Symphony No. 92 (Haydn)

The Symphony No. 92 in G major Joseph Haydn composed in 1789. The work was in addition to the Symphonies No. 90 and No. 91 probably originally a repeat of the successful Parisian concert series of the "Loge Olympique ." Haydn but then sold the three works a second time to the Prince of Oettingen- Wallerstein. The title " Oxford Symphony" comes from the alleged performance of the work at the University of Oxford in July 1791 when Haydn was awarded an honorary doctorate.

General

The Symphony No. 92 was created (as well as No. 90 and 91 ) on behalf of the Earl of Ogny ( " Comte d' Ogny " ) as a " reorder " the successful Symphonies Nos. 82-87 for the Paris concert series of the "Loge Olympique " (see general remarks at the Symphony No. 90). The autograph score bears a dedication to the Comte d' Ogny. Perhaps Haydn is not ready in time with the work: it is not clear whether No. 92 has been performed in Paris. The first (known) performance took place on 11 March 1791 in the Hanover Square Rooms in London. The performance was a great success, the slow movement had to be repeated and also demanded by the audience repeat the minuet failed only at the modesty of the composer. On special request, the work in the second of the so-called Salomon Concerts ( cf. at the Symphony No. 93) was, and repeated in a benefit concert on May 16.

According to van Hoboken (1957 ), the following entries are related by This (1810 ) after his meeting with Haydn on December 9, 1805, the Symphony No. 92: "He had hung a symphony that began with a short adagio. Three identical sounding notes opened the singing. However, as the orchestra struck the three notes to strongly so Haydn interrupted with Wave and " St! St ". The orchestra was silent, and Solomon had to interpret Haydn's opinion. Then the three notes were again, but painted with non happier successes. Haydn interrupted again with " St! St ". During the silence made ​​a German Violoncellspieler expressed very close to Haydn his mind against his neighbors and said in German language: "You, the are already the first three notes do not quite know how will it look with the rest of the " Haydn was glad to hear speak German, took these words as a warning and said with the utmost courtesy, that he would ask for a favor, which would be quite in their power, and that it would be very sorry not to be able to express themselves in English; they want to allow him therefore to be allowed to present his opinion on an instrument. He took out a violin and made ​​himself as saying that the orchestra perfectly understood him by repeated painting of the three tones. "

Another performance that should have taken place between the 6th and 8 July at the initiated by the English music historian Charles Burney appointment Haydn's an honorary doctorate from Oxford University, led later to the nickname " Oxford Symphony", but the performance is not clearly established. This (1810 ) noted for his visit to Haydn on June 18, 1806: " Then Haydn was dressed in a white silk coat, with sleeves of the Red side, placed him a black silk hat, and dressed like he had to sit on a doctoral chair. (...) Haydn was asked to give some of his composition. He ascended the organ in the hall, sat up with his face against the Assembly, whose eyes were all fixed on him. , Seized with both hands the doctor coat on the chest, opened it, made him again and said so loudly he could: ". I thank you" The Assembly understood this unexpected good facial expressions; Thanks Haydn pleased her and she replied: - " I felt quite comical in this jacket before, " You speak very good english. " and what was the worst, I had to leave me for three days to see masked in the streets so. However, I have this doctorate in England a lot, yes, I want to say thanks to all; through them I entered the acquaintance of the first men and had access to the largest houses. "

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns, two trumpets, two violins, viola, cello, double bass, timpani. The trumpets and timpani are missing in the autograph, but are in the copies for Prince Oettingen -Wallerstein.

The game takes about 25-30 minutes.

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: Adagio - Allegro spiritoso

Adagio: G major, 3/4-time, clock 1-20

Haydn Symphony opens with a four-bar, melodious phrase in the strings in the piano, starting with three interrupted by pauses staccato quavers. The answering subsequent four-stroke lead over a proposal - phrase and chromatic deterioration to a beating tone repetition, which increases in the tutti to Forte. The introduction sounds with recitative - quizzical expressions from the double dominants.

Allegro spiritoso: G major, 3/4-time, clock 21-232

The Allegro begins piano in the strings as a four-bar pendulum-like - questioning movement on the dominant ( D major - seventh chord; main subject or main theme ). Instead of the expected closing apodosis follows then in the tonic G major a " stabilizing " Forte - block of the entire orchestra, which begins with an interval jump up ( tenth ) and in the further course virtuoso runs and arpeggios contains ( Forte block 1). In bar 41, the pendulum motif involving the woodwinds a second appearance, in turn followed by a Forte - block in the tutti, which is, however, compared with the previous varying by syncope and run sequences and to the dominant D major leads ( Forte block 2). In D major, the pendulum motif has then in his third appearance clock 57, further enriched with an upwardly given existing against vote -like figure in the oboes. The subsequent Forte Block 3 contrasted by his minor clouding that change into other keys ( D minor, B flat major, G minor, A major, D major ) and exposing a march -like - fanfare-like rhythm ( three throbbing eighth ) the previous events.

Energetic unison runs lead to the final section (bars 72 ff ) with catchy, short question and answer - motif, whose " simplicity - according to the detailed, structurally dense development -. How naive quotes will appear " The final group motif with votes against -like runs in the Flute repeated before the exposure with corroborating runs concludes (as previously in the flute ). The exposition is repeated.

At the beginning of the implementation of the final section, the subject changes its character through leadership in the strictly - threatening unison. The pendulum motif leads a version with a counter-movement from bar 95 to a three-to four-part passage, where va ( partly oboes and bassoon) process the strings, the material from the pendulum motif offset by use and countermovement. The Forte block from clock 110 corresponds structurally to the Forte Block 3 of exposure. He turns into an energetic passage in which an ascending chord refraction is sequenced up. The clock reached in 123 " questioning " seventh chord announces the recapitulation.

The recapitulation ( from bar 125) is compared with the exposure changed dramatically and continues the thematic work of implementation. It begins with the pendulum design, but now with the participation of the displaced incipient flute. It follows the Forte block 1 according to the exposure. The second appearance of the pendulum motif ( from bar 145) is varied by staggered use in bassoon, other harmonies, chromaticism and turning on a quieter passage with sustained notes and interjections of the woodwinds. The Forte Block 2 ( from bar 155 ) is characterized by the tremolo of the violins and viola, as well as intervallic leaps in the bass. Unexpectedly then completes 159 clock to the final group design the dialog by strings, flute and oboe. The third appearance of the pendulum motif ( from bar 166) is similar to the third appearance in the exposition, but contains (as well as the previous appearance of clock 145) an offset using the Motiv head, now in second oboe and second violin. The Fortelblock 3 does not contain as opposed to exposure to Fanfarenrhytmus, but starts with the pendulum motif in contrary motion and then brings the motif upward according to clock 117 ff and the clock from 51 ( Forte Block 2 of exposure ) known sequencing of runs. In the final group, the first oboe, the flute next to the first violin are now first vocal leader. The Coda (measure from 201 ) initially brings the pendulum motif similar to the third appearance of the exposure ( ie to agree wonderful upward motion) and obtained from measure 212 to the recapitulation "skip " Forte block 3 with changes of harmony ( E-flat, A-flat major, B- flat major, G major, C major ), chords and fanfares rhythm after. From bar 220 the pendulum subject has a last appearance. With the final group motif, accompanied by figurative runs the flute and oboe, the movement ends. Also, development and recapitulation are repeated.

Second movement: Adagio

D major, 2/4-cycle, 111 cycles, three -part form

A- part ( D major, clock 1-39 ): The sanglich melancholy theme in sweeping melodies is first presented in the strings with vocal leader and first violin formulated middle voices (cycle 1-8). The theme is then repeated with accompaniment in the woodwinds, the flute is involved with the vocal line. From bar 16 A reconciliation passage with chromaticism. A stressed, dissonant derivative leads to the third appearance of the subject ( from measure 23, theme sechstaktiger in shape). Here initially sets the oboe parallel to the first violin with the vocal line, carries the melody but then independently varied continuously. The issue ends here first "closed" on the tonic D major (before each dominant genetic conclusion to A- flat major ). The following section from bar 29 corresponds to clock 17 ff, here now with use of the woodwinds. From bar 35 enters the subject on a fourth time, the flute is now playing the oboe part from bar 23 f This five-bar appearance of the theme flows seamlessly into the midsection.

B part ( D minor, clock 40-71 ): The central part is divided into three parts in turn: The setting is a march -like D Minor - section by use of the whole orchestra beginning in fortissimo and his energetic character to the previous Done contrasts. In the piano strings phases of the ticking, the entire middle section running through staccato semiquavers is clear. The eight-bar main thematic idea switches from " march motif" ( ascending D minor - chord ) to a motif with tone repetition and suggestion in the relative key of F major. This unit is then repeated ( starting at bar 9), highlighting the march - like fanfare-like rhythm. In the Middle Splits (cycle 56-65 ), the solo woodwinds access the Tonrepetitionsmotiv, then it goes into an offset used by the strings. In bar 66, the " march motif" starts again and goes after six cycles seamlessly into a reprise like picking up the A section.

A'- part ( D major, clock 72-97 ): The " Reprise" initially corresponds to a varied revisiting the issue in accordance with measure 9 ff ( now oboe instead of flute). During reconciliation, the bassoon accompanied a few bars. The second thematic appearance in clock 86 then leads to free Fort spin -drying the melody line, which eventually penetrates pianissimo in harmony remote areas and is delayed by general pauses more and more.

In the coda ( from bar 98) of the subjects head sets at once, but is then replaced by the solo woodwinds, which directly address the Tonrepetitionsmotiv from the middle part in offset application. The movement ends with this design and minor clouding over a pedal point on D in the bass in pianissimo.

Third set: Menuet. Allegretto

G Major, 3/4-time, with Trio 104 cycles

The Minuet seems simple at first - popular, but is mainly built differentiated with respect to the rhythm. The first part of the minuet consists of two six-bar units. The first unit contains three upbeat motifs: motif A with sixth upward motif B with triple repeated notes, proposal phrase and gegenstimmenartigem run upwards motif C with ländler like quaver movement. The second six -stroke brings motif A and an extensive on four measures, varied motif C. The second part begins with motif B, which is now varied by accents on the third unaccented beat of the clock ( syncope ). Unexpected interrupt the music by giving a general pause over two bars before the strings motif B, then process (involving the winds) motif C. In bar 33, the initial part of the sentence is taken up again, the final twist is extended with the head of motif A.

The trio is also in G major and is connected by several elements with the minuet. A special timbre results from the parallel run bassoons and horns, accompanied by the strings pizzicato which directly address the syncopated motif from the start of the second minuet part, engaging in an echo -like dialogue with ländler like piano strings twist accordingly motif C. The second part of the trio begins with the syncopation in the third quarter of the clock in the bass at measure 72 of cycle focus is obscured by emphasis on the second quarter of the clock on. In bar 87, the initial part of the trio is taken up again; the final twist is extended and modified by the Synkopenmotiv with elements of motif A and C combined.

Fourth sentence: Presto

G Major, 2/4-cycle, 342 cycles

The Presto is a fast-paced sentence with " Clean Sweep character." The first theme with a periodic structure (cycle 1-16 ) is first put forward only by the vote leading first violin and the accompanying G on cellos. The exuberant - moving subject is upbeat, contains a " start-up " up and chromatic elements. It is " initially as a kitten, but soon Tiger showing muscles. " Then enriched with flute, bassoon, second violin and viola repetition follows (measure 17-31 ). The reconciliation closes abruptly as Forte block of the entire orchestra, by the tonic G major is accented with a proposal motif ( including a short trumpet fanfare ). Fast-paced tremolo figures lead to the further performance of the subjects head in the bass, contrasted by a descending vote against in the first violin (bars 54 ff.) The subsequent tremolo passage increases to fortissimo outbreak before the perpetuum mobile - like second theme begins ( from bar 79, D major ). It is argued by the strings with gegenstimmenartigem throw the flute piano. The final group ( from bar 96) brings again the beginning of the first theme in the bass, now accompanied by syncope, and includes the exposure to the "Startup Scene " from the first issue ( here: falling - closing and questioning - high).

The energetic beginning of the development with the first theme in a minor variant already breaks off abruptly after a few bars. Interrupted by general pauses, try the piano strings two new, faltering attempts. From bar 130 then a long Forte block the whole orchestra is one in which the material is processed from the first issue by changing the keys, change of voice ( treble, middle voices, bass) and split off from the topic motives polyphony generated. After a total of five performances of the issue a tremolo passage and the second theme to follow in C major ( clock 178 ff ), which is finally sequenced upward. The transition to the recapitulation Haydn designed with distinctive unison phrases: Starting from a fourth, designed over the "Startup Scene " successively the first topic, then stops but just before the recapitulation entry again as echo -like piano phrase of the flute held.

The recapitulation ( from bar 222) is largely similar in structure to exposure: it starts with the first theme, followed by the reconciliation ( Forte block of Tutti ). The re- appearance of the theme in the first violin is over a pedal point on D in the bass, accompanied by votes against like motifs that are abgeleitetet the subject. After the second theme (bar 268 ff, now in G major ) is the final group in unison and also leads to short-term conclusion to G major. Subsequently, the woodwinds ( from bar 299 ), however, put in the coda with elements from the first issue one, shortly after that the entire orchestra in Forte. The last appearance of the theme in flute and piano 1st violin is held as a variant with two other Provision. With the "Startup Scene " ( descending ) Tutti closes the set. Also, development and recapitulation are repeated.

References, notes

Web links, notes

• 92 Symphony ( Haydn ): notes and audio files in the International Music Score Library Project.
• Recordings and information on Haydn's Symphony No. 92 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread to Symphony No. 92 with discussion of various recordings
• Joseph Haydn: Symphony no. 92 G major Hob I/92 " Oxford ". No Philharmonia. 792, Universal Edition, Vienna 1962 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 223-284.
• Joseph Haydn: Symphony No.. 92 G major ( Oxford). Ernst Eulenburg Ltd. No. 436, London / Zurich ( pocket score )