Symphony in C (Haydn)

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The Symphony in C major presented Joseph Haydn probably 1773/74 from some existing records together. The first two movements come from an opera overture, the last two were previously assigned to Symphony No. 63. The work is not listed in this movement combination in the Hoboken index under Haydn's symphonies.

General

Joseph Haydn (painting by Ludwig Guttenbrunn, around 1770)

The fourth movement (Prestissimo) was initially intended by Haydn as the final movement for Symphony No. 63 , which was completed in 1778/79 . It has come down to us in a Berlin score together with a minuet. These two movements were - based on the conception of Howard Chandler Robbins Landon - published together with the overture to the opera Il mondo della luna from 1777 and the variation movement entitled "Roxelane" as the "first version" of the symphony No. 63 in pocket scores and were Subject of several literary reviews and some recordings. The allegedly reworked "second version" of the symphony No. 63 was criticized compared to the "first version" due to the reduced instrumentation (lack of trumpets and timpani) and movements 3 and 4, which are regarded as lighter to more superficial. The alleged revision to version 2 was interpreted as an adaptation to distribution possibilities and quick success with the public.

The “first version” of the symphony No. 63 is viewed in the complete edition published by the Joseph Haydn Institute in Cologne as “a hypothetical compilation of movements” that “should hardly have existed”. It is now assumed that Haydn used the minuet and prestissimo of the Berlin score to create the first two movements of the three-movement overture Hoboken-Directory Ia: 1 (according to current knowledge, the overture to the opera "L´infedeltà delusa", The foiled infidelity of 1773) Complete symphony. It is published in the edition of the Joseph Haydn Institute in Cologne as a “Symphony in C”.

The Minuet and Prestissimo are written on paper that Haydn used between 1769 and 1773. Some stylistic features are reminiscent of the C major symphonies No. 38 and No. 48 , which were probably composed in 1767 and 1769, respectively. Other characteristics such as the length of the finale and its tempo designation “Prestissimo” point to a date of origin around 1773/74. Overall, based on the paper found, the instrumentation and the style, the minuet and prestissimo were probably created in 1774 at the latest.

It is unclear whether Haydn intended the symphony for a performance at the court of Esterházy or whether the work was performed in a different context. An indication that the symphony was performed in a different context is the performance of the incipit in a catalog by Franz Bernhard Ritter von Keeß, a collector friend of Haydn's. The incipit is there next to symphonies from the years 1767 to 1774. In 1774 there must have been a symphony that begins with the overture movement. Keeß probably had a copy of the work. An order from Spain is also possible as an occasion for the symphony, as the exclusive transmission of the work through Spanish copies might suggest. Haydn maintained business relations with Spain about which little is known. I.a. Haydn fulfilled the commission of a wealthy priest from Cadiz in the mid-1780s with the instrumental music for “The seven last words of our Savior on the Cross”. The years 1775 to 1782 come into consideration as the time span for the delivery of the symphony to Spain. However, the cast speaks against the assumption that Haydn compiled the symphony specifically for an order from Spain: Although the minuet and finale in the Berlin partial autograph contain parts for timpani and trumpets, these are not listed in Spanish copies.

The first two movements of the symphony were published by Artaria in 1783 , but were supplemented there by a finale probably by Ignaz Pleyel .

To the music

Instrumentation: two oboes , two horns , two trumpets , timpani , two violins , viola , cello , double bass . At that time a bassoon was used to reinforce the bass voice even without separate notation . On the participation of a harpsichord - continuos are competing views in Haydn's symphonies. The trumpets named in Keeß's catalog entry (see above) for the first movement have not survived, but were probably used frequently by the large orchestra that Keeß owned and may therefore have been added in connection with a performance there. A timpani part has also survived, but its authenticity is uncertain.

Performance time: approx. 20 minutes (depending on compliance with the prescribed repetitions).

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 the present symphony composed work 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

C major, 4/4 time, 140 bars

Second movement: Poco Adagio

G major, 3/8 time, 94 bars

Third movement: Menuetto. Allegretto

C major, 3/4 time, with trio 58 bars

The minuet begins with two upbeat turns (the first forte ascending, the second echo-like piano descending). The ascending phrase is repeated in a varied manner, the descending phrase then reduced to its fifth down. This fifth down is taken up piano at the beginning of the second part, then the opening motif winds up three times forte, again followed by a passage with the fifths.

The trio is also in C major and is based on a simple dominant tonic figure that appears in different, harmoniously different variants. The pianissimo end of the trio is remarkable: Sudden change from A flat major to E flat major to C minor.

Fourth movement: Finale. Prestissimo

C major, 2/2 time (alla breve), 235 measures

Beginning of Prestissimo with motif A, B and beginning of C

The movement begins with three motifs / building blocks: Motif A (ascending C major triad, entire orchestra, unison), Motif B (ascending row of six quarters that fill a sixth, strings only, unison), Motif C (to the other motifs contrasting, singing, eight-bar movement of the violins, piano). Motifs B and C are repeated, the latter as a variant with syncope. Then (bar 28) the violins begin piano with a passage in the dominant G major, which begins with the "run-up" of motif B and then merges into a vocal melody line similar to motif C, but now enriched with light chromatics. From bar 40 forte there is a continuation of the approach motif B, initially in the upper parts and finally in the bass. The final group (bars 66 ff.) Initially brings a pendulum-like piano movement (motif D) and closes the exposition fortissimo with chord melodies in G major.

In the detailed development (bars 86–158) all of the previous motifs A to D appear in different timbres and harmonies. B. after D minor, A minor, E minor and F major.

The recapitulation (bars 158 ff.) Is structured in a similar way to the exposition, but the approach motif B occurs in bar 174 downwards instead of upwards. The exposition, development and recapitulation are repeated.

Walter Lessing speaks of a “jagged spelling characterized by strong contrasts” at Prestissimo.

See also

Web links, notes

  • Andreas Friesenhagen, Ulrich Wilker: Symphonies around 1770–1774. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Row I, Volume 5b. G. Henle-Verlag, Munich 2013, ISMN 979-0-2018-5044-3, 270 pp.

Individual references, comments

  1. ↑ a b Joseph Haydn: Symphony No. 63 C major . Ernst Eulenburg-Verlag No. 557, London without the year, 79 p. (Pocket score with foreword by Harry Newstone).
  2. ^ Joseph Haydn: Sinfonia No. 63 C major. Philharmonia Band No. 763, Vienna without a year. Series: Howard Chandler Robbins Landon (Ed.): Critical edition of all of Joseph Haydn's symphonies.
  3. ^ Howard Chandler Robbins Landon The Symphonies of Joseph Haydn. Universal Edition & Rocklife, London 1955, p. 361.
  4. ^ Antony Hodgson: The Music of Joseph Haydn . The Symphonies. The Tantivy Press, London 1976, ISBN 0-8386-1684-4 , p. 93
  5. ^ A b Walter Lessing: The symphonies of Joseph Haydn, in addition: all masses. A series on Südwestfunk Baden-Baden 1987-89. Volume 2. Baden-Baden 1989, p. 164f.
  6. ↑ Stephen C. Fischer, Sonja Gerlach: Symphonies around 1777–1779. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Series I, Volume 9. G. Henle-Verlag, Munich 2002, page XIII ff. And 272 ff.
  7. ↑ a b c d e f Andreas Friesenhagen, Ulrich Wilker: Symphonies around 1770–1774. In: Joseph Haydn Institute Cologne (ed.): Joseph Haydn works. Row I, Volume 5b. G. Henle-Verlag, Munich 2013, ISMN 979-0-2018-5044-3, page XIII f.
  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).