Symphony No. 38 (Haydn)

The Symphony in C major, Hoboken directory I: 38 Joseph Haydn composed probably in 1767, It is one of the festive C major symphonies " resoundingly " and gets through the use of a solo oboe part concert -like traits..

General

The Symphony No. 38 Haydn composed probably in 1767, during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

For the "big" events at the court or for representative purposes, the C major are - symphonies characteristic with their trumpets and timpani, which are ( Opening music for ceremonial occasions ) in the tradition of Baroque Intrade. These are in addition to the symphonies of Joseph Haydn Symphony No. 38, for example, the Symphonies No. 32, No. 33, No. 41 and No. 48, however, trumpets and drums were probably partly reactive, not by Haydn even added.

There are the special features of Symphony No. 38 in the echo -like imitations in the second set and the use of a solo oboe in the trio of the minuet and in the fourth set addition to its festive character. This places contains the character of a solo concerto. The use of the solo oboe is possibly related to the readjustment of the oboe virtuoso Vitorino Colombazzo in the orchestra of the Esterházy Palace.

Kenyon rated the symphony as " one of the greatest festive C major symphonies ( ... ), which Haydn ever wrote. Webster describes the work as " a little bombastic " and runs through the "creative frivolity of this work " an inspiration through the stage ( opera, theater) into consideration. Finscher writes that the work " is another example of the" Great "C -major style (be ), the festive symphony with trumpets and timpani, with very simple and clear forms, but also one in this context doubly amazing highly dramatic implementation in the first and contrapuntal fields in the fourth set. "

About the Music

Instrumentation: two oboes, two horns, two trumpets, timpani, two violins, viola, cello, double bass. Trumpets and drums may have been added later. Bassoon and harpsichord were to reinforce the bass voice then even without special notation 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 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: Allegro di molto

C major, 2/4-cycle, 194 cycles

Haydn opens the symphony with a huge forte tutti, the " radiant " triads (eg fanfares ascending C major chord at the beginning), the rhythmic compressions both in the vocals ( oboe and first violin ) and the middle voices (2nd violin and viola accompany syncope ) and the bass long sustained and stressed by drumbeats pedal point on C particularly impressive acts. The main thematic unit is repeated and leads - still lively - for the dominant G major. After a break of the transition section is where the second subject. Haydn used here two motifs: a " question-answer motif" (transfer motif 1) and a auftaktiges Tonrepetitionsmotiv (reconciliation motif 2, tone repetition until four, then shortened three times).

The second theme (bar 45 ff, G major ) is predominantly piano played by the strings. It is characterized by its smooth, offset -eighth movement, suspensions and ( dual ) tone repetition. The final section (bars 60 ff ) in Forte contains a triply repeating motif (again with the tone repetition ) and a change of virtuoso runs in the violins with chords, the tutti.

In the implementation (measure 76 and following) the beginning of the first theme ( ascending chord ) is imitative divided on bass and violins and modulates forte through various keys (for example, G minor, D minor, F major, B- major, e Major ) - again accompanied by the syncopated middle voices. In bar 94 in A minor, has been reached, with the now the reconciliation motif is presented 2. Suddenly the tone of the previously dramatic action changes by changing to F major in which now a seemingly new, sang Royal motif is presented in the Piano ( clock 112 ff ), the then but it turns out as a variant of the second theme.

After a general pause the recapitulation begins ( clock 132 ff.) It is similar to the exposure structured, but the Reconciliation Scene 1 is omitted. Exposure and development and recapitulation are repeated.

The set has related to Haydn symphonies at that time with almost 200 cycles a considerable length. Remarkably for a festive C major - Symphony with " otherwise rather simple and clear forms " is next to the " highly dramatic development ". After Michael Walter, the " rousing happiness" and a " more subjective than representative character " on, " as evidenced by the dramatic moments " going to begin implementing enhanced.

Second movement: Andante molto

F Major, 3/8-time, 102 cycles

In this sentence, which is held only for strings, Haydn makes the final designs of the arguments put forward by the first violin vocals constantly imitiren of the damped second violin, " no matter how tactless it may seem in the rhythmic context, or as exaggerated at the end of two main sections. " The baroque style means the echo is thereby pulled something ridiculous.

The two main sections can be possibly even broken down into " exposure " ( to measure 33, first main section), " implementation " (up to 71 clock ) and " Reprise" ( from bar 72). From bar 50 is caused by a haze after minor and dissonant Sekundschritte between two violins a slightly more serious tone. The end of both key sections will, however, turn killed by something "trivial " eighth- staccato.

Third set: Menuet. allegro

C major, 3/4-time, with Trio 54 cycles

The pretty quick minuet ( " Allegro" ) begins with its forte dance tune, with horns, trumpets and timpani are used only in the final turn of the first Achttakters. At the beginning of the second part, the melody is spun out with the participation of the whole orchestra forte, before a short string passage leads to the ornate piano revisiting the opening theme.

In the trio ( F major ), the solo oboe minor string accompaniment dominated initially with a melodious triplet and then leads to the beginning of the second part large interval steps.

Fourth movement: Allegro di molto

C major, 4/4-time ( alla breve ), 153 cycles

The set is characterized by the alternation of blocks for the whole orchestra and solo oboe passages, thereby contributing traits of the oboe concerto. Haydn begins the sentence piano: The violins play the interspersed by pauses topic that only downward, then wanders through the C major scale up. In the pauses of the violins viola and bass set clock, a dot-like organ, repeated C. interrupted by a vigorous forte unison passage, the theme is then repeated with ausgehaltenem C in the winds.

The issue now goes directly into the following, polyphonically retained portion. The short runs contained therein are taken virtuosity of the solo oboe as a second theme (bar 41 ff, dominant G major ) and continued. The opening bars are identical to the first topic. The stepped movement of the bottom group in Forte ( bar 55 ff ) is also reminiscent of the first theme.

Also in the implementation of the interplay of solo oboe passages and tutti - blocks continues: First, the solo oboe carrying the first subject, this varies by runs and comes after a solo cadenza on the dominant G major for peace ( clock 74). Then starts the rest of the orchestra as Tutti beginning with the motif of the first theme, intermittently interrupted by solo runs of the oboe. The polyphonic passage (bars 83 ff, forte ), however, like the recapitulation entry with the first theme (bars 95 ff piano) the Tutti reserved only when the subjects repeat the oboe involved again with a long sustained C. According to the exposure follow the polyphonic passage ( Tutti ), the second subject ( oboe and turbidity after minor) and the final group ( Tutti ). Exposure and development and recapitulation are repeated.

Robbins Landon raises the rate emerged as one of the best ever final movements of Haydn's symphonies.

References, notes

Web links, notes

• Sound and score the 38th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 38 by Joseph Haydn, among others with discussion of various recordings
• Joseph Haydn: Symphony no. 38 C major. No Philharmonia. 738, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ).
• Symphony No. 38 by Joseph Haydn: notes and audio files in the International Music Score Library Project.