95th Symphony (Haydn)

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The Symphony no. 95 in C minor, composed Joseph Haydn in 1791. The work was written as part of the first London trip.

General

Franz Joseph Haydn (1732–1809)

Haydn composed the symphony No. 95 as part of the first trip to London in 1791. The first performance took place in spring 1791, the exact date is not known. For general information on the London Symphonies, see Symphony No. 93 .

Symphony No. 95 has a special position among the London symphonies in several respects:

  • It is the only symphony in a minor key. However, the minor character is weakened (as in other minor symphonies by Haydn), here above all due to the "overarching movement from minor to major", i.e. H. the minor passages are "overcome" towards the major. For example, the first movement in the recapitulation changes to C major, in the third movement a minor minuet is juxtaposed with a major trio, and in the finale there is a dramatic minor passage that is “conquered”.
  • It is the only one that does not have a slow introduction. This may have something to do with the minor key, as it ensures seriousness without the added weight of an introduction.
  • It is the shortest of the London symphonies and is characterized by a relatively clear structure in the sense that the individual themes / motifs are usually clearly delimited from one another. Otherwise the work is worked out in great detail: z. E.g. in the first movement the veiled entry into the reprise or in the finale the change from “gallant-modern” passages with “old-fashioned-learned” polyphonic sections, which some authors particularly emphasize and which come close to the finale of the symphony KV 551 by Mozart (see below) . Haydn himself described the symphony No. 95 (also No. 96) as "very delicate". Donald Francis Tovey thinks that the listening impression creates a spaciousness that makes the relative brevity fade into the background.
  • It is possible that Haydn intended “to make it easy for his new audience through the utmost clarity and downright laconic brevity - whereby he perhaps underestimated this audience […], but certainly all later generations, because to this day the work is the least popular of the London group The date of the premiere is not known, there are no contemporary reports and press coverage: the work was “hushed up” and no repetition is apparently required when it is performed (as with the other London symphonies). The low popularity can also be inferred from the fact that the piano trio version published in 1795 remained a slow seller, while the symphonies No. 94 and No. 100, for example, were immediately sold out. It is possible that the movement from minor to major (see above) was perceived by some listeners as an indecision of the tone genders, and Haydn's earlier minor symphonies were not very popular in London because of the lack of “melodic cantability”. In literature, too, No. 95 sometimes does worse than other London symphonies.

On the other hand, some authors see (in somewhat romantic interpretations) similarities between Symphony No. 95 and Mozart's Symphony K. 551 , especially in the beginning of the first movement with the two opposing motifs and the fugitive finale. However, it has not yet been fully clarified whether Haydn was familiar with Mozart's symphony at the time of composition.

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. 20 minutes.

In the case 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. 95 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: Allegro moderato

C minor / major, 2/2 time (Alla breve), 165 bars

The movement opens with a heavy unison motif in fortissimo, which is characteristic for the remainder of the Allegro. It consists of the fourth C - G in half notes and the chromatic circling of G with four quarter notes. The downright threatening effect is intensified by the subsequent general break. If the harmony of the movement was initially unclear, now (from bar 3) the violins in the piano begin with an ascending, melancholy melody in C minor. The faltering movement from the beginning starts to flow, but the melody line falls back to the opening motif after five bars (bar 10). Haydn's other two symphonies in C minor ( No. 52 and No. 78 ) also have a similar beginning of a movement with striking unison figures .

After a “harmonic search” interrupted by pauses, a transition passage begins in bar 16, which essentially consists of a dissonance-rich dialogue of the opening motif in the violins over an organ point in B flat major. It ends as a seventh chord on B, which has a dominant effect on the E flat major of the following second theme (the tonic parallel E flat major had already established itself for a short time at the beginning of the transition). The second theme (bars 29–43) in the dancing-jumping character is built up periodically. It is repeated with changed instrumentation (inclusion of the wind instruments) and counter voices like eighth run upwards in flute and first violin. The downward triad jumps at the beginning can be interpreted as a reversal of the violin motif from the first theme.

The final group (from bar 43) is determined by its continuous triplet movement , with the opening motif appearing again in the bass (bar 54). The exposition ends in bar 61 with a chord change from B flat major and E flat major and is repeated.

The implementation (clock 62-109) does not start (as could be expected) in the Tonikaparallelen E flat major, but again in the tonic C minor with the opening motif. Initially only played by the violins on the piano, the dialogue condenses more and more into a polyphonic forte; with the further increase up to fortissimo, however, there is again the transition to homophony up to unison. The music breaks off abruptly here with a general pause with fermata . Rich in contrast, the strings begin as a new beginning with the violin motif from the first theme in the somewhat “eerie” A flat major (from bar 75). A flat major is then initially retained in the following tutti passage with the opening motif under pounding triplets, before Haydn changes to the subdominant F major in bar 84 and starts playing the second theme in B flat major from bar 88. The opening motif is then sequenced (from measure 98) with continuous triplet movement .

The beginning of the recapitulation is veiled: the opening motif sounds first in bar 104 in D and (after changing to the dominant in G minor) in bar 110 in C, but not in isolation as at the beginning, but with a sequential spinning that starts after an organ point on G ebbs away in the pianissomo. In this passage of the sequence "Haydn reveals how he conceived those opening bars harmoniously - as a cadence formula in G major, in which a Neapolitan sixth chord arises above the subdominant note C. " The strings then take up the violin motif in C minor, but this harmony also seems to become unstable again via a chromatic “slipping” (from bar 124). In bar 129 the timbre changes very effectively: with the entry of the second theme, C major is reached and is retained as the new tonic until the end of the movement. This change to major is emphasized by several authors as particularly successful. The second theme - now underlaid with a continuous eighth note movement and therefore more flowing than at the beginning - is repeated, as in the exposition, with changed instrumentation, now in pianissimo and - as a special feature - with the counter-vocal eighth note for a solo violin, which was performed at the premiere probably played by Johann Peter Salomon . The final group of the recapitulation is extended like a coda compared to the exposition : after a fanfare of the brass in fortissimo (bar 148), the opening motif, accompanied by continuous triplets, has two more appearances - the last over a sustained low C of the bassoons and horns. The development and recapitulation are not repeated.

Second movement: Andante cantabile

(In the autograph only “Andante”) E flat major, 6/8 time, 70 bars, variation form. Trumpets and kettledrums are silent.

The two-part vocal theme (bars 1–10) is first introduced in the strings. It is characterized by grinders and impact trills with subsequent triad breaking downwards. The subsequent clause is a variant of the antecedent, whereby the 1st violin is set in opposition to the other strings.

  • In the 1st variation (bars 11–30), the solo cello and 1st violin alternate with the voice leading of the theme, which is mainly divided into sixteenth-note triplets. The winds are still not involved.
  • The 2nd variation (bars 31-46) in E flat minor interrupts the theme with powerful interjections from the whole orchestra. This “knocking motif” of three eighths can be thought of as derived from the headline and appears again at the end of the sentence.
  • In the 3rd variation (bars 47-61) the violins play the theme in virtuoso runs. For the first time in the movement, the winds are more involved, even if only accompanying.
  • In the coda (bars 62–70) the antecedent is introduced again, after which the motifs run out over a “mumbling” accompaniment of the 2nd violin and a sustained low Eb in the horn. The “knocking motif”, which can be derived from the topic head and which appeared as a variant in the 2nd variation, becomes “independent”. The movement ends with this (the third movement begins with a very similar motif, which is also related to the Andante in measure 5/6).

Third movement: Menuetto

C minor, 3/4 time, with trio 77 bars

The minuet begins with a tapping motif consisting of two quarter notes (similar to the tapping motif from the Andante), which is played alternately upbeat (1st violin) and downbeat (other strings). The 3/4 time only becomes clear with the introduction of the ending of the theme from bar 5 (again, bars 5/6 are reminiscent of the second movement). The topic is repeated with a different ending, whereby a quarter note with a suggestion stands out. This quarter note with suggestion is then the subject of the short middle section (bars 23-30). The recapitulation begins like the beginning, but breaks off after a dramatically increased G major seventh chord as a general pause over three bars. The resolution takes place via a "mysterious" cadenza with a Neapolitan sixth chord and ends in the loud ending with organ point on C.

In the contrasting trio in C major, the solo cello, which was already used in the Andante, plays a vocal and memorable melody in wide arcs, accompanied only by the other strings with pizzicato chords. In the second part of the trio, the 1st violin briefly imitates the cello.

Fourth movement: Finale. Vivace

Main theme of the fourth movement, 1st violin

C major, 2/2 time (alla breve), 211 measures

The movement is characterized by the juxtaposition of “gallant-modern” passages and “learned-baroque” polyphonic sections derived from their main theme . At the beginning the strings introduce the eight-bar, song-like main theme. The antecedent is legato , the subsequent clause consists of a knocking motif with a suggestion (similar to the second and third movements). The theme is repeated and then moves on to a repeated continuation part (bars 9–32), so that the listener is initially reminded of a rondo.

In bar 32 a polyphonic “development section” begins, whereby the theme of this fugato is derived from the main theme from the first five notes. The 2nd oboe and 2nd violin begin with opposing voices in bassoon and viola. From bar 39, the further compression takes place by including the other instruments. An eighth-run, initially like opposing voices, becomes independent as a virtuoso element and leads back to homophony. Once again, however, there is a further consolidation by padding the eighth runs with chords and fanfares in the brass section, which, after chromatic “falling”, discharges as a cadenza in fortissimo. After another polyphonic passage (bars 78-92), the music gets stuck in E major and breaks off here in a general pause.

The main theme then follows abruptly like a reprise, as well as a variant of the polyphonic section analogous to bar 32. The outburst-like twist to C minor with a pounding timpani rhythm (from bar 152), which after the chromatic increase at the peak (bar 168), goes back to C - Major "brightens". As in the two previous movements, a Neapolitan sixth chord appears (bars 160/161).

At the end, the topic is presented again: the antecedent above a chromatically falling line, the subsequent clause extended with chord melodies and fanfares.

Individual references, comments

  1. Overview of the origin of the London symphonies in: Marie Louise Martinez-Göllner : Joseph Haydn - Symphony No. 94 (bang). Wilhelm Fink Verlag, Munich 1979, ISBN 3-7705-1609-5
  2. ^ Robin Golding: Six of one. The London Symphonies I. Text contribution to the recording of the London symphonies with the Royal Concertgebouw Orchestra Amsterdam with Colin Davis, Philips Classics 1994, presumes April 29, 1791 as the premiere date
  3. a b c Ludwig Finscher: Joseph Haydn and his time. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6
  4. Charles Rosen: The Classic Style. Haydn, Mozart, Beethoven. Kassel 2006; quoted in Restle (2007)
  5. a b c d e f g Nicole Restle: Symphony in C minor, Hob. I: 95. 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. 58–62
  6. ^ Donald Francis Tovey: Essays in Musical Analysis. Symphonies and other Orchestral Works. London, 1935–1939, p. 349: "The total effect of the symphony is so spacious that you would never guess that it is one of Haydn's tersest works."
  7. ^ Howard Chandler Robbins Landon: The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, pp. 553, 586.
  8. ^ Michael Walter: Haydn's symphonies. A musical factory guide. CH Beck-Verlag, Munich 2007, ISBN 978-3-406-44813-3
  9. According to Robbins Landon (1955, pp. 353, 586), Symphony No. 95 is not convincing because of the constant attempt to escape the underlying minor. The effect in the other London symphonies is better if the minor is mixed in with the underlying major. Furthermore, the first movement is unbalanced, the second movement, in the style of the early 1780s, is too easy-pleasing, and the fourth movement is aesthetically "not entirely successful" in terms of its combination of different styles, and the polyphonic passage in the fourth movement ( compared to the final movement of Symphony No. 101) too heavy.
  10. Information text by Harold Haslmayer on the 95th Symphony as part of the performance on September 11, 2009 at the Haydn Festival in Eisenstadt: http://www.haydnfestival.at/haydn_de/ (main page), as of April 10, 2009: “An antithetischer This beginning [note: from the first movement] is only comparable to that of Mozart's “Jupiter” symphony from 1788, and even without having scientifically sound evidence in hand, it is ear-worthy - especially in the finale - that Haydn at When composing this symphony Mozart's symphonic testament must have always had in front of his inner eye. " Attila Csampai (1987): " One can assume that Haydn knew the score of the "Jupiter" symphony, because here it becomes too clear [note: what is meant is the finale] in the mighty development of the harmless C major theme conjured up the "cosmic" spirit. "
  11. ^ 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."
  12. HC Robbins Landon, David Wyn Jones: Haydn: his life and music , Thames and Hudson, London 1988m pp. 232-234.
  13. 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.
  14. 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 . "
  15. 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).
  16. According to Walter Lessing ( The Symphonies of Joseph Haydn, see: All Masses. A series of broadcasts in Südwestfunk Baden-Baden 1987-89, 3rd volume. Baden-Baden 1989, p. 83), Haydn also had this idea in the two years earlier Final movement of the string quartet in C minor opus 17 No. 4 used.
  17. Attila Csampai: Symphony No. 95 in C minor. In: Attila Csampai & Dietmar Holland (eds.): The concert guide. Orchestral music from 1700 to the present day. Rowohlt-Verlag, Reinbek bei Hamburg 1987, ISBN 3-8052-0450-7 , pp. 115-116
  18. Harold Haslmayr in the program text for the performance of the 95th Symphony on September 11, 2009 as part of the Eisenstadt Haydn Festival http://www.haydnfestival.at/haydn_de/ (main page), as of April 10, 2009: “Harmoniously shaded, yes darkened, the music gropes its way forward to reach C major with a unique effect, in which the secondary theme, shimmering with a new, golden light, resounds. A modulation whose consoling wisdom is reminiscent of Friedrich Hölderlin's poet : 'Everything is intimate.' "

Web links, notes

See also

List of Joseph Haydn's symphonies