97th Symphony (Haydn)

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The Symphony no. 97 in C major composed Joseph Haydn in 1792. The work belongs to the famous "London Symphonies" and was premiered on 3 or 4 May 1792.

General

Franz Joseph Haydn (1732–1809)

For general information on the London symphonies, cf. Symphony No. 93 . The work was premiered on May 3 or 4, 1792 in London as part of “Salomon's Concerts” and marks the end of the symphonies of Haydn's first trip to London. The first movement, in particular, is in the tradition of the celebratory C major symphonies for large orchestra with timpani and trumpets, as well as triad and fanfare themes, which Haydn had composed some representatives of earlier (in Haydn's early symphonies e.g. B. No. 20 , No. 32 , No. 33 and No. 38 ). The symphony was repeated on May 11, 1792 “on special request”. Contrary to the conservative tradition of the work, Symphony No. 97 also contains several elements that were modern at the time:

  • For example, B. Ulm (2007): Symphony No. 97 is “the most modern work in the first London symphony series. In none of her sister works was Haydn so innovative, in none so left out, in none did he so consistently cross the boundaries of the traditional canon of forms. "
  • Mainka (1991) thinks that the symphony “not only represents a culmination of this line of tradition, but (...) was intended by the composer as an expression of an ideal type” and gives the tonal tension of the first bars of the introduction as an example.
  • Jacob (1952) describes the "work , which is unusually high-spirited even for its kind," as "very Austrian" and sees echoes of Franz Schubert in the often abrupt changes in the timbre of the symphony .
  • According to Finscher (2000), No. 97 “in some respects points further into the future (…) than the earlier London symphonies: Beethoven remembered himself in the 1st Symphony and also in the Eroica . The tendency of the previous works to connect introduction and allegro and beyond that several or all movements of the cycle is growing stronger, and as there it is more about subthematic and structural relationships than thematic. ” Finscher emphasizes as special features: 1. The combination of motifs of introduction and Vivace, 2. the connection of Trio and Presto through identical opening notes, 3. a structural connection through special features in the finals of all movements, 4. the form of the first movement with the unusually long coda as a separate part of the sentence.
  • According to Walter (2007), however, Haydn's last symphony in the celebratory C major type falls short of the claim "to present the audience with a work of great content and scope as the conclusion of this first stay in London."

As with the other London symphonies, the work was widely used shortly after its publication in numerous arrangements for domestic use (e.g. flute with string quartet, piano trio, piano).

After Ludwig van Beethoven had started a symphony movement in C minor during his time in Bonn, he turned to work on a C major symphony in 1795/1796, which was influenced by Haydn's Symphony No. 97. Both works by Beethoven remained unfinished, but Beethoven used some material from the C major fragment for his 1st symphony . The “Jena Symphony” , which used to be considered a work by the young Beethoven and also echoes No. 97, was identified as the work of Friedrich Witt in the 1950s .

To the music

Instrumentation: two flutes , two oboes , two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , double bass . It is well documented that Haydn conducted his symphonies at the London concerts from the harpsichord and from 1792 from the “ Piano Forte ”, as was the performance practice at the time. This is an indication of the use of a keyboard instrument (i.e. harpsichord or fortepiano) as a continuo in the "London Symphonies".

Performance time: approx. 25 minutes.

When it comes to the sonata form used here, it should be noted that this model was only designed at the beginning of the 19th century (see there). - 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 : C major, 3/4 time, bars 1–13

Haydn opens the symphony with a unison C in the forte, with the second violin setting the meter with piano knocking eighth repetitions. A somewhat thoughtful cadence figure of the strings with a suggestion then abruptly widens the harmonic space to the double dominant D major (bar 2), but quickly leads over the dominant G major (bar 3) back to the tonic C major (bar 4). After this closed turn, the parallel solo flute with the 1st violin take up the melody arc in a vocal passage and continue it with ornaments under string accompaniment. The introduction does not end “openly” on the dominant, as is usually the case, but leads directly into Vivace with the motif from measure 2/3. This “cadence motif” appears as a variant in the final group of Vivace from bar 99 and at the beginning of the coda from bar 240 (linking the movements, see above).

Fanfare-like first theme of Vivace.

Vivace : C major, 3/4 time, bars 14–293

The Vivace begins in contrast to the introduction in the forte of the whole orchestra with its "noisy" first theme, which consists of four parts: descending C major - triad, rumbling sequence of fourths (initially upbeat and with dotted rhythm) as a "run-up" for the following, radiant, ascending C major triad and a short, simple final turn. Overall, this gives the first theme a fanfare-like, festive, heroic character. The final turn is then continued with echo effects, before the new forte block from bar 40 picks up the falling triad motif: first with dotted rhythm, then counter-voices in the bass to the ascending and descending accompanying figure of the violins with eighth notes and a hopping "gallop" rhythm (" Bass motif "). The passage from bar 60 with eighth note chains in unison gets a restless character through chromatics , accents and large interval jumps despite the even note values . The triad motif from the first theme heralds a caesura (general pause, bars 74/75) in preparation for the second theme.

This (from measure 76) has a dance-like character and is performed by the strings with the accompaniment of the bassoon. The suggestion phrase for the topic and the ascending-descending eighth note chains can be thought of as derived from the previous material. The second part of the theme also includes oboes and flutes. The final group (from bar 91) brings tutti and forte triplets in unison and then picks up the cadenza motif again in the piano strings (from bar 99). The exposure is repeated.

The development begins with the head of the first theme in E flat major, only to repeat it from D major after a short piano figure of the strings with bassoon. Then the woodwinds begin with a polyphonic passage in which the fourth motif from the first theme wanders through the strings in a mysterious pianissimo upbeat and offbeat. From bar 143 the bass motif is processed in the forte block according to bar 53 with the eighth notes as accompaniment (from bar 151 roles are swapped between bass and upper part). The even eighth note chains lead over to the recapitulation.

The recapitulation is initially identical to the exposition, but in the transition section the headline has a dramatic appearance in A flat major (from bar 195), while the bass motif is (initially) left out. The coda (from bar 240 or 246) extends the pensive cadenza motif of the final group or the introduction in length (up to bar 267), then extends the bass motif left out in the recapitulation, brings back the head of the first theme and ends the movement with a fanfare-like triad melody. Due to its unusual length, the coda is valued here as an independent part of the sentence, so that depending on the point of view, one can speak of a four-part movement (exposition, development, reprise, coda).

Second movement: Adagio, ma non troppo

F major, 2/2 time (alla breve), 149 measures

In this set of variations, Haydn wrote out all the repetitions except for the minor variation in order to be able to vary the repetitions slightly (e.g. in the timbre). Possible sentence structure:

  • Presentation of the theme (bars 1–44, piano): The main thematic unit in the first part (bars 1–16) consists of four bars with two motifs: an F major triad, interrupted by pauses, ascending in dotted rhythm and a singing figure in even, bound quarters, which is enriched with chromaticism in the aftermath. At the end of each unit, the winds play two dotted final chords. The second part (bars 17–44) begins with the voice leading in the bass and then expands the quarter motif with chromaticism, whereby the timbre is clouded somewhat melancholy.
  • Variation 1 (bars 45–66), F major, with the melody resolved into triplets, as before, strings with the first violin leading the voice predominate.
  • Variation 2 (bars 67–84), F minor, alternation of tutti outbreaks in the forte with expressive strings and woodwind passages in the piano.
  • Variation 3 (bars 85–128), F major, with the melody resolved into sixteenth notes, the violins playing "al ponticello" (with the bow near the bridge), which creates a somewhat hard tone; Change of passages forte and piano.
  • Coda (bar 128 ff.), F major, with an upbeat lead motif, idyllic pastoral timbre through the use of woodwinds and strings.

Third movement: Menuetto. Allegretto

First part of the minuet (piano reduction) with details of the harmonies (Roman numerals). Play ? / iAudio file / audio sample

C major, 3/4 time, with trio 116 bars

In the third movement, Haydn wrote out all the repetitions in order to be able to vary the timbre of the sections (as in the Adagio) (e.g. at the beginning of the minuet: first the main melody in the tutti, then the beginning of the melody staccato from the strings in the piano) .

The minuet has a simple main melody in an even quarter movement. Due to the heavy prelude and the stresses on the second and third beats in measure 3, the meter is somewhat obscured; the stresses / accents also play an important role in the further course of the movement. Overall, the minuet has a festive, pompous character and thus follows on from the Vivace. The contrast of the bound, “soulful” quarter movement (partly “clouded” by chromatics) from the second part of the main melody alternating with the staccato sections of the first part of the main melody and a drum roll shortly before the end of the second section of the minuet is striking.

The trio is also in C major, is kept harmoniously simple (tonic - dominant) and is consistently in the piano. The solo first oboe and the bassoons play a country-like melody with yodeler-like suggestions with the parallel first violin. In the last repetition of the theme (from bar 109) Haydn noted: “in 8va Salomon Solo ma piano” (“in the upper octave Salomon solo, but quietly”): The concertmaster Johann Peter Salomon with the 1st violin should set the melody play an octave higher here as a soloist - now also supported by the trumpets and timpani, which had previously been silent.

Fourth movement: Finale. Presto assai

C major, 2/4 time, 333 bars

The first theme (or: Rondo theme, since the movement is in the form between rondo and sonata movement form: "Sonata rondo") is laid out in three parts (ABA´): The main thematic idea (bars 1–8) consists of an upbeat, folksy- dance-like piano motif of the strings with the first violin leading the voice and a descending staccato eighth note chain in forte unison (the first four notes are identical to the theme of the trio). In the written repetition (bars 9–16), the bassoon is also part of the voice leading, which also repeatedly emerges as a soloist in the further course of the movement. The rondo theme is repeated as a whole (part A, bars 1–16). The middle section (B-part, bars 17–36) continues the eighth note chains, initially in a dialogue between strings and oboes and throughout with dabbing repetition of the horns. The main idea is then taken up again as a variant, whereby a final motif derived from the previous material with five-tone repetition is typical (“final motif”; A 'part, bars 37-50). Bars 17–50 are also repeated as a whole.

The first interlude or couplet (bars 50–113) begins as a lively continuation of the main melody (legato motif). From bar 58 a forte passage begins abruptly, with the final motif appearing as a variant one after the other in the instrument troops with countervotes-like accompaniment of the eighth note chains. From bar 81 the movement with the final motif in the double dominant D major becomes unanimous again. Haydn then leads with the legato motif from bar 97 to the dominant G major. The music then comes to a standstill with the upbeat theme from the main motif and finally reaches the tonic in C major again.

The main theme is now played like a reprise or as a refrain in C major (bars 114–121), but without repetitions: after eight bars the second interlude or couplet follows.

This (bars 122–195) begins with the main theme in unexpected fortissimo, Haydn modulates in the following through various B-flat keys and loosens up the otherwise dominant staccato movement in eighth notes, sometimes with sixteenth notes accompaniment. After a general pause (bars 156–157), a section begins again with the final motif in B-flat keys.

The second appearance of the refrain (bars 196–245) brings the rondo theme again in its three-part structure according to the beginning of the sentence, but without repetitions.

As in Vivace, the coda (from bar 246) is relatively detailed. The theme makes several attempts, but breaks off again and again ( “like a music box whose work is overdone or has already expired” ), is stretched in its note values ​​from quarters and eighths to whole and half notes with fermatas and ended with soft pizzicato tones before it could sound in full form, and finally dissolved more and more into its basic building blocks. At the very end the chromatic passage from the dialogue of the rondo theme (bar 21) appears again, but now upwards instead of downwards.

Due to its exuberant character and the fast pace, the Presto gets traces of a “sweep” piece. According to Mainka (1991), the sentence has "something of the excitement of the so-called" imbroglio "of opera buffa - features of comic horror and indignation within grotesque scenes of comic opera." The sentence is "a real sweep of the swirling impetus lets the festive beginning of the work fade away in exuberant serenity. ” Ulm (2007) also describes the Presto assai as “ cheerful, funny and bubbly. ”

Individual references, comments

  1. ↑ a b c d e Renate Ulm: Symphony in C major, Hob. I: 97. In: Renate Ulm (Ed.): Haydn's London Symphonies. Origin - interpretation - effect. On behalf of the Bavarian Broadcasting Corporation. Joint edition of Deutscher Taschenbuch-Verlag Munich and Bärenreiter-Verlag Kassel, 2007, ISBN 978-3-7618-1823-7 , pp. 116-121.
  2. ↑ a b c d Jürgen Mainka: Joseph Haydn: Symphony No. 97 in C major Hob. I: 97 (1792). In: Malte Korff (ed.): Concert book orchestral music 1650-1800. Breitkopf & Härtel, Wiesbaden / Leipzig 1991, ISBN 3-7651-0281-4 , pp. 381-382
  3. ↑ a b Ludwig Finscher: Joseph Haydn and his time. Laaber, Laaber 2000, ISBN 3-921518-94-6 , p. 376ff.
  4. ^ Heinrich Eduard Jacob: Joseph Haydn. His art, his time, his fame. Wegner, Hamburg 1952, p. 220
  5. ↑ is meant by Haydn
  6. ^ Michael Walter: Haydn's symphonies. A musical factory guide. Beck, Munich 2007
  7. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog of works. Volume I. Schott, Mainz 1957
  8. ^ Nicholas Marston: Symphonies. In Barry Cooper (ed.): The Beethoven Compendium. His life - his music. Droemer Knaur, Munich 1992, ISBN 3-426-26574-5 , pp. 257-261
  9. ↑ Narston (1992) with reference to an article by Horward Chandler Robbins Landon: The Jena Symphony. In: The Music Review. Volume 18, 1957, pp. 109-113
  10. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  11. ↑ Koch writes about the use of the harpsichord as an orchestral and continuo instrument around 1802 (!) In his Musikalischen Lexicon , Frankfurt 1802 , under the heading “wing, clavicimbel” (pp. 586–588; please consider that at this time wing = harpsichord  !): “ ... The other genres of this type of keyboard (ie keel instruments , author's note), namely the spinet and the clavicytherium , have completely fallen out of use; the grand piano (ie the harpsichord , author's note) is still used in most of the major orchestras, partly to support the singer with the recitative , partly and mainly to fill in the harmony by means of the figured bass ... being strong penetrating sound makes it (ie the grand piano = harpsichord, author's note) very adept at filling the whole thing with full-voiced music; 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, ... for some time now the grand piano has been swapped for the weaker, but softer, fortepiano . "
  12. ↑ Even James Webster, one of the main proponents of the anti-harpsichord continuo thesis, 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 Band 18 No. 4, 1990, pp. 599-608, here : P. 600). This is because the well-documented fact that Haydn conducted the symphonies from the harpsichord (or pianoforte) usually also meant continuo playing at this time (see quotation from Koch's Musicalisches Lexikon , 1802 in the previous footnote).
  13. ↑ as a seventh chord
  14. ↑ Finscher (2000): "The idea of ​​a four-part sonata movement with a balance between development and coda found its extreme consequence in the Eroica, in which the falling eighth-sixteenth notes also recur in connection with the processing of a three-note motif."
  15. ↑ possibly interpreted as an echo of the Vivace triad (Ulm 2007)
  16. ↑ Therefore it can be interpreted as a tendency towards the later Scherzo (Ulm 2007)

Web links, notes

See also