Symphony No. 68 (Haydn)

The Symphony in B flat major, Hoboken directory I: 68 Joseph Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 68 Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

This book presents Haydn for the last time in a symphony the minuet to second and third on the slow movement (previously at the symphonies B, No. 32 and No. 44). Probably at the Symphony No. 68, the vast expanse of the slow movement cause of this change.

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 to 30 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. 68. - 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: Vivace

B flat major, 3/4-time, 158 cycles

The first theme consists of contrasting sections ( "Contrast Theme " ): The set opened in Streicher piano, with the run in thirds violins initially a dreitaktiges rhythmic staccato motif with tone repetition play, which turns into a likewise three-bar, slightly chromatic legato phrase. In this first six clocks " from the world of opera buffa come " could answer the whole orchestra ( tutti ) with chord punches, double strike motif and virtuoso violin tuning up. The theme is repeated, the first half as a version with voice leading in oboes and bassoons.

The subsequent fortissimo block from bar 20 engages the upbeat tone repetition in the upper voices and the rhythmic figure from the topic header in the bass and increases to the tremolo.

Similar to the first issue, also sounds the tone repetition announced by the first violin second theme from bar 33 in the dominant F major, with its " delicate " double shock, the objections of the oboe and the accompaniment staccato (2nd violin, viola) and pizzicato ( bass) operatic. From bar 44 Haydn returns with chords, and staccato eighth chains for Forte and finally in the tremolo to fortissimo. Final section from bar 56 is based on rhythmic motif that already occurred at the beginning of the first Fortissimoblocks from bar 20 in the bass, and is now housed in the change from the lower and upper parts.

The development begins with the rhythmic phrase from the head of the first theme in D major and then go from G minor from a longer contrast passage with the staccato eighth chains of the violins in the piano one hand and the staccato eighth chains in the bass at the Forte on the other hand ( Violins here in the tremolo ). Haydn then changes through different keys. The event breaks in tact from 87 to A- flat major, which acts dominant table to the next appearance of the second theme in D minor. The D minor - chord of clock 94 is converted to clock 95 by switching from the F (a third of D minor ) to It ( seventh of F major ) short for dominant seventh chord. Through this " tonal trick " works of the recapitulation beginning surprising and abrupt.

The recapitulation at measure 96 is varied in the repetition of the first theme in the instrumentation. The first theme is about the same in the second theme. Forte the second block (corresponding to clock 44) is more than twice as long as in the exposure. Exposure and development and recapitulation are repeated.

Second movement: Menuetto

B flat major, 3/4-time, with Trio 56 cycles

The main theme of the minuet, the parallel run oboes and violins play a ländler -like, upbeat melody in great circle - prevalent even movement. At the beginning of the second part is the pendulum figure who had finished the first part, repeated three times, then enter oboes and bassoons soloist in a question-answer turn out. After revisiting the first part ended with a coda to an attached third -enriched motif pendant the minuet.

The trio is also in B- flat major. It is through the exchange of its opening motif in strings ( piano) and Tutti ( forte) marked ( like structure in the trio of Symphony No. 92). The opening motive is down in the first part, at the beginning of the second part in the change upwards (Winds and bass) with downward (other strings) held.

Third movement: Adagio cantabile

E-flat major, 2/4-cycle, 126 cycles

The Adagio cantabile stands out because of its extra length, especially in observing all repeats. Probably the opposite of the usual block sequence swapped positions from the slow movement and minuet is related to the weight of the Adagio.

The beginning of the block is kept only for the two muted violins: The first violin vocal leader with its sweeping melody. After ascending, issuing E flat major - triad followed by a repeated floskelkartige figure (falling in line with thirty-second note repetition in sixteenths ). The second violin accompanied staccato assai uniform in semiquavers (mostly broken thirds ). With a few accents the issue is at the piano. The uniform, ticking accompaniment figure of the second violin ( " The Clock " ) is reminiscent of the slow movement of the Symphony No. 101, is a major influence on the further record layout.

In the further course, the theme of the first violin is carried forth with the mechanical ticking accompaniment of the second violin on. The retained atmosphere is several times abruptly interrupted by the unison of the whole orchestra, which picks up the pendulum figure in the turning points of the melody.

From bar 25 the action itself increases: Accompanied by passing Zweiundreißigsteln in the bass, the other instruments first chord strumming playing with accents and eventually take over the movement of the bass. After the tremolo -like outbreak in fortissimo, leading to the dominant B- flat major, the ebbs into piano music taken back and announces the second theme.

In the second theme ( from bar 34) in B- flat major, the upper voices forte play an ascending in fourths figure that is somewhat reminiscent of the ascending triad from the beginning of a sentence. However, the ticking accompaniment in the bass also breaks out again here. The final group is characterized by their suggestions and double strike characters.

The implementation ( from bar 48) processed in the first, held up to the end for strings section is a work based on the dual shock design the final group subject and then changes through various flat keys. Once in clock 63, the horns were to come with accompanying sun shades, play from bar 66 both oboes on the " babbling " Zweiundreißigsteln the 1st and 2nd violin, " a tender duet, while incessantly in the lower strings like the pendulum of a clock ," the staccato movement continues. Then Haydn announces over the shortened version of " enhancement Passage" (according to clock 25 ff ) to the recapitulation.

In the recapitulation ( from bar 83), the first theme is easily decorated. Later in the passage is omitted in accordance clock 12 to 15, in addition then accompanies the first solo bassoon. The " increase Passage" and the second theme correspond structurally exposure. In the final group now accompany beside the horns and oboes. Exposure and development and recapitulation are repeated.

"(...) The melody in the first violins seem to be arbitrary, repetitive and directionless. Meanwhile, below the second violins in continuous, almost mechanical sixteenths ahead, apparently secreted by the brooding overlying melody (...) - apart from the occasional Forte interjections of the full orchestra on the same semiquaver motif, but never exactly come when they "should". The effect is both amusing and confusing. In the course of the movement 's rigid distinction between melody and accompaniment becomes more complex, while the expression of seriousness increases ( although initially not for too long ) until the strongly modulating performing any humor is left behind. Nevertheless, all these discontinuities return back to the recapitulation. The sentence is not easy to " see through " in its entirety. Are the comic elements " theatrical " or Brechtian of higher Esprit, or a kind of alienation? Add to these disparate elements to a satisfactory unit together or they lack integration? "

Fourth sentence: Presto

B flat major, 2/4-cycle, 268 cycles

The sentence is structured similarly to a Rondo:

• Presentation of the choruses (bars 1 to 30), which is modeled after ABA (A and BA are repeated ). The energetic, catchy theme is consistently and in unison forte presented by the entire orchestra. It is characterized by its fourth jumps, two to three times the tone repetition, some suggestions and the dominant staccato.
• The Couplet 1 ( measure 31 to 45, B- flat major, structure also ABA) contains a dialogue between the solo bassoon in deeper and the violins in high position.
• Then the chorus as the beginning of a sentence repeated (cycle 46-84 ).
• In couplet 2 (cycle 85 and 110, structure AB ) in the subdominant E-flat major, the first oboe with the first violin is voiced leader.
• The third appearance of the refrain (bars 111-166 ) Haydn differentiated designed: First, the A-section as presented at the beginning of a sentence, then repeated as a variant: The bass plays the backbone in dotted rhythm, to offset a vote against the first violin. Also the B- part is first played "normal" and then varies in a similar manner. Finally finished a shortened form of the variant of the A- part of the chorus.
• The couplet 3 ( clock 167-186, ABA structure ) changes in his dramatic character with energetic bass lines, chords, and forte - piano - contrast between G minor and D major.
• The fourth appearance of the refrain (bars 187-216 ) the subject is dissolved in remote sixteenth figurations.
• In the coda, the first still stormy events ebbed as tone repetition of the first violin on the Dominantton F. The first violin is then again with the issues head on, and then the other instruments one after another echo-like mimic the characteristic motif of the fourth topic header. A strettaartiges tremolo fortissimo chord as well as numerous blows to finish the sentence.

A high dominant pedal fades; : "In the comic coda is everything excessively repeated (...) sequentially in all instruments "Echo Solo" inserts on the main subject, which resolve these dominant witty; a tremolo rise and overall "too many" exultant chords at the end. "

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 68 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 68 in B flat major. No Philharmonia. 768, Universal Edition, Vienna 1967 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 68 by Joseph Haydn: notes and audio files in the International Music Score Library Project.