Symphony No. 67 (Haydn)
The Symphony in F major, Hoboken directory I: 67 Joseph Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.
General
The Symphony No. 67 Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.
Symphonies 66, 67 and 68 were printed in 1779 by the publisher Hummel in the order No. 67-66-68 as " Opus 15". Ernst Ludwig Gerber writes to Symphony No 67 in the discussion of this print in his " Dictionary of Musicians " ( 1812-1814 ):
" Op. 15) Berlin b. Hummel, 1779 (...). These are already out of Haydn's most beautiful Blüthenzeit. (...) No. 1 in 6/8-measure with the cute Leyertrio for 1st and 2ste Violin is also individually engraved to London (...). "
Due to some peculiarities (the first sentence final character, the theme of the Adagio evokes a theme of closing bars slower rates, the end of the block from the Adagio itself as well as the trio unusually orchestrated by the minuet, the fourth set has the type of a head set and contains instead the expected implementation of a contrasting Adagio middle part ), the Symphony No. 67 highlighted in the literature:
"It's quite a work for Kenner, very originally designed in the invention and with various subtleties and surprises. "
" Haydn - and this itself makes the witty " joke "of the work from - here written with high craftsmanship, an anti - symphony, which is completely against the grain but what so artfully done, as only Haydn could. And only he could afford it, because the symphony is the knowledge of the "normal" symphonies of Haydn advance so that those listeners who knew these symphonies, was allowed to amuse themselves about how much Haydn was ironically his own symphonic artistry. Who does not Haydn's early seventies listening to the symphony in light of the symphonies, it will however need to keep incomprehensible and strange. "
About the Music
Instrumentation: two oboes, two horns, two bassoons, two violins, viola, cello, double bass. On the participation of the harpsichord exist 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 the Symphony No. 67. - 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: Presto
F Major, 6/8-measure, 259 cycles
The Presto carries with his pace and the unusual for an opening sentence 6/8-measure typical characteristics of the final movement, whereas the fourth set, has characteristics of an opening sentence ( see below). The first theme is presented by the strings piano. It is ( in turn consist of two four-bar halves ) made up of three eight-bar phrases: Phrase 1 with staccato quavers, partly as a characteristic tone repetition and a separated by pauses "Appendix" with the proposal set phrase, phrase 2 in dance exchange of legato and staccato, also interspersed with pauses and phrase 3 with initial tone repetition and running, stepped motion. After this " graceful opening of " breaking in measure 25, the whole orchestra ( tutti ) in an energetic Forte block in, which takes up the head of Phrase 1 of the first theme in the first few bars, but then in his sixteenth Grinder motif brings new material, from clock 46 turns in unison to C minor, increases up to tremolo and finally in three G Major - comes to a stop chords.
The second theme ( from bar 58) with sanglich - lilting character in the dominant C major with a question and answer - structure is played by strings and oboes, oboe which are only involved in the question. The theme is repeated, now support the horns of the oboe. From bar 71 of the second energetic Forte block, which is in turn guided partly in unison and includes tremolo passages follows. The unison motif at the end of the exhibition to commemorate his tone repetition of the motif from the beginning of a sentence. The exposition ends (similar to before the second theme) with three chords, C major.
The implementation of the three repeated chords of D major moved, then play the strings in G minor, a new topic, the material of Phrase 1 of the first theme contains. Haydn eventually replaced by D minor, and starting from Phrase 1 of the first theme in the staggered use of the instruments a longer passage with Forte now begins vigorously, continuously continuous quaver movement. From bar 132 the dynamic changes to the piano, and by the dotted half notes of the voting leading first violins character of the music is quiet - but the quaver movement runs in the second violin on. The return to the recapitulation is heralded by the themes resonate heads of the second and first theme (bar 156 or 160 ).
In the recapitulation ( from bar 162) the beginning of the first Forte block is changed. The oboes bassoons In addition, the second theme playing in the "answer" (not for the " question " as in the exposure), in the repetition of the theme in the " question ". The rest of the recapitulation corresponds largely to the exposure. Haydn finished the sentence with a coda in which first the strings play piano Phrase 2 from the first theme. The fan then repeat in unison the head of phrase 1 in Forte responded to by the three chords, the whole orchestra.
Second movement: Adagio
B flat major, 2/4-cycle, 122 cycles
The first theme piano is played by the strings, the violins play damped. The theme is built periodically from two fünfttaktigen phrases. It is characterized by an upbeat motif in dotted rhythm ( " opening theme" ) and a Staccatofigur ( " Staccatomotiv "). The little march-like theme " is limited to the bare cadence levels" and reminds the character of the final formulation of a slow movement.
In bar 11, the opening motif is continued with brass insert, then dominated by semiquavers and Zweiunddreißigstelbewegung of violins under a melodic line of oboes. After calming influence with the fermata in measure 23/24 uses the second theme in the dominant F major in the vote leading oboes and bassoons, while the Zweiunddreißigstelbewegung the violins continues in broken chords. The dynamics increase in crescendo to fortissimo and then sounds an echo effect from again, until finally only the violins with their stalled continuous movement remain. A cadence figure with trill leads to the final group that really stand out for their " quirky " dialogue between rhythmic Bläserfanfare and strings answer.
The development begins with the head of the first theme in a minor key and processed the short prelude motif. Then follows the processing of the " Staccatomotivs " as a canon between the two violins (bars 56-67 ), before the opening motif is taken up again with gradual use of the instruments. The staccato motif in unison announces the recapitulation.
The recapitulation at measure 81 goes to the first theme with a few interim measures on the second topic above and is otherwise largely of exposure. For the end of the block with its coda Haydn uses an unusual sound effect: The strings play pianissimo in the first half of the first theme of " col legno ", ie not painted with the bow hair but struck with the bow stick, creating a rough, brittle to spooky Exposure is repeated, development and recapitulation not.
" The slow movement is one, along with the Symphony No. 68, to a particular subspecies, which is characteristic of this period: Adagiosätze in the sonata form, in which play the violins with dampers and are based on short, aphoristic phrases, with the tendency to dissolve in a delicate filigree work. However, they vary in the mood ambiguously between comedy and emotion. They are in no sense "popular". Here, this stylistic mixture enters the implementation most apparent; the central portion of such sets consists of an exceptionally " quiet " delicate passage, here is an extensive canon of the two violin parts, which is enclosed on both sides by the most expressive passages of the sentence. "
Third movement: Menuetto
F Major, 3/4-time, with Trio 46 cycles
The main theme of the minuet is based on the broken F Major - triad with opener and Staccto as well as a double whammy figure. The short middle section only for two violins piano continues the theme. In the reprise -like revisiting the first part of the bass now accompanied partly with flowing quaver movement.
Similar to the conclusion of the Adagio and the Trio in F Major contains a sonic characteristic: It is disputed only by two solo violins, both of which play damped. The popular melody is in high position played by the first violin solo, while the second solo violin with its heruntergstimmten to F G string strikes up a drone bass and also accompanies the first solo violin with double handles. This vouches a buzzing, hurdy-gurdy -like sound experience.
" As a curiosity finally be mentioned that quite strange trio of Symphony 67, which was probably inspired by folk music-making practices. It runs continuously from only two solo violins with mutes, where Haydn prescribes to tone down the lowest string of the second violin from G to F, the root of the sentence. He is being held through the entire set, which results in a very strange, bagpipe -like effect. "
Fourth movement: Allegro di molto - Adagio e cantabile - Allegro di molto
F Major, 4/4-time ( alla breve ), 209 cycles
The set includes the replacement of the implementation by an independent, slow section, the sequence fast - slow - fast and on recalling thus an overture, the tempo marking is more typical for a first set. That the Allegro di molto appears at the end instead of at the beginning of the symphony, "appears as a curious correspondence with the header that seinserseits is rather like a final. "
The first theme is presented by the complete orchestra forte. It is composed of three four-bar phrases: Phrase 1 with the pauses interrupted, issuing chords, as well as the up-and descending figure of broken chords, the repeated phrase 2 as an "answer " to phrase 1 with characterizing trills and phrase 3 with its unison motive. The theme is repeated ( Phrase 1 and 2 piano, forte phrase 3 ). Over a four-bar transition motif that is related to the previous designs by its start and the dotted rhythm, Haydn moves to the next Forte block. This established with continuous eighth notes in the violins and penetrated by pauses cadence figure, the dominant of C major. The second theme ( from measure 47, C major ) with periodic structure is first presented by the strings, piano, and then repeated with brass participation. It is shaped like the previous designs by upbeats and dotted rhythms and truly has a folksong-like character. The final group consists of intermittent pauses chords, and takes up the cadence figure from in front of the second theme. The exposition is repeated.
Instead of performing a Haydn to the previous events strongly contrasting, serious Adagio e cantabile (bar 72-145 ) set in the 3/8-time with two themes. Both topics are modeled after ABA. The theme 1 in F major is instrumented in chamber music, intimate style only for two solo violins and a cello solo, only at the second A- part is true a full orchestra. Parts A and B-A are repeated. Theme 2 in B flat major begins with soloistic brass insert, the initial motif is identical to that of the Missa Sancti Nicolai, Haydn had composed in 1772. When it comes to 2, only the A-section is repeated, the BA - Part goes without repetition in the three-time, signal-like sequence of four strong chords, with piano - answer about (B- flat major, G minor, E-flat ), and then performs as descending line to the dominant of C major.
" This Adagio is as broad, running so rich that one about the previous Allegro almost forgets and is again surprised if there is - to a certain extent than Reprise -. Suddenly reappears "
Allegro di molto The following corresponds to as " Reprise" largely of exposure, however, the first topic will not be repeated, but goes straight into the corresponding Forte block. In the coda at the end of a sentence, the first violin piano plays eight bars long a pendulum figure in sixteenth notes while the upper and lower voices to put " as the final Buffo - incidence " in exchange a three-note motif. As the music in the pendulum figure threatens to sanding, finish two Fortissimoakkorde the sentence.
References, notes
Web links, notes
- Recordings and information on Haydn's Symphony No. 67 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Joseph Haydn: Symphony no. 67 F major. No Philharmonia. 767, Universal Edition, Vienna 1967 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
- Symphony No. 67 by Joseph Haydn: notes and audio files in the International Music Score Library Project.