent of a rondo with a presentation of a theme in three-part song form .

The following section is designed like an implementation: The main motif is modulated (E minor, A major) and occurs - analogously to bars 17 ff. - offset in the instruments. From around bar 78, the musical events are reduced to the prelude to the main motif, before the first theme is performed again as a variant in A major by the strings and the solo flute in bar 84. By appearing in the dominant key, the listener can get the impression that instead of the expected second theme, the first theme is simply used again. Correspondingly, a cadenza passage with chord melodies on A and D follows like a closing group, so that the entry of the “correct” second theme seems surprising.

This (bars 118-131) is performed by oboe and bassoon with string accompaniment and recalls the second theme from the first movement. Without a caesura, a unison passage follows with a stepped eighth note movement in the forte, which can initially be heard as the final group, but from bar 153 onwards with the opening motif in C sharp. Like an “exclamation mark”, Haydn then brings the key back to D major.

From bar 172 the first theme starts again like a reprise in the tonic in D major. A typical development section between the exposition (which is not delimited in the score and is not repeated) and recapitulation is therefore missing, instead the thematic work is shifted to the exposition (bars 51 ff.) And parts of the recapitulation. Here the processing section begins analogously to measure 50 after the first thematic run in measure 186, with modulations over F and B major and the D minor passage corresponding to measure 25 ff. Being switched on. The second theme begins in measure 237 and is therefore closer to the first theme than the exposition. The final group ends on an A major seventh chord with the following general rest.

The coda (bars 268 ff.) First repeats the legato motif from the first theme over a seven-bar drum roll (long drum roll also in the minuet) and then merges into broken chords in D and A major via an eighth figure analogous to bars 96 ff . This is followed by a short dialogue between the wind fanfare (derived from the opening motif, reminiscent of the exclamation “Viva la libertà” from the finale of Act 1 by Wolfgang Amadeus Mozart's Don Giovanni ) and the main motif in the strings; the movement closes with chord melodies in the forte.

See also

List of Joseph Haydn's symphonies

Sheet music editions

  • Joseph Haydn: Symphony No. 93 D major. Ernst Eulenburg Ltd No. 468 (pocket score, without year)
  • Joseph Haydn: Sinfonia No. 93 D major Hob. I / 93. Series: Critical edition of all symphonies. Philharmonia No. 793, Universal Edition, 46 pp. (Pocket score from 1965)
  • Robert von Zahn, Gernot Gruber: London symphonies 1st episode. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series 1, Volume 15. G. Henle-Verlag, Munich 2005, 176 pages

Web links

Individual references, comments

  1. ^ A b Marie Louise Martinez-Göllner : Joseph Haydn - Symphony No. 94 (bang). Wilhelm Fink, Munich 1979, ISBN 3-7705-1609-5
  2. ↑ a b c d e f Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  3. ^ Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's sons, Mainz 1959
  4. ↑ At that time, symphonies were also known as overtures, especially in England.
  5. ↑ Translated by Dielitz (2007).
  6. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, 848 pp.
  7. ↑ With piece a is each sentence meant.
  8. ^ A. Peter Brown: The Symphonic Repertoire. Volume II. The First Golden Age of the Viennese Symphony: Haydn, Mozart, Beethoven, and Schubert. Indiana University Press, Bloomington & Indianapolis 2002, ISBN 0-253-33487-X ; P. 252.
  9. ^ In German translation by HC Robbins Landon: Joseph Haydn - his life in pictures and documents . Verlag Fritz Molden, Vienna et al., 1981, p. 124: "Haydn himself presided over the piano-forte."
  10. ↑ HC Robbins Landon, David Wyn Jones: Haydn: his life and music , Thames and Hudson, London 1988m pp. 232-234.
  11. ↑ Not noted, d. H. Unnumbered continuo was relatively common; even for some of JS Bach's cantatas , unnumbered continuo basses have been preserved - despite the high harmonic complexity of Bach's music.
  12. ↑ On the use of the harpsichord as an orchestral and continuo instrument around 1802, Koch writes in his Musikalischen Lexicon , Frankfurt 1802 , under the heading “wing, clavicimbel” (pp. 586–588; wing = harpsichord): “ […] The other genres of these Clavierart, namely the spinet and the clavicytherium, have fallen completely out of use; The grand piano is still used in most of the large orchestras, partly to support the singer with the recitative, partly and mainly to fill in the harmony by means of the figured bass ... Its strong, penetrating tone, however, makes it the fulfillment of the full-voiced music All very clever; therefore he will probably compete in major opera houses and bey numerous occupation of votes the rank of very useful orchestral instrument until another instrument of equal strength, but more mildness or flexibility of the sound is invented which to lecture the basso well is sent. […] In clay pieces according to the taste of the time, especially with a weak cast of the voices, […] one has begun for some time now to swap the grand piano with the weaker, but softer fortepiano . "
  13. ↑ James Webster takes the London symphonies from his idea that Haydn did not use a harpsichord (or other keyboard instrument, especially fortepiano) for continuo playing (“ And, of course, the argument refers exclusively to pre-London symphonies and performances outside England "; In: James Webster: On the Absence of Keyboard Continuo in Haydn's Symphonies. In: Early Music Volume 18 No. 4, 1990, pp. 599-608, here: p. 600).
  14. ↑ Information text on Symphony No. 93 of the Haydn Festival Eisenstadt, see under web links.
  15. ↑ Mixture of the Variations and Rondo
  16. ↑ Alexandra Maria Dielitz: Symphony in D major, Hob. I: 93. In: Renate Ulm (Ed.): Haydn's London Symphonies. Origin - interpretation - effect. On behalf of the Bavarian Broadcasting Corporation. Joint edition Deutscher Taschenbuch-Verlag Munich and Bärenreiter-Verlag Kassel, 2007, ISBN 978-3-7618-1823-7 , pp. 74–80