Symphony No. 74 (Haydn)

The Symphony in E flat major Hoboken directory I: 74 Joseph Haydn composed probably in 1780 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 74 Haydn composed probably in 1780 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

The voices of the symphony are early 1780s published by different publishers, including together with the votes of Symphonies No. 62, No. 63, No. 70 and No. 75 in the Berlin publisher Hummel 1781 " oeuvre XVIII ". Perhaps Haydn wrote at least some of these symphonies at the urging Hummels or of its own marketing interests to achieve the usual for such a series of six symphonies.

In the summer of 1781, the violin maker William Forster turned with a request to Haydn, some works to sell him for his newly founded music publishing. The Symphony No. 74 is the first work to get Forster of Haydn .. The business relationship with Forster was significant in subsequent years for both sides, as Forster more than 120 works of Haydn published, including the Paris symphonies.

" In this work, the widespread style aspects that were characteristic of this period, mixed with chromaticism, superior craftsmanship and expressive violence. "

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns, two violins, viola, cello, double bass. On the participation of the harpsichord exist in the literature different opinions.

Performance time: approximately 20 to 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. 74. - 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 assai

E-flat major, 4/4-time, 190 cycles

The first theme is designed as a contrast issue: First, the whole orchestra plays as "curtain" in Forte three of breaks interrupted, rising chords of the E flat major - triad (bars 1 and 2, Scene 1). The strings respond as quiet piano phrase in the descending line in the rhythm of two half notes and three break interspersed eighths. This two-bar motif (motif 2) by repeating a step up to the four-bar phrase expanded ( bar 3 to 6). After the transfer clock 7 with its two chords, the theme is repeated as an enriched variant from bar 8: Scene 1 is expanded by tone repetition of the last chord hit for a total of five chord strumming. In Scene 2, flute and bassoon with vocal leader, and the break penetrated three-eighths now completely replaced by quarter-note beats. The first violin plays this as a vote against first ornaments of proposals and then leads in measure 11, a design from three-eight -turning phrase and ascending triad figure, a (motif 3). This subject is for another set structure of great importance, " an extreme case of from now on always re-opened and further refined technique, just a nondescript in its original context and very little motive for material large developments to make. " The falling line of motif 2 is then combined with the downward propagating through bassoon and strings motif 3 and a hint of clock 7 Final turn to multiple-cycle phrase. A repetition of this phrase includes a fortissimo block of the entire orchestra ( tutti ), who initially by cyclic change from trill -like figure with run down ( Scene 4) and E flat major - is characterized chord strumming (reminiscent of motif 1) between the violins. From bar 26 Haydn changes with the rhythmic motif 5, now both violins playing in parallel to the dominant B- flat major, which is reached in bar 33 with chord strokes.

The second theme ( from bar 34, B- flat major ) is composed of a motif with two ascending half notes followed by eighth phrase with triple tone repetition ( Scene 6). The figure with the half-notes reminiscent of the head of motif 2 in the second half of the theme becomes independent the Tonrepetitionsfigur, finally just double tapping fifths remain of the double dominants in F major the violins. The second block of the entire orchestra Forte contains several motifs. After the initial chords, (reminiscent of motif 1) is followed by a phrase from falling figure with strong intervallic leaps, C minor - running up and cadence phrase with trills. The phrase is repeated with an extended cadenza figure, the exposure then concludes with the resurfacing of the tire trill figure of motif 4

The implementation uses the passage of the repetition of the first theme according to clock 10 ( with motif 2 and 3) as a variant with double shock - ornaments in the first violin. With change to Forte Motiv 3 is then processed with the falling line of motif 2 of D-flat major from before from bar 74 the strings sing the second theme in F minor. The following on the subject of " beating fifths " be performed by various harmonies in the following with a reminder of the head of motif 2 accompaniment as "Passage of unexpected poignancy ." Howard Chandler Robbins Landon praises this quiet, melancholy, chromatic passage as one of the best within the Haydn symphonies. After the decay of G major, the portion from the beginning of the implementation is then taken up again (or according to clock 10 of exposure) of C major, and continued also similar with the supported of chords, motif 3 in the Forte. With this figure leads to the recapitulation Haydn and thus to the tonic E-flat back.

The recapitulation at measure 126 is largely structured as the exposure. The instrumentation on the first topic is something varied, and the " knock Passage" after the second topic is extensive. Exposure and development and recapitulation are repeated.

Peter Brown raises the Vivace assai emerged as the intellectual tour de force, in which developing a sophisticated and logical structure of inconspicuous material, with no other contemporary composer can compete.

Second movement: Adagio cantabile

B flat major, 2/4-cycle, 113 cycles

The structure of the sentence is variously interpreted as a set of variations or rondo.

• A- part: presentation of the main theme in the piano from the first violin (both violins playing in the block with damper ) and as a continuous Alberti bass accompanying staccato cello. The subject with his characteristic ascending triad at the beginning gets a chamber musical serenade - like character through instrumentation. Depending on the position can be seen in the continuous staccato accompaniment figure of the cello, which also characterizes much of the rest of the set, a similarity to the Adagio cantabile Symphony No. 68. The subject is structured in three parts to ( aba ), the eight-bar a- part is in the tonic B- flat major, the four-bar middle section in the dominant F major.
• Reconciliation passage ( measure 21 to 24): With the head of the main theme in the Forte of the entire orchestra Haydn changes to the dominant F major.
• The B section (bars 25 to 41 ) in F major is marked by its " expressive chromatic harmony " and the more formalized, detailed crescendos and decrescendi.
• From bar 42 of the A- part is called variant repeats ( B flat major ): Mostly the whole orchestra is involved, flute and oboe are first to vote to set aside the violins. In the repetition of a part there is a short imitative voices offset.
• From bar 62 the B section is repeated as a truncated variant of the subdominant in E-flat major.
• In the second variant of the A section (B- flat major, cycle 70 to 89 ) the subject is mainly dissolved in Zweiunddreißigstelbewegung.
• In the coda from bar 90, first play the flute and oboe with bassoon accompaniment 1 enables the head to the main theme. Then grab the strings puts the issues head on (2nd violin - 1st violin - bass - viola). A few bars before the end in pianissimo the topic header is again highlighted fortissimo.

Third movement: Menuetto. Allegretto

E-flat major, 3/4-time, with Trio 50 cycles

The Menuet in " thoughtful, sensitive tone ," which begins with three chords, that multiple use of the Lombard rhythm is characteristic. In the middle section is a triplet prelude to it.

The trio is also in E flat major. The melody marked by ascending and descending Staccatobewegung is played by solo bassoon and first violin in parallel, which creates a special sound effect is created ( aänlich in the trio of Symphonies No. 54 and No. 62). In the string accompaniment, remarkably, the viola is missing.

Fourth movement: Allegro assai

E-flat major, 6/8-measure, 135 units

The rapid rate with Gigue character begins in the strings with his " quiet playful, melodically intricate issue," which is reminiscent of the final movement of Mozart's String Quartet K. 589. The first theme phrase consists of a question and answer - motif of violins, give brief interjections in contrary motion in the viola and bass. The second phrase for the violins brings a phrase by using the backward guided Sekundschritt, the third phrase is characterized by its four- tapping tone repetition. The topic comes after the repetition of the third phrase " with a peculiar melodic Verhallen on the dominant " and a solo, chromatic passage of the first violin to a halt. Abruptly then continues the theme forte in the bass, while the other instruments take up the vote against the bass from the beginning of a sentence, the violins as a variant, running continuously, scurrying semiquavers, " and we find ourselves in the middle of a race. " This rapid semiquaver movement is also for the further Forte block to reach the double dominant F major formative.

The memorable second theme ( dominant B flat major, from bar 42) character of dance and how the first presented by the strings piano. The final group in the Forte repeated the closing phrase of the theme with its remote character and terminates the exposure with the scurrying semiquavers from the previous Forte block.

The development begins ( vocal leader second violin, first violin takes over the objections ) with the first theme in the violins in B flat major. The second phrase of the theme, in which also uses the bass is more extensive than at the beginning of a sentence. The tapping motion of the third phrase is continued from clock 73 forte by the full orchestra, and opens into a cadential to C minor phrase down with running and the remote figure from the end of the second theme. The subsequent second theme will change from C minor to B - flat major as dominant to that advertises itself by Reprise in E Flat Major.

In the recapitulation ( from bar 88), the second violin with the interjections from the bass carries the first topic first before their own. Before they can complete the theme, but it will stop the whole orchestra forte in with stim leading first violin, while the second violin takes up the scurrying semiquavers from exposure. After the topics was moved alternating between the first violin and the other strings with bassoon sequenced up, followed by the passage with the scurrying semiquavers in the violins. The second theme is now enriched by interjections of solo winds. The final group is similar to the exposure. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 74 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 74 in E flat major. No Philharmonia. 774, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 74 by Joseph Haydn: notes and audio files in the International Music Score Library Project.