Symphony No. 102 (Haydn)
The Symphony No. 102 in B flat major Joseph Haydn composed at the turn of 1794/95. The work belongs to the famous " London Symphonies " and premiered on February 2, 1795.
General
For general information regarding the London Symphonies see the Symphony No. 93 Symphony No. 102 Haydn composed at the turn of 1794/95 under the second London trip. It was the first symphony for the concert series of the " Opera Concerts ' ". The premiere took place on February 2, 1795 at the King 's Theatre in London. For this purpose, reported the Morning Chronicle, 3 February 1795
" ... The new Overture, composed by the inimitable HAYDN, was listed in masterly style as they deserved it completely unconditional. His genius is how we often had the opportunity to notice, inexhaustible. In terms of harmony, modulation, melody, passion and effect he is completely unmatched. The last sentence was repeated: And despite an interruption by the sudden falling of the chandelier, he was not listed with less effect. "
Despite the falling of the chandelier, there was surprisingly no (heavy) casualties in the audience. This " miracle" later led to the nickname " The Miracle " (The Miracle ) for a London Symphony, but incorrectly at the No. 96 ( qv).
The symphony was described by the Haydn researcher Howard Chandler Robbins Landon as probably the " loudest and most aggressive " Symphony of Haydn, which should be made aware of the strong thematic, motivic and formal concentration especially in the energetic head set. Donald Francis Tovey for the Symphony No. 102 is one of the three best instrumentals Haydn.
As with the other London symphonies, the work was shortly after appearing in numerous arrangements for household use (eg, string quartet, piano ) spread.
About the Music
Instrumentation: two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, two violins, viola, cello, cello solo, double bass. The absence of the clarinet could be related to the fact that Haydn 's work still for the Orchestra of the ( then canceled ) concert series by Johann Peter Salomon had designed. The harpsichord is not explicitly listed, but was possibly also used (see general remarks at the Symphony No. 93).
Performance time: approximately 25 minutes.
When used herein the terms of sonata form is considered that this scheme was designed in the first half of the 19th century (see below) and can be transferred from there to restrictions on the Symphony No. 102. - Note that this description and structure of sentences is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.
First movement: Largo - Vivace
Largo: B- flat major, 4/4-time ( alla breve ), clock 1-22
Haydn opens the Symphony, unusually, with a ganztaktigen, rising and falling in unison B, which is emphasized as a fermata in addition. He had originally intended for such use only horns, trumpets, timpani and strings. Back in Vienna, Haydn came this opening but obviously too risky before; he added later also the woodwinds, so that the sharpness of the sound was a bit fuller and warmer. The unison B is repeated in measure 6. In between, a four-bar phrase for strings is ( without bass ), in which the first violin plays a motif with ascending fourth, that occurs varies several times in the course of the introduction and the following Vivace. From bar 7 so far related to the tonic B flat major harmonies replaced by inclusion of chromaticism. The following bars are dominated by the fourth motif, in particular accompanies the first violin in syncope. The sluggish nature and the gloomy tone wide only at the end in the ascending dominant matic F major seventh chord of the flute. Lessing ( 1989) describes the Largo, " the equally darsteht only one of its kind in Haydn's Creation" as the following vivace, as "a strange veiled, fulfilled by gentle melancholy piece, constantly changing in the major and minor, light and shadow and the in its present use in dynamic rules quite a seemingly romantic sensitivity reflects. "
Vivace: B- flat major, 4/4-time ( alla breve ), 22-311 clock
After the ending of the piano introduction, the Vivace surprisingly forte begins with its periodically structured, achttaktigenThema (blocks to two clocks), the piano it is the same repeated in reduced cast with solo flute. The theme is derived from the phrase strings of initiation and is characterized by upbeat fourth, eighth runs and tone repetition with secondary - derivative of. The transition to the second theme (bars 39-80 ) attacks immediately by management -like material from the first theme on (quart motif with quaver movement, tone repetition ) and is characterized by many accents on unstressed cycle times. In bar 57 occurs, add a new, auftaktiges motif that is played simultaneously in the bass and as a reversal in the first violin ( " reversing design" ). Rapid eighth runs and tremolo then establish the dominant F major, which leads to a short final cadence to a surprising turning point.
The second theme (bar 81 ff ) has an unusual structure: announced by framed by general pauses, ganztaktigen unison at a fortissimo follows piano a turn ganztaktiger chord ( not in unison ) and a rhythmic strings phrase, the "open " in A Major ends. The postscript of the subject is constructed in accordance with and performs " answering " the signal-like unison -D ( now with the brass ) back to F major. The theme is not only contradictory in itself, but contrasted by the absence of the previously almost constantly running through propulsive eighth motion and thus by its quieter character to the previous section. Its structure ( ganztaktiges unison strings and four-bar phrase) is reminiscent of the beginning of the introduction. The subsequent final group (cycle 92 ff ) attacks the reversal motif and elements from the first issue ( tone repetition, eighth chains) on again. The exposition is repeated.
The development begins with the first part of the second subject, then to be processed by E-flat major elements of the first theme. Striking are the Tonrepetitions - eighth chains with secondary - derivative in the bass. In bar 132 is achieved with the strings phrase of the second theme -flat major, the phrase is then spun out and modulated. The section of clock 161 with the reversal motif is held in three parts. In C major, the flute begins in measure 185 as apparent recapitulation of the first theme, which then, however, abrupt with energetic Tonrepetitions - eighth chains changes in fortissimo to C minor. About other modulations with elements from the first issue, the reversal motif and accents in the bass finally announces itself with a timpani roll the recapitulation. The implementation is considered to be particularly important due to their length and content.
The recapitulation ( from bar 227) is similar to the exposure structured, but, for example, the first topic will not be repeated, the second theme is extended and the final group is codaartig extended: After complete run of the first theme (flute, 1st violin ) followed by a general pause the Tonrepetitions - eighth chains in the bass on elements from the first issue and Akkordmelodik.
Second movement: Adagio
F Major, 3/4-time, 60 cycles, variation form
The Adagio is based on the second set ( F sharp major ) of Haydn Piano Trio Hob XV: 26, had dedicated to Haydn his living in England student and admirer of Rebecca Schroeter. The set falls mainly on its special tone, subdued by trumpets and timpani as well as many Sept and Nonakkorde comes in addition to a wide harmonic spectrum about. It is also noteworthy, as is a chamber music a symphonic movement.
- First section clock 1-16: Presentation of the main theme in the strings with elongated sanglicher melody and some flourishes. The solo cello accompanied with triplets that are in a minor part from bar 9 dominant. A small circuit group with staccato triplets in the dominant C Major ends the section.
- Second Section 17-32 clock: no variation in the strict sense, but a ' tender and sonically advanced repetition " with muted trumpets and drums, resulting in the previously chamber music character (strings only ) expands to the symphonic dimension.
- Third Section 33-44 clock: first variation on the theme, beginning in A flat major. Here Haydn takes a skidding after D minor, only to change it to C minor. Haydn has this " jerk " highlighted also by a crescendo and an accent (cycle 36-40).
- Section Four -stroke 44-60: second variation on the theme, tonic F major. After a staccato series of fortissimo that of D flat major to F major -, six-four chord sounds descends (trumpet here with striking Half note in Forte ) the sentence with a broad sound space in F major from pianissimo.
Third set: Menuet. allegro
B flat major, 3/4-time, with Trio 106 cycles
The set of the type of the great symphonic minuet is connected to the Adagio by the similarity in topics beginning, but a beginning auftaktiger and folk music are from the abtaktigen beginning and the previously gallant habit now become abgelauschter ductus. Contrary to the expected tact the prelude is emphasized by an accent in the repetition of the phrase, and also the expansion of the dual tone repetition of the main motif for triple knocking in conjunction with the repeated emphasis on the third clock time cause a rhythmic backing.
In the trio ( B flat major ), the parallel run, solo oboe and the bassoon play a singable melody that contains a quote of the nodding statue of Wolfgang Amadeus Mozart's Don Giovanni, which appeared already in Haydn's Symphony No. 51. The character of the trio recalls with its warm timbre and the romantic melancholy of the Adagio; the wide sweeping phrases of the melody line hugging each other, so that a - once again gemahnender to Schubert - sheet over the whole trio is tensioned.
Fourth sentence: Presto
B flat major, 2/4-cycle, 312 cycles
- Presentation of the upbeat, dance-like main theme ( rondo theme ) with several unexpected harmonic twists (B- flat major, E flat major, F major, D minor, A- flat major ). The issue is reportedly back on a Croatian or Croatian march wedding march. The section consists of two repeated parts. The second part begins with a kick-off derived from the " gallop " motif in the solo woodwinds and then attacks again the main theme with flute and bassoon on.
- First couplet or first through leadership -like section (bars 38-128 ), starting with a new, lively motif (motif 1, B- flat major, fortissimo ) with large intervallic leaps and stressed accents on the second beat. The subject is again presented in F major, but then the music breaks with the double dominant chords from C major (bar 66). After a general break the strings try with the rondo theme a fresh start, but this does not get beyond the subjects head and another, chromatic - circular motif with staccato eighth chains ( motif 2, cycle 78 ff ) in C major leads, in turn, with eye-catching accents. The further course is mainly characterized by almost absurd, circling semiquaver figures, whereby after a break (bar 109) is echoed just the prelude to the main theme.
- The following presentation of the main theme (bars 129-165, B- flat major ) can be heard as a recapitulation, the flutes are now involved from the beginning with vocal leader.
- The second couplet and the second by management like section (bars 166 ff ) starts as a dramatic swing in b minor fortissimo, then but in the opening motif stuck to the main theme in A major and a polyphonic section with elements of the main theme ( fugal ) leads. Again, the music remains then plug in the opening motif. Even a start-up, bring to the main topic completely fails, as the opener on descending chromatic, diminished chords in the woodwinds loses ( clock 222-223 ). But again follows the chromatic circle motif 2 A cadential chord progression ( dominant - tonic) sets the preliminary conclusion point, but the sentence is not finished yet.
- The coda perform the test continues to be the main topic completely occur, but this breaks down into its individual parts, but instead comes unexpectedly still a " dramatic " rack similar to the beginning of the second couplets. Only the " noisy " 15taktige final tutti finished the sentence - but with the opening motif down (instead of previously up). Haydn treated here with over 98 taktigen delaying parading of closing as a compositional problem.