Symphony No. 44 (Haydn)

The Symphony in E minor, Hoboken directory I: 44 Joseph Haydn composed by 1770/71 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The work bears the not coming from Haydn title "Funeral Symphony".

General

The Symphony No. 44 Haydn composed around 1770/71 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The plant, whose autograph is not obtained, it was announced in the Breitkopf catalog of 1772. The title "Funeral Symphony" does not come from Haydn, but probably goes back to its alleged desire to play the Adagio at his funeral (see the third sentence ). He first appeared in 1868 on the title of a published from the publisher André score and was introduced in 1879 by Carl Ferdinand Pohl in the literature.

The symphony bears characteristic features of Haydn's "experimental " style between about 1768 and 1774 and has the following special features:

• The contrapuntal syntax in sentence 1, 2 and 4,
• The position of the canon -like minuet as a second and not as usual as the third set,
• Chromaticism,
• Large dynamic range (eg, from pianissimo to fortissimo, in the first sentence, numerous accents),
• Differentiated rhythms eg by numerous syncope.

In addition, this work belongs alongside the symphonies No. 12 and No. 29 Haydn symphonies only in the unusual for that time symphony key of E ( major). Other symphonies that period of creativity in unusual keys are, for example, No. No. 45 in F sharp minor, No. 46 in B Major or No. 49 in F minor.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. (If the orchestra is available) the harpsichord were to reinforce the bass voice then used without separate listing bassoon and harpsichord, probably not at the court of Esterházy.

Performance time: approximately 20-25 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 the Symphony No. 44. - 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 con brio

E Minor, 4/4-time, 157 cycles

The set begins with an interrupted by pauses, chromatic unison figure, whose opening a powerfully rising four-note motif (signal -like opening motif A: broken chord down with one semitone ) in Forte forms, followed by a more sluggish motion of the strings in the piano, the dominant H implies. Since the opening chord missing the third, the tonality ( major or minor) remains open. Also on the piano, but by eighth - tone repetition with more movement, now the strings follow ( with splashes of color in the horn ) with a question -and-answer motif (motif B). Only here is determined by the third G the fundamental key of E minor. However, the movement died down again and finally fades away in measure 12/13 in pianissimo as ganztaktiger derivative to the dominant B major back from.

After a general pause the opening chord is repeated, but with varied response strings (Motif C). This goes to clock 20 over in a Forte - section, which is characterized by two motifs with virtuosic semiquaver runs and tone repetition in the violins ("running motifs " D1 and D2 Achtelrepetition quadruple triple Viertelrepetition ). Among the motifs occurs against vote like the opening motif A ( initially complete, later only the head about three octaves ascending ). D2 motif is played offset from the violins, reached in G major, G minor ( as an echo of G major ), A minor and D major and comes in bar 42/43 with the opening motif A to rest. It follows again the strings phrase C, in which the embossed by accents and syncopations final group goes from bar 47. A preliminary conclusion is reached in bar 55 with chords, in the Tonikaparallele G major, but Haydn goes on to B major, in which the exposure with a quizzical figure of the 1st violin fades in pianissimo.

In the implementation ( clock 62-100 ), the opening motif occurs only at the beginning of H and of A on ( with compared to the beginning of varied legato response). Subsequently, the processing in particular rotor design D1 follows (bar 77ff; changing to C major; dialogue between 1st violin / bass and oboe / 2 violin / viola; compaction from measure 88 through unison, syncope and sustained tones accompanying the winds) while the opening motif partially occurs as a vote against and the head of run D2 motif from bar 98 in fortissimo surprisingly leads on to the recapitulation.

The recapitulation sets in measure 101 with the opening motif A in the tonic E minor. The strings motif B is derived via a Accent Passage directly to the extended motif C. The passage with the running motifs now comes from without tone repetition and is consistently in a minor key. The enlarged end section is announced by the opening motif A. After the motion on a diminished chord with a fermata decays at short notice, following staggered opening motif A and motif run D until the sentence ends after several accents. The final chords missing ( such as the opening motif ) the third. Exposure and development and recapitulation are repeated.

Second movement: Menuetto - Allegretto. Canone in Diapason

E Minor, 3/4-time, with Trio 88 cycles

The beginning in the piano theme of the minuet is a dance - moody with dark timbre. It contains all the notes of the E minor scale. Structurally, this set is a two -part canon, the first voice of the two violins and oboes, the second part is played by the bass (bassoon, cello and double bass), partially supported by the second horn. The viola plays both in the first and in the second voice, and otherwise as the 1st horn more accompanying function. The second voice enters after three quarters of a behind the first voice; from bar 32 the distance increases to six quarters ( instead of the expected resumption of the main theme ). The splashes of color are characteristic of short horn solos for the whole set with spooky effect.

The lyrical Trio in E major contrasting with challenging for the bugler solo horn passage begins pianissimo and is in the first part by Terzbewegungen, characterized by accents and a brief fortissimo in the second part.

A cannon -like Minuet Haydn also used in the Symphonies No. 3 and No. 23

Third movement: Adagio

E Major, 2/4-cycle, 82 cycles

The set begins with the arguments put forward by the strings, cantabile theme in the piano ( vocal leading violins with mutes ). The theme is repeated in a slightly livelier version and then go from bar 16 in a section on that with full orchestra use develops a flat effect by a motif triplets and a crescendo to forte. The triplets also determine the further course of the movement and ensure a continuous flow of music.

From bar 24, the vote leading 1st violin rises rises in the dominant B major by an octave leap upward slowly and some chromatically down again and then leads into a longer Triolenpassage for strings. At the end of the exposure, the wind comes again added reinforcing.

The development section first reiterates the first theme in B major, then picks up the motif triplets into a variant and runs it through different keys. In bar 57 the tonic E major is achieved with the use of the fan again. Depending on the perspective, you can set the beginning of the recapitulation here. The uniform movement continues and reaches in clock 64 a short voltage maximum fortissimo. This is followed by the second theme, the triplets section and the final passage with wind accompaniment. Exposure and development and recapitulation are repeated.

The narration by Haydn is said to have had the desire that this sentence should be played at his funeral. This was then 1809 in Vienna not the case, where Mozart's Requiem was heard, while at the musical celebration of Haydn's death in Berlin his (alleged) request was granted and " the already older symphony of E minor, with the touching Largo from e- major ( ... ) was " listed. Possibly, the name "Mourning Symphony" also goes back to this performance.

Fourth sentence: Presto

E Minor, 4/4-time ( Alla Breve ), 187 cycles

In energetic staccato quavers in the strings carry forte unison before the eight-bar main theme, followed by a contrasting piano variant with bound movement. The reconciliation (cycle 19-28 ) sequenced the head of the theme in the strings, in bar 29 it is then rather abruptly into a derivative from the main theme Tonrepetitionsmotiv in Tonikaparallelen G major on. At first, playing the first violin, and - offset - the bass on the subject, backed by a likewise enable counterpoint in the second violin and viola ( as a double canon interpretable ). From bar 37 the instruments exchange their roles. It follows to clock 59 is a section which is characterized by large interval jumps in staccato, tremolo, accents and energetic reps. The final group again engages the head of the subject on ( with syncopated accompaniment of the 1st violin ), the movement sounds from then on a pedal point on the dominant H.

The implementation is also based on the head from the main topic. Up to 95 clock it is sequenced in the first violin upwards, backed by syncope and a chromatically falling movement in the bass. The strong voltage build-up acts like a crescendo, although this section is uniform in Forte. From bar 96, the voltage as a down sequencing of the subject discharges in the bass and tremolo in the violins. The transition to the recapitulation (bars 112-120 ) used the counterpoint of Tonrepetitions motif of clock 29, underlaid by a pedal point on H. From bar 120 would then also Tonrepetitions motif is itself a work, so that you can see here the beginning of the recapitulation can. As in the exposition closes the section with the large interval jumps at the Forzato and energetic reps.

The beginning of the end group in clock 151, which is configured as in the exposure is initiated by an e - minor triad of the horn. After the pedal point H, the symphony ends with the head to the main theme, tremolo, and - as in the first and second sentence - final chords without third. Exposure and development and recapitulation are repeated.

What is hardly noticeable when listening is to use the head from the opening motif of the first movement in the transition to the recapitulation (bar 119/120 ) in the violins and a fragment of the subject in the oboe / bass in bars 139 and 141 ( underlined chromatic downward steps ).

References, Anmkerungen

Web links, notes

• Recordings and information on Haydn's Symphony No. 44 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 44 by Joseph Haydn
• Joseph Haydn: Symphony no. 44 e minor. Philharmonia Band # 744, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn.
• Joseph Haydn: Symphony No. 44 in E minor "Funeral Symphony". Ernst Eulenburg -Verlag No. 544, London / Mainz undated, 79 pp. ( pocket score ).
• Wolfgang Marggraf: The Symphonies of Joseph Haydn. -. Symphonies the years 1766-1772, retrieval June 29, 2012.
• Symphony No. 44 by Joseph Haydn: notes and audio files in the International Music Score Library Project.