Symphony No. 103 (Haydn)

The symphony Hoboken directory I:. 103 E flat major Joseph Haydn composed in 1795, the work belongs to the famous " London Symphonies " and is also called " Drum Roll ".

General

For general information regarding the London Symphonies see the Symphony No. 93 Symphony No. 103 Haydn composed in 1795 under the second trip to London for the concert series of the " Opera Concerts ' ". It is Haydn's penultimate symphony. The premiere took place on March 2, 1795 at the King 's Theatre in London. For this purpose, reported the Morning Chronicle, March 3, 1795

" Again, a new symphony was performed by the productive and charming HAYDN; which, as usual, ongoing brainstorms has both the melody as in the harmony. The Slow Introduction attracted most attention, the Allegro beguiled. "

The epithet " Drum Roll " is not from Haydn, but derives from the unusual beginning of the symphony: Here Haydn has a ganztaktige note with fermata for the timpani notes and overwritten with " Intrada ". Information on the volume are missing in the autograph, which has led to the timpani solo is interpreted differently: This concerns the volume, which is usually performed as ebb and flow, with the various issues but also information from pianissimo to see through to fortissimo. On the other hand, the solo is indeed usually interpreted as a vortex, the term " Intrada " can, however, depending on your view also room for improvisation of the timpani player.

The Italian composer Luigi Cherubini, Haydn greatly admired, visited the composer in Vienna on 24 February 1806. Haydn gave him the manuscript of the Symphony No. 103 and wrote a dedication on the title page the words " father of the famous Cherubini " ( " Padre del celebre Cherubini ").

The following elements, some of which already point in the direction of romance, are emphasized in this symphony:

• The rapid change of tone colors, moods and tempos (eg, first sentence: change of dynamics and insertion of the slow introduction, second sentence: change from minor and major).
• The entanglement of introduction ( with an explicit theme ) and head set up to literally resumption of introduction. Such, literal revisiting it had until then not been in a symphony.
• The use of folksong-like melodies.
• The " appreciation " of the slow variation of the set of technical "gimmick " of the early classical expression for the art of romance.
• The tendency to dissolution of the "traditional" forms such as sonata or rondo in the final, which also begins with a "romantic" Eröffnungsruf the horns (see also the following literature citations).

The work is partially viewed as " sister plant " for Symphony No. 104 in the literature due to contrasts / parallels and in particular hervorbehoben on his acting in the direction of romance structures:

"If you (...) the slow movement (...) listen, you can astonish Inexperienced: " Is that of Brahms, it is Mendelssohn or an unknown Mahler "For this synthesis of a folk song and a damped hinstelzenden march with her himself? self- canceling clumsiness is steeped in so strange harmonies and new instrumentation that it sounds like spätromantsiche or neo-romantic music. "

" In this work, Haydn's development is clear: Which way from the early, playful, still standing on the fascination of courtly rococo symphonies to these last compositions, in which deeper emotional expression is beginning to emerge! Undeniably, it is the influence of the era, the effect here, premonitions of romantic subjectivism, which Stimmungsmahlerei that will soon take possession of the music. "

" But the crown of the symphony is the finale, one of the ingeniösesten form of Haydn's inventions ever. Is it a rondo, sonata form, or any other " scheme "? No, it is an attempt to come up with three different ways to completion. (...) As here buffo tone, connect contrapuntal mastery and strict thematic integration with each other without the music would sweat, which is one of the secrets of Haydn (...). "

" The E-flat major Symphony (...) is Haydn's most radical attempt at entanglement of slow introduction and Allegro on several levels, and it is also the one symphony, play the biggest role in the folk music sounds. (...) The shape categories rondo, sonata and sonata-rondo lose its meaning here; the most important form of turning points (...) are marked by the subject with the horn call, everything else is thematic work. "

About the Music

Instrumentation: two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, two violins, viola, cello, double bass. The role of the harpsichord see in the Symphony No. 98

Performance time: approximately 30 minutes.

When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century ( see below). - 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: Adagio - Allegro con spirito

Recalls ( C minor ), 3/4-time, clock 1-39 After ganztaktigen timpani solo uses the six-bar, dark- worn theme in the bass (bassoon, cello, double bass), the beginning of the " Dies irae ": Adagio and concludes with a two-bar phrase of two half notes.

Haydn increases from the usual Oktavführung of Cello and Double Bass distance by the bass notes an octave higher than the cello, which creates a special unison sound. The theme is then repeated three times in variants, where the final twist between B flat and E flat major changes. The passage from bar 28 is marked by chromaticism and can initiate the exchange of As and G leak. With the exception of the accents in the end is the Adagio, which is Haydn's longest symphonic introduction, consistently in the piano.

Allegro con spirito: E flat major, 6/8-measure, clock 40-228

The set begins with the piano dance first theme in the strings, which is characterized by two-time tone repetition and a small second hand and by his cheerful character ( " mousierend like champagne " ) forms a strong contrast to the dark introduction. The four-bar main idea (consisting of " question " and " answer" ) is repeated an octave lower and goes from clock 47 forte tutti on in the reconciliation. Here Haydn draws on material of the topic back ( subjects head, tone repetition ), this represents in varying shades and then changes to the dominant B major. Striking is a chromatic Forzato Passage (cycle 67 ff ); next occurs - unimpressive - the theme of the introduction in the violins with a new rhythm (cycle 73/74 ) on.

The second theme (bars 79 ff ) is dance- like character and a waltz. The first bar of the theme can be thought derived from the second cycle of the introductory theme. The figure of bars 3 of the topic with a characteristic rhythm becomes independent and performs quite abruptly in the short final section, which is also broken by rhythmic syncopation. The exposition is repeated.

The implementation ( clock 94-158 ) begins with imitatorischem occurrence of elements of the first theme, where first the head and then the final turn are guided by the string instruments. From bar 104 also occurs to a new theme in the flute and oboe. An increase leading up to the Forte, but then breaks off with chords, to G major. Separated by a general pause, then the bass starts with the introductory theme (without the pace of change ), which gradually forms a uniform accompaniment figure, overlaid by chromatic phrases of violins. A further increase to Forte gets stuck in staccato quavers, but the pass with an abrupt change to the piano in the head from the main theme. This leads - interrupted by a new, unexpected general pause - in A flat major for Piano by appearance of the second theme in D major. The second part of the theme leads again to an increase, this time to fortissimo, which ends up as a B- major seventh chord.

The recapitulation (bars 158 ff ) starts as usual with the first theme in the tonic E-flat major, and also reconciliation and second theme ( now also in it and with gegenstimmenartigem, offset oboes insert) correspond structurally largely of exposure. However, instead of the final group follows a " disaster exemplary fortissimo tutti ", the subsequent Accent Passage fades away as ersterbende figure in the first violin and string chords in the piano. From clock 201-212 now follow as a contrasting, dark and mysterious drawer the first twelve bars of the Adagio ( the original tempo ) including timpani solo. Just as abruptly as this clouding change tempo and mood then back to the codaartig advanced circuit group with the head of the first theme.

Second movement: Andante più tosto Allegretto

C minor / C major, 2/4-cycle, 198 cycles

The Andante represents a double set of variations, as well as in other slow him Haydn Symphony sets used ( eg in the Symphony No. 63). The two memorable themes in C minor and C major respectively consecutively presented and varied. You wear a march -like song-like character, which can be interpreted as the second theme tinted pentatonic major variant of the first. Whether Haydn here has resorted to very specific ( Croatian ) folk songs, is not clearly established, but the echoes of Hungarian / Croatian folk music esp. in the first issue by the gypsy scale are clear. The set had to be repeated at premiere on March 2, 1795.

Outline Overview:

• Presentation of Theme 1 (cycle 1-26): C minor, with 8 18 clocks in C major, a funeral march similar extent, with characteristic excessive Sekundschritt It - Fis.
• Presentation of Topic 2 (cycle 27-50 ): C major, with 8 16 bars, contrast to Theme 1 by Major, Forte and tutti - use, topic 2 is related to Theme 1 (see above); vocal leader are violins and oboes, second part with " cheering " trills.
• Variation 1 of thread 1 (cycle 51-84 ): C minor, with interjections of wailing oboe, flute and bassoon, from bar 74 voice leading in bassoon / viola.
• Variation 1 of Theme 2 ( clock 85-108 ): C major, solo violin plays around the theme.
• Variation 2 of Theme 1 ( clock 109-134 ): C minor, characterized by the alternation of piano (strings ) and forte / fortissimo ( Tutti ), " military march "
• Variation 2 of Theme 2 ( clock 135-160 ): C major, idyllic beginning with oboes and flutes leading vote - garlands, part two fanfares - festive.
• Coda (bars 161 ff ): subdued beginning with issue 2, fades away in pianissimo, then unexpected turn after E flat major ( tonic key of the other sets) and increasing to fortissimo, woodwind passage in the piano, radiant end in C major with timbrels and Bass vertebrae.

Third set: Menuet

E-flat major, 3/4-time, 48 32 bars

Like the previous sentences, allusions to show the main issues in the minuet and trio ( here Austrian ) folk music. The main melody of the minuet is characterized by suggestion figures and " stomping " emphasis of the clock, while the more chamber music trio bears (also in E flat major ) ländler like trains and by the prominent role of the horn section ( in particular the two concertante clarinet and bassoon, also horns time) gets a characteristic timbre.

The problems encountered in the previous sentences contrasts are as " alienation " of the material in the Minuet: At the beginning of the second part of the minuet by achieving the harmony remote keys C flat major and G flat major, as well as by imitation, at the beginning of the second part of the trio by chromatic picking up the Tonrepetitions motif.

Fourth movement: Allegro con spirito

E-flat major, 4/4-time ( alla breve ), 399 cycles

The set opens with a signal of the two horns (similar to the last movement of the Symphony No. 59), the violins against vote like to introduce in its repetition in the seemingly simple main theme, which supposedly goes back to a Croatian folk song. The horn call receives this still an "answer " in the clarinets, which adapts to the second part of the string theme. The string theme is harmony in the wake of multiple kinds, and rhythmic changes in instrumentation, extended, shortened and combined in new ways again and again in its elements:

In the passage to bar 72, which is ( almost) consistently held in the piano, the strings to throw the elements of the theme, accompanied by sustained notes each a woodwind instrument (oboe, bassoon, clarinet). In bar 45, the eight-bar theme is taken up including the fan signal again; the continuation of the strings is similar to the first, but varied. The first time the full orchestra at Forte in clock 73, the opening motif is dominant. The other events in turn is based on thematic working with elements of the main theme. Haydn then changes with virtuoso quaver movement and a fortissimo outburst to the dominant B major. This has been reached with a piano passage (measure 107 ff ) was established in the first bass, oboe and flute then recite the issues head on a carpet-like - floating Tonrepetitionsbegleitung Violin / Viola. In the repetition of the bass spins continue the motif with lyric minor turbidity. In bar 134 is abrupt in Forte " noisy " circuit group with Akkordmelodik in B flat major, which change with the piano (bar 146) seamlessly into the " implementation " passes.

The piano has a passage about conducting character and ends "open" as a B- major seventh chord, followed by a general pause. Since Haydn then resume on the topics use and its Fort spin -drying according to the beginning of a sentence ( but without the horn solo ), first formed while listening to the impression that repeated exposure. Only at the beginning of the Forte - section (bars 182 ff ), which processes the subjects head, it is clear that already in the " implementation " is, however, inspired by the exposition of the structural sequence: An Accent Passage of the Tonrepetitionsmotivs ( clock 208 ff ) leads to Des -Dur, where now the piano passage is presented analog clock 107 ff. These changes in the repetition with the lyrical bass motif to F major. According to the exposition then follows ( clock 247 ff ) the final group as a variant, but stops with chords, to G major, again followed by a general pause as a turning point.

After this major reduction in the recapitulation begins ( clock 264 ff ), the same used by the subjects performance with a variant of the Forte Passage. After the piano passage ( now in the tonic E-flat major ) and the final group adds Haydn from bar 350 nor a coda in which the sentence with the head of the main theme, the horn signal ( now all winds except the flute) and the virtuoso quaver movement brings to a conclusion. In the last case, the voltage increase Timpani - as in the beginning of the symphony - a substantial role.

In the first version Haydn had 16 other bars provided with successive motive reduction to two tones. Perhaps the use of such traditional techniques in this unusual finale it is but then published as inappropriate, so that he has finally deleted.

References, notes