Symphony No. 35 (Haydn)

The Symphony in B flat major, Hoboken directory I: 35 Joseph Haydn composed in 1767 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The autograph of this symphony has an exact date on: December 1, 1767 Partly it is inferred that Haydn had composed the symphony that very day. . However, it is also conceivable that the date means the date of the composition starting or completion.

Among contemporaries, the work was likely to be relatively popular: The symphony is detected in 1769 in the catalog of music of the pen Göttweig. Therefore, the work must have been quite soon spread to its emergence in votes copies. Several of these secondary votes copies have survived. Already in 1771 printed votes were displayed at Venier in Paris.

In his " design catalog" Haydn has entered the work between the Symphonies No. 39 and No. 59.

Examples of statements on the Symphony No. 35:

• " [ ... ] And so it goes on, just like the employment contract so provides and the position it requires that the the conductor " requires provision " of the necessary for all concerts and festivities music, just as the gardener, the flowers, the hunter for the game, and has at Schneider for the toilets. Before 1764 Haydn had already written twenty symphonies; perhaps some or many more - who they should register or count then? [ ... ] Followed Symphony Symphony [ ... ]. "
• " Although this caused the end of 1767 Symphony by external criteria is not entirely unusual - it uses a common major key, the usual sequence of four movements and the standard instrumentation of two oboes, two horns and strings [ ... ], it does not have a nickname more programmatic or dramatic cases and has no obvious violations of the conventions of form or stylistic propriety - they consistently embodies the fine art, which Haydn was capable when it came to him is to create " light music " ".
• HC Robbins Landon points out in the Symphony No. 35 to change from " Light and Shadow", the long minor passage of the implementation of the first set and the Mannheim to the school reminding, rich orchestral effects produced.
• Ludwig Finscher considered the Symphonies No. 35 and probably also in 1767 wrote No. 58 as " quasi mirror-image pair of works ": # 35 goes from one " already in the exposition highly dramatic first movement over a melancholy Andante to a finale that strikes buffa tones "while the center of gravity of No. 58 in the unusual sets 3 and 4.
• Anthoy Hodgson draws attention to the particularly demanding horn parts in the first movement, which had responsibility for ensuring that the work will rarely performed in public. He praises the Andante of the " enchanting " and emphasizes its lightness.

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.

Duration: about 20 minutes (depending on adherence to the prescribed repetitions)

In the alternative, here used concepts of sonata form is taken into account that this model was designed only at the beginning of the 19th century (see below) and can be used for a symphony of 1767 with some restrictions. - 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: Allegro di molto

B flat major, 3/4-time, 177 cycles

Haydn opens the symphony - for that time rather unusual - not forte, but piano with a melodious question-answer motif (motif 1, " sang Royal motif" ) in the violins over pounding eighth notes in the bass. In this four-bar antecedent phrase of the first theme follows the four-bar also afterthought, consisting of two announced by the horn forte chords, which are in turn answered by motif 1 piano. In the subsequent reconciliation Haydn replaced with several designs to the dominant F major: 2 motif with inlaid, rhythmic unison movement ( " gallop " motif ), which is reminiscent of a corresponding motif from the first set of Wolfgang Amadeus Mozart's Symphony KV 543, Scene 1a and 1b with a motif derived from one question-answer structure and motif 3 with his energetic, chromatic unison movement of the strings in tremolo ( tremolo motif).

After a short break is the second theme piano in F major one (cycle 40-47 ), which is a variation of the melodious and subject - is played by the strings - such as at the beginning of a sentence. The end of the exposition denies then the whole orchestra in Forte with virtuoso runs, chromatic tremolo movement (similar motif 3) and a dialogue of rhythmic phrase from gallop motive of the solo oboe solo.

The implementation ( clock 61-105 ), characterized by its modulations, the longer minor passages and the contrapuntal processing of the thematic material, machined one after the main motives for the set. It begins with the Fort spin drying of melodious subject, but surprisingly not in F Major, in which the exposure was closed, but in the tonic B- flat major. The design is accompanied by a more than eight bars sustained B of the horns or the throbbing quavers in the bass and shortened ( only the final turn left ). The following dramatic Forte section illuminating the subject in different colors that are opposite appointed by the interplay between upper and lower voices in sharp change ( change of key, partially offset use of the motif ) and reduces the subject finally back on his final turn. From bar 88 Haydn switches to gallop motif, which is also processed by staggered deployment and management by different keys. The execution is terminated by the tremolo motive, which is now extended to eight bars.

The recapitulation (bars 106 ff ) falls through the demanding, brilliant little horn solo in the forte of the consequent part of the first subject and a passage in the transition to the " second theme " on, in which both the violins cantabile theme in staggered throw dedication and endeavor - screw up - again with shortening of the subject. Also at the end of a sentence, the horns still get short solo deposits. Exposure and development and recapitulation are repeated.

Second movement: Andante

E-flat major, 2/4-cycle, 128 bars

The five-bar, leisurely main idea is first introduced in the vote leading violins. It is characterized by a auftaktiges, a note umspielendes " pendulum design" ( Scene 1), a motif with interval steps down ( motif 2 ) and a rhythmic closing phrase (motif 3). The idea is then recovered, with the first violin supports the accompaniment. The beginning of the sentence in this case contains a " tonal Gewitzheit ": The first bars of the subject act as if B- flat major, which still echoes from the previous sentence in the ear, the basic key ( tonic) would be - until the final phrase leads to it, the "real " basic key of the record. From bar 10 Haydn begins with the Fort spin drying of motif 1 This leads to F major, the dominant effect for the table following passage in B flat major. Here ( bar 19 ff ) occurs, the pendulum motif in the alternation of high and low register. The final sentence of the first part is characterized by a upbeat Tonrepetitionsmotiv with rhythmic final turn.

The implementation (measure 47 ff ) starts with the main ideas in B flat major ( while listening to is now first implies E flat major ). Subsequently, the processing of the thematic material (eg simultaneous use of the pendulum motif, change of keys ) follows. A forte unison passage leads back to the recapitulation, which is opposite to the exposure varies slightly ( for example, themes used at the beginning in the bass ). At the very end in pianissimo Haydn takes the pendulum motif from the beginning again on, can it be but a short, leading to the Eb major chord progression answer, so now "finally restored the balance " is. ( similar structure in the fourth set ). This is probably the first comprehensive example "of what Haydn was soon to become a well-known joke: the idea to end a sentence with its introductory phrase. " Both phrases are each repeated once.

Third set: Menuet: Un poco Allegretto

B flat major ( minuet ), E-flat major (Trio ), 3/4-time, with Trio 58 cycles

The main idea of the dynamic minuet is characterized by leadership in unison, upbeat triplets, trills and a contrasting, simple closing phrase in the piano. At the beginning of the second part emerge the triplets and trills, while in the transition to the resumption of the main melody strikes a solo for horn and oboe. In the end, in the final turn then take a brief Forte slot in between.

The Trio ( E-flat major, strings only) is connected to the minuet by the triplets, which now dominate as an accompaniment under a legato melody. In this case both violins alternate with the voice leading from.

Fourth sentence: Presto

B flat major, 2/4-cycle, 141 cycles

Similar to the opening movement, the Presto is also characterized by a propulsive impulse. - The first theme consists of two contrasting motifs: three chord strumming ( tonic B - F dominant - tonic B) at Forte, followed by a stereotyped liable piano response of the violins. After varied and prolonged repetition of the theme with rugged switch from forte and piano performs a tremolo passage to the dominant F major, in the from bar 32 the second theme with ascending, auftaktiger quaver movement is presented. About a falling in tremolo line the final group with its dialogue ( derivative design ) is achieved by violins and oboes.

The implementation (measure 56 ff ) first accesses nor the motives from the first theme on, swings from bar 62 of E-flat major, however, from a passage of dialogue modulation motif of the final group. A "wild " section with wider terms quaver movement in Forte leads to the recapitulation back ( clock 94 ff ), which is similar in structure to the exposure. Haydn finished the sentence with the three chords, from the beginning of a sentence, thereby initially formed while listening to the expectation that the sentence would go further (ie, a similar "musical joke " as in the Andante). - Exposure and development and recapitulation are each repeated once.

References, notes

Web links, notes

• Sound and score the 35th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 35 by Joseph Haydn
• Joseph Haydn: Symphony no. 35 B flat major. No Philharmonia. 735, Universal Edition, Vienna 1964 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies. ( Pocket score )
• Joseph Haydn: Symphony No.. 35 B flat major. Edition Eulenburg no. 564 Ernst Eulenburg Ltd.. , London / Zurich 1963 ( pocket score )
• Symphony No. 35 by Joseph Haydn: notes and audio files in the International Music Score Library Project.