Symphony No. 11 (Haydn)

The Symphony in E flat major Hoboken directory I: 11 Joseph Haydn composed by 1760/61 during his period of employment with Count Morzin. Contrary to the usual form of the work begins with the slow movement and the finale is not a lightweight " Clean Sweep " more.

General

The symphony Hoboken directory I: 11 Joseph Haydn composed by 1760/61 during his period of employment with Count Morzin.

The block sequence is slow - fast - dance movement ( Minuet ) - fast depends on that of the late Baroque church sonata and is under Haydn's symphonies at No. 5, No. 18, No. 21, No. 22, No. 34 and No. 49 represented. In contrast to the four-movement church sonata is the third no slow movement, but a Minuet ( Symphony No. 18 is only three movements ). In accordance to the church sonata, however, in these symphonies all records held in the same key ( at the Symphony No. 11 is merely the trio in the dominant key of B flat major ), and the Symphony No. 11 can be found as well as in church sonatas approaches to polyphony.

The Symphonies Nos. 5 and 11 are highlighted under Haydn's earliest symphonies:

"The two symphonies 5 and 11 differ from those of the Italian type fundamentally: they seem far more personal, conflictual and emotionally deep lote Direction (...). Even the opening two sets, Adagio ma non troppo ( Symphony 5) and Adagio cantabile ( Symphony 11 ) will be overwritten and thus the first truly slow movements of Haydn's symphonic work, the middle movements of the other early symphonies exceed noticeably emotional expression. "

" The fact that some of his early symphonies - such as the No. 5 and No. 11 - seem more elaborate than others, could have its cause in the fact that Haydn symphonies for this may have had more time to compose. "

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. (If available in the orchestra ) were to reinforce the bass voice then also without separate listing bassoon and harpsichord used, insist on the participation of the harpsichord in the literature different opinions.

Performance time: approximately 20 minutes (depending on adherence to the prescribed repetitions)

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 a composed around 1760/61 work. - 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 cantabile

E-flat major, 2/4-cycle, 81 cycles

The set has a quiet, almost meditative character. The strings dominate the horns accompany some places phonetic filling ( but stay in the background ), mention the oboes.

The four-bar first theme with its falling semiquaver is first introduced by the second violin piano, accompanied only by the measured border accompaniment in the bass. Subsequently, the first violin repeats a fifth above the subject. From bar 8 both violins play puts the topic header, the first violin then rises in falling Trio Lenke tablets over nearly two octaves from. The target point B as the root of the now well-established dominant is accented with Forte - piano contrasts three times. - The beginning of the Adagio, with its restriction to the strings and the offset inserts subjects recalled the beginning of a fugue, " quite like a baroque trio".

After this somewhat " old-fashioned acting opening bars " takes the first violin in the second subject, a triplet accompaniment of the second violin with her melodious melody ( Cantilena ) voice leading. This is one of the first lyrical singing themes from Haydn. In a dialog motif of both violins again with falling triplets and tone repetition then follows from bar 27 the final group in which now both play violins for the first time in parallel with the sixteenth-note triplets - at the end of exposure vote, the other strings a unison. Furthermore enter into the final group Forte - piano contrasts, similar to clock 14/15 before the second theme.

The middle part begins with the first issue in the second violin, the first violin plays the bass like a border accompanying figure similar to the beginning of a sentence. A variant of the Forte - piano motif from clock 14/15 leads to the longer passage with sighs like Sekundschritten in the descending trio Lenke tablets of the first violin. Following a dialogue of low and high strings begins in measure 57, the recapitulation.

Compared to the exposure, the recapitulation is slightly changed. The first violin plays the first theme against a vote -like accompaniment, and the horn is a short dash of topics beginning. The topic is not repeated, but instead follows by a variant of the Forte - piano motif from clock 14/15 ( but now without this dynamic contrast ) for the second issue. The dialog motive is hardly changed, the final group is expanded to include a clock. In contrast to the exposure unison phrase, but the sentence is missing fades away in pianissimo. Exposure as well as middle and Reprise be repeated.

Howard Chandler Robbins Landon criticized the "excessive " use with triplets, the coarse orchestration especially the strings, and thinks that the sentence resembles the earliest divertimenti.

Second movement: Allegro

E-flat major, 4/4-time ( alla breve ), 161 cycles

The first theme ( main theme ) consists of a Fünftonmotiv in half and whole notes that form a diatonic ascent to the extent of a fourth. This topic has strong similarities with the beginning of the Overture by Wolfgang Amadeus Mozart spiritual musical comedy " The Obligation of the First Commandment " Köchelverzeichnis 35, wrote this in 1767.

The transition to the second theme is the one by the march-like motif with tone repetition in fanning the rhythm with his two -eighths, the other by Tremolo and large interval jumps of the first violin. The second theme in the dominant B- flat major is a variation of the first theme is: The first violin takes up the issue and spins it away, the second violin plays a vote against it ( other instruments are silent ). The immediately subsequent final group raised the issue again in the bass and terminates the exposure to falling cycles that are interrupted by two half notes in unison ("running theme", the half-notes can be obtained from 2 -stroke in the first theme derived ).

The development begins Haydn as a variant of the main theme, which is now provided with a counter-movement. The running motif of the final group leads to a further variation on the theme, but now an octave lower in the piano and in B-flat minor. Surprising, then, continues the theme as apparent recapitulation again as at the beginning of a sentence in the tonic E-flat one, including the " march motif ". From bar 88 the march motif is combined with the running motif from bar 96, the ascending line of the theme in half notes sequenced upward, and from bar 102, the violins play in changing the running motif.

The recapitulation at measure 112, Haydn designed in three-part application of the second violin, first violin and bass. The further course of the recapitulation is similar to the exposure. Exposure and development and recapitulation are each repeated once.

Third movement: Minuet

E-flat major, 3/4-time, with Trio 60 cycles

The minuet is held in the gallant, but also somewhat festive style. The initial figure with its ascending line is reminiscent of the Allegro, the triplets and the unison final phrase of the first part of the Adagio. In addition, dotted rhythms, an interruption of phrases with pauses and a forte -piano- contrast characteristic. The second part continues the theme of the first Tutti and also contains a contrasting piano place only for the violins. This is missing in the reprise -like revisiting the first part, now just missing the unison final turn.

The trio is in B- flat major and is kept only for strings. His three-layered rhythm ( 1st violin, 2nd violin, viola bass ) evokes the Andante of the Symphony No. 4

" In the third movement, the minuet, trio captivates through original rhythmic design. In the written for strings only, three-part piece of the clock priorities are always asked by a syncopated vote against it were in question (...). Witty syncopated This has unmistakably also had an impact on the subject of lively Presto finale. "

Fourth sentence: Presto

E-flat major, 2/4-cycle, 119 cycles

The Presto with his " nervous energy " has within Haydn's earliest symphonies so far as a particular weight, as it (just like the last movement of the Symphony No. 5) to dispense with the then usual, lightweight " Clean Sweep " gesture in 3/8-time is it characterized by a larger size and greater motivic work.

The main theme (bars 1-7 ) is piano played by the strings with voice leading in the 1st violin: It consists of a syncopated descending line from four notes (this to the first theme of the Allegro or by the syncopation of the trio of the minuet reminding ) with " grinder phrase " ( Zweiundreißigstelfloskel with proposal and trills ), which is repeated varies twice. In bar 8 forte uses the entire orchestra: First, with interval jumps down and runs, then with another motif from triple tone repetition and closing trill turn. A variant of the trill figure is then sequenced upstream, where Haydn changes to the dominant B major.

In B - flat major then the head from the main topic to be replaced after only two bars on the interplay of the grinder phrase appears again. By the end of the exposure then dominate tremolo -like running figures.

The implementation shall evaluate the elements of exposure to a relatively intensive processing process: First, syncope effect of the main theme is reinforced by staggered use of the instruments, then takes over the bass with a clock derived from 8 motif with tremolo of the violins and release the voice leading. Another appearance of the theme in a minor key switches to the processing of Tonrepetitionsmotivs.

The recapitulation at measure 82 is changed, especially at the beginning compared to the exposure to " downright spectacular break-ins " by contrasting minor twists in the Forte. Otherwise, the structure is similar to the exposure. Exposure and development and recapitulation are repeated.

" The final movement of Symphony 11 (...) deserves the highest interest because the energy of the second set increases in him a thrill that already almost seems like an anticipation of certain tendencies from Haydn's work in the late sixties (...). The interesting topic receives its character by the rushed acting syncope. (...) In this very sentence is concentrated in the recapitulation changed the subject by an eighth- motif contrasting is inserted in Forte between its individual phrases. Haydn's early work in an absolutely unique procedure "

References, notes

Web links, notes

• Recordings and information about the Symphony No. 11 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Wolfgang Marggraf: Haydn's earliest symphonies ( 1759-1761 ). The symphonies of "Sonata da chiesa " type. , Call 30. January 2013.
• Joseph Haydn: Symphony no. 11 in E flat major. . Philharmonia Volume No. 711, Vienna 1965 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 11 by Joseph Haydn: notes and audio files in the International Music Score Library Project.