99th Symphony (Haydn)

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The Symphony no. 99 in E flat major composed Joseph Haydn in 1793. The work belongs to the famous "London Symphonies" and was first performed on 10 February 1794. It is the first symphony in which Haydn used clarinets .

General

Franz Joseph Haydn (1732–1809)

For general information on the London symphonies, cf. Symphony No. 93 . Haydn composed Symphony No. 99 in 1793 in Vienna or Eisenstadt. There are two copies of the middle, contrapuntal section of the fourth movement by Haydn's student at the time, the 23-year-old Ludwig van Beethoven . The world premiere took place in London on February 10, 1794 as part of the “Salomon´s Concerts” in the Hanover Square Rooms (and thus only five days after Haydn's arrival in London). It was the first concert in this series in 1794. The first performance was a great success (see below), the first movement had to be repeated at the second performance of the symphony.

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

“The incomparable Haydn created an overture that cannot be described in ordinary words. It is one of the greatest feats of art that we have ever seen. It is rich in novel, great and haunting musical thoughts, it elevates souls and emotions. The work was greeted with enthusiastic applause. "

"Although this piece also has all the qualities of the 'great' symphonies, it is one of the rarities of our concert business."

“With his E-flat major Symphony 99, Haydn broke new ground in many ways, especially when it came to realizing tonal ideas. It is the first symphony in this key for London, and for the first time Haydn used two clarinets in this work, which was supposedly his favorite symphony. In doing so, he immediately understood how to fully exhaust the tonal possibilities of the clarinet and to use them sensitively. The 61-year-old succeeded no less than establishing the full line-up of the woodwind in the classical symphonic (...). What is striking is the art of differentiation with which the composer has his large orchestra (...) and uses it variably from the powerful tutti to transparent chamber music formations. "

“If it is now true that the tonal language of mature Viennese classical music was able to bundle the memory of the past and the expectation of the future in an enlightened, awake experience of the present in a singular way, the symphony in E flat major No. 99 is not least in From a chronological point of view, Haydn's most classic work: Haydn should succeed in combining the musical experiences of his first stay in London with the prospect of renewed symphonic connection with a now known audience in an incomparable way, and this work is still many admirers of Haydn's music today the epitome of his symphonic art has remained. "

To the music

Instrumentation: two flutes , two oboes , two clarinets, two bassoons , two horns , two trumpets , timpani , two violins , viola , cello , double bass . Numerous sources show 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. 25-30 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 assai

Adagio : E flat major, 2/2 time (alla breve), measures 1–18

Haydn opens the symphony with an alternation of scaffold-like fortissimo chord strokes of the tutti, between which a short string motif is inserted. Haydn provides this relatively original, portal-like introductory concept with several surprises: The line falling in dotted rhythm from bar 5 leads to the unison B, which unexpectedly comes to rest on C-flat. Solo oboe and solo flute now take over the string motif from the beginning in a new approach and briefly lead to C minor, G major and even into the harmonic distant E minor. G major dominates bars 14 to 16, and the introduction seems to end in this key, which is removed from the tonic E flat (Unisono G, bar 17). Without any further harmonic transition, the full-time unison G from bar 17 is then contrasted in the wind instruments with the dominant seventh chord (B flat major) as a “double-point” opening to the following Vivace.

Vivace assai : E flat major, 4/4 time, bars 19–202

Beginning of Vivace assai

The movement begins piano with the first theme, which is initially performed by the strings. It is eight bars and is based on two one-bar motifs, one being performed legato and the other (with “double beat” = double beat motif) staccato. The accompaniment consists of a staccato eighth-note figure of the 2nd violin and the cello. From bar 27, the theme is repeated in tutti and forte. The transition from bar 34 is presented as a forte block of the tutti, in which two motifs appear in dialogue at the beginning (motif 1 with running downwards and syncopation as the starting tone, motif 2 with marching rhythm). From bar 44, the second of the first topic is emphasized for two bars in unison before the head is completely brought back from the first topic. From bar 54, Haydn changes to the dominant B flat major, now bass runs predominate over syncopated accompaniment, which merge into broken chord figures - again with chord supports on the unstressed beat times. After a minor clouding and another appearance of the suggestion motif, "double-dot-like" chord strokes announce the second theme.

The second theme (bars 71-81) is introduced in the staccato eighth carpet (now by viola and second violin). It is based on a one-bar motif with a descending triad, which is preceded by an upbeat, emphasized lead. First of all, in the five-bar thematic unit, the 1st violin and 1st clarinet lead the voice, in the repetition the 1st oboe instead of the bassoon (this is now accompanied by the ticking eighth note). The final group (bars 81–89) is characterized by tone repetition syncope accompanied by chord breaks. The exposure is repeated.

The development begins with the head running twice from the first theme (strings, then flute and oboes). Then the material from the second theme is processed: starting from C major (bar 95), the theme is modulated , the instruments alternate with the voice guidance (e.g. bass: bar 105 f., Oboe, bassoon: bar 121 ff.), Bar 125 ff. Triad motif also upwards instead of downwards, bars 107 to 120 the double beat motif from the first theme is switched on (from G minor to A flat major to D flat major). The return to the recapitulation (bars 135 ff.) Takes place over an organ point on B with the motif from the second theme.

The recapitulation (bars 138 ff.) Is shortened compared to the exposition. It begins forte with the first topic, which leads directly to the transition. The further appearance of the first theme and the bass runs are now omitted. The repetition of the second theme is designed as a variant with voice leading in clarinet, bassoon and 1st violin. After the final group, a coda begins (bars 174 ff.), Which further processes the triad motif from the second theme - sometimes with syncopated accompaniment, before shortly before the end of the movement the head of the first theme in flutes and oboes - supported by affirming chords - reappears.

Second movement: Adagio

G major, 3/4 time, 98 bars

The movement, the “inner heart” of the symphony, is in G major, which is unusual in relation to the key of the other movements. Furthermore, the Adagio stands out due to its rather serious, solemn character with wide-spun, vocal melodies (similar to the slow movements of the symphonies 98 and 102). The movement was partly understood as the music of the farewell to Haydn's confidante Marianne von Genzinger, who died on January 26, 1793 in Vienna.

The strings open the movement with a four-bar thematic unit, which is played piano by the voice-leading violin (cantabile = sanglich). The questioning final turn is echoed by the flute and oboe. The bassoon leads back to the theme, which is now continued by the strings, but with an emphasis on the open closing phrase (with flute) retains its questioning character. In the passage from measure 16 onwards, flute, oboes and bassoon play material of the theme with a variety of soloists, with Haydn changing to the dominant D major.

“The effect of the wind instruments in the second movement was enchanting. (...) The oboe and flute played in beautiful harmony, but the bassoon in particular was more perfect and charming; than we've ever heard a wind instrument play before. "

The second theme (bars 27 ff.) Is based on a two-bar motif with a characteristic half-note and the following sixteenth-note movement; the oboe, bassoon and first violin are now leading the voice. In contrast to the first topic, it has a more conclusive character (possibly interpretable as an “answer” to the first topic). A short, swinging figure ends the exposition, which is repeated.

The middle part of the movement (“development”) begins in D minor as a crescendo passage that increases to fortissimo. After a quiet insertion with the second theme in C major (bars 43 ff.), There is already another minor outbreak with tremolo-like sextoles in bar 47 .

The recapitulation (bars 54 ff.) Begins like the exposition. When the first theme is repeated, however, the 2nd and 1st violins play staggered, initially there is an even movement in the bass, similar to voices, then the bass itself takes up the theme. After the appearance of the second theme, the pendulum movement widens from the end of the exposition in an increase that leads to an energetic passage with military-like signals in horns and trumpets over a march-like rhythm (bars 82 ff., Characteristic seconds in the violins). At the end of the movement, the second theme sounds again in the coda: first piano, then the final turn of the tutti in fortissimo rich in tone.

Third movement: Menuet. Allegretto

E flat major, 3/4 time, with trio 108 bars

The minuet opens with a question (clarinets with leading part) - answer (tutti) - figure, which is characterized by falling chord breaks, alternation between piano and forte, and regular fourths in staccato (with an upbeat). The falling chord breaks are continued in a varied manner (with a lead and staggered entry) and lead to a nine-bar, “pounding” organ point on B with pendulous, bound movement.

The second part of the minuet begins with an ascending triad that leads to D flat major and introduces a new motif (tone repeater with a circling eighth note figure). The motif is processed in a staggered manner and through modulations. From bar 42, the opening theme appears again, again with staggered use and accents on the unstressed cycle times. The end of the minuet is marked by the triad breaks in countermovement.

The trio, which is connected to the minuet via five knocking oboe tones, is in C major (related thirds to E flat major, as in the G major of the Adagios). 1. The oboe and the violins play their melancholy-lyrical melody with a little chromaticism, upbeat, lead and tone repetition (the rhythm is related to the beginning of the minuet). In the second part, the bassoon participates in the voice guidance. The transition from C major to E flat major of the minuet is composed without interruption, at the end with the participation of the clarinet.

Fourth movement: Finale. Vivace

E flat major, 2/4 time, 260 bars

At the beginning, the strings introduce the eight bar theme (main theme or first theme) piano. It is upbeat, lively and dance-like, characterized by three knocking eighths and is repeated. This is followed by a repeated passage up to bar 20, which initially picks up on a running movement of the theme and then the theme head (in the bass and then in the viola). The beginning of the sentence is designed like a typical Rondo theme (ABA´), while the rest of the sentence deviates from the classic Rondo pattern:

From bar 20, a first forte block of the tutti follows, which is determined by virtuoso runs, accents (as syncope on unstressed beat times) and revisiting the theme (bar 39 ff., Bass and then violins with clarinets, each with counter-vocal runs).

Another theme (“second theme”), which is related to the opening theme, begins in measure 56. It is initially distributed among the winds, is then carried on by the strings like a follow-up and repeated as a whole as a variant with different instrumentation. The five-fold tapping tone repetition and the falling figure are typical. A steady sixteenth note movement of the 1st violin ebbs away in pianissimo and leads to a further appearance of the opening theme (bars 101 ff.). The following forte-tutti block initially appears as it did at the beginning, but then turns into a polyphonic fugato passage (bars 128 ff., Still forte), which leads the elements of the opening theme through the instruments and different keys. The head of the topic also appears in reverse (bars 148 f.). After rapid up and down runs with fanfares in the brass section, the music comes to rest with chord strokes in E flat major, followed by a brief general pause and the head running twice from the opening theme (the second time in the hesitant Adagio). Further runs and accents then lead to the second appearance of the “second theme” in bar 211, before a coda with further rapid runs and chords ends the movement.

Overall, the movement is characterized by the fact that “clarinets, flute, bassoons, oboes and horns as well as the strings throw their thoughts at each other like a cue ball (...)." Woodwind passages. The mobility of the orchestral movement and its information density and speed of information reach a level that cannot be found in any other composer. ”Of the 14 pieces for a“ drive ”(flute clock) from 1792/93, one is a sketch for this final movement of Symphony No. 99.

Individual references, comments

  1. ↑ a b c d Susanne Schmerda: Symphony in E flat major, Hob. I: 99. 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. 131–135.
  2. ↑ Helga Lühning: Symphony No. 99 in E flat major (Hob. I: 99). In: Wolfgang Konold (Hrsg.): Lexicon Orchestermusik Klassik AK. Schott-Verlag, Mainz 1992 (second edition, first edition from 1987)
  3. ^ Anthony van Hoboken: Joseph Haydn. Thematic-bibliographical catalog raisonné, volume I. Schott-Verlag, Mainz 1957, 848 pp.
  4. ↑ meaning the Symphony No. 99
  5. ^ Morning Chronicle after the world premiere on February 11, 1794, quoted in Schmerda 2007
  6. ^ Kurt Pahlen: Symphony of the world. Schweizer Verlagshaus AG, Zurich 1978/1966, p. 164
  7. ↑ Harald Haslmayr: Joseph Haydn - Symphony No. 99 in E flat major, Hob.I: 99. Program text for the performance of Symphony No. 99 on September 23, 2009 at the Haydn Festival in Eisenstadt. http://www.haydn107.com/index.php?id=32 , as of January 2011
  8. ↑ HC Robbins Landon: Joseph Haydn - his life in pictures and documents , Fritz Molden Verlag, Vienna et al., 1981, pp. 123-124
  9. ↑ 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 . "
  10. ↑ 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).
  11. ↑ Lühning 1992: "Your compositional program is the most original and most obvious for such openings: namely the fully composed cadenza, the exposition and paraphrasing of the basic key." Lühing refers to similar openings in Wolfgang Amadeus Mozart's Magic Flute and Beethoven's Piano Concerto No. 5 .
  12. ↑ Can be interpreted as the dominant of the tonic parallels in C minor.
  13. ↑ The chromatic passage B-C flat (HCG, bar 8 ff.) Can possibly be interpreted as a link to the main motif of the second Vivace theme, as well as the “tendency of the introduction to G major” (as the dominant of C minor) to G major - beginning of development in Vivace (Finscher 2000). Furthermore, the slow movement is not in a B key ( subdominant , dominant or parallel key) - as is otherwise to be expected - but also in G major.
  14. ↑ Dietmar Holland: Symphony No. 99 in E flat major. 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. 120-122
  15. ↑ G major with thirds related to E flat major; G major also plays an important role in the introduction to the symphony, the relationship in thirds also in the keys of the minuet and trio.
  16. ↑ Morning Chronicle report cited in Schmerda 2007
  17. ↑ Furthermore, one can, if necessary, interpret family relationships between the two topics in the first sentence: Schmerda 2007, Lühing 1992
  18. ↑ The chord breaks (triads) can be interpreted as an echo of the corresponding chord breaks from the end of the exposition of the first movement (Lühning 1992).
  19. ↑ If applicable interpretable as an echo of the first theme of the first movement or also at the beginning of the fourth movement: Lühning 1992.
  20. ↑ The movement is sometimes referred to in the literature - like comparable final movements in Haydn's symphonies - as a “sonata rondo”. For this, however, Stefan Kunze ( The Symphony in the 18th Century. In Siegfried Mauser (Ed.): Handbook of the musical genres. Volume 1, Laaber-Verlag, Laaber 1993, ISBN 3-89007-125-2 , p. 286): " The usual approach of deriving the first movement type of the classical concert from the sonata movement or of categorizing certain rondo-like finals as 'sonata rondos', as if there were a hybrid cross between rondo and sonata form, cannot be otherwise than formalistic, i.e. abstractly schematic in the bad sense to be named. It hypostatizes the existence and, on the part of the composer, the 'application' of formal schemes and thus also the possibility of superimposing, crossing, 'mixing' etc. Such ideas do not do justice to musical reality. "
  21. ^ A b Karl Geiringer: Joseph Haydn. The creative career of a master of the classics. B. Schott's Sons, Mainz 1959, p. 237
  22. ↑ Ludwig Finscher: Joseph Haydn and his time . Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6 , p. 374 f.

Web links, notes