Symphony No. 93 (Haydn)

The Symphony No. 93 in D major ( Hob I: 93) Joseph Haydn composed in 1791, the work was created as part of the first trip to London and was first performed on 17 February 1792..

General information about London Symphonies

After the September 28, 1790 Prince Nicholas Esterhazy had died and his successor Paul Anton II dissolved the castle chapel, Haydn moved to Vienna in early December and closed a contract with the violinist and concert entrepreneur Johann Peter Salomon (initially), among others, six new symphonies. Salomon had successfully organized in London for years its own set of subscription concerts. The concerts were spread over two years since the concert season in London was limited to the spring. The " subscription" ( concert series ) itself comprised twelve concerts, which, in the following year took place in 1791 between March 11 and June 3, between 17 February and 18 May. In this series of concerts were Haydn's works ( in addition to the symphonies, for example, an opera and several smaller works ) Although an attraction, but they were not the only attraction.

In early January 1791 he and Salomon arrived in London. Haydn was at his departure 58 years old, according to the then standards almost an old man. Major reasons for travel are likely to good business prospects on the one hand and its been the dissolution of the palace chapel in Esterhazy. Haydn's arrival was celebrated in London as a public event in particular by the London press. Prior to 1791 he was in England, especially in London, is known. In his first detailed letter to Marianne von Genzinger he writes on January 8:

"(...) Through the entire city by three days I Wurd carried around in all my newspapers anckunft caused great look up: everyone is eager to know me. I was ordered to feed out already 6 sacrament, and could if I wanted to Being invited every day, but I mus see first, my health, and 2tens on my arbeith. (...) All this my dear lady was very schmeichelhafft for me, but I wished for a time after Wienn flee to Koenen several calm to arbeith to have dan the alley where noise from the general various sales puple is obnoxious ( ... ). "

From 6 to 8 July 1791, Haydn held at Oxford, where he received an honorary doctorate was awarded. Probably played on this occasion Symphony No. 92 he had composed in 1788. The first stay in England ended on 3 or May 4, 1792, the second lasted from 5 January 1794 to 22 August 1795. Symphonies No. 93-98 were written for the veranstaltenen Salomon concerts of the first English residence, No. 99-104 for the second English residence (No. 102-104 for the " Opera Concerts "). In written directly for the second London travel symphonies Haydn uses clarinets, which are absent in the former.

Based on the composition-time, roughly following sequence results ( as Haydn einfügte only the year of the autograph, one can not accurately determine the order ):

However, the order of the first performance deviates partially from (see overview table of the symphonies ). At the concerts, where the symphonies were performed, there was no conductor in the modern sense. Either headed the concertmaster or one conducted from the harpsichord or fortepiano.

Formation

The first performance of Symphony No. 93 was held on 17 February 1792 and was a huge success. The slow movement had to be repeated, and on 20 April and 18 May, the work was again quite repeated by special request. In the local papers, the symphony was highly praised. For example, the Times reported on February 20, 1792

"A new overture from the pen of the incomparable Haydn formed a considerable branch of this fantastic musical tree. Such a combination of exceptional quality was included in each set that filled both all performers, as well as the audience with enthusiastic passion. Novelty of the idea, pleasant caprice and good humor, all combined together with Haydn's usual sublime grandeur took increasingly soul and feelings of everyone. "

On the Origin of the symphony, which had apparently been planned years in advance, reported van Hoboken (1957 ) from the correspondence between Haydn and wife of Genzinger. So Haydn wrote on March 14, 1790: " ... the promised new symphony will come upon your ladyship in the month of April (...) ... " On May 30, 1790, he performs then that he lob " God, healthy, and active pleasure to arbeith have "; On the other hand regrets Haydn " was on this loss, that your worship so long to wait for the promised symphony. " And in the letter of August 15, 1790: " this poor promised Symphony floats since your arrangement always in my imagination, but a few ( LEYDER ) bishero Nothdringende to events have not let this symphony come to the world! "

On November 17, 1791 now in London, he shares wife of Genzinger with: " my promised new symphony are your mercies received in 2 months Then. to get good ideas but, I ask, write me your mercy, but you write so pretty much ... ". But this promise can not comply with Haydn, but writes on December 20, 1791. " ... Those symphony but so bestimt for Your Grace, I'll no longer than initially about February do." He can finally wife of Genzinger on 2 March 1792 by the promised two years ago Symphony say: " ... because I have the same last -Produced Freytag for erstenmahl; She (...) the low Estonians impression on the listener " but Haydn still can not send the work ". Firstly, because I am willing to change the last part of the same, and embellish as such too weak considerate of the first pieces is (...) and is second ursach because I'm afraid of that, that the same danger would like to run komen into foreign hands. (...) Your mercy must therefore give me your kind indulgence, I will have the grace to themselves until the end of July (...) to transfer the symphony. "

Apparently Haydn has a proposed revision finale but never carried out.

About the Music

Instrumentation: two flutes, two oboes, two bassoons, two horns in D, two trumpets in D, timpani, two violins, viola, cello, double bass. On the role of the harpsichord at the London Symphonies see in the Symphony No. 98

Performance time: approximately 25 minutes.

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. 93. - 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 assai

Adagio: D, 3/4-time, clock 1-20

The introduction begins with two signal-like, separated by a break Unisonoschlägen on D forte tutti. The first violin is then accompanied by the other strings in the piano in front of a two-bar motif of a broken chord, and a figure with ornament phrase. This motif is sounded colorful modulated accompanied by the rest of the orchestra, among others, according to E-flat, which is framed by the tonally distant A Major. The introduction ends with stressed, interrupted by pauses chords, on A, which act dominant table to the next Allegro assai.

Allegro assai: D, 3/4-time, clock 21, 262 cycles

The first theme (bars 21-35 ) with a periodic structure in the sanglich - dance character strings is presented in piano with voice leading in the violins. In bar 36, a transitional part in forte tutti, the (, A- flat major D major ) is based initially on broken, ascending chords starts with a D major chord is repeated three times like an echo (flute, bassoon, oboe, each with 1. violin). In bar 53, the dialogical violins set as a falling figure, accompanied by energetic, almost against vote -like quaver movement in the bass ( such use of quaver movement also occurs later in the sentence on ). The following section cadence (bar 61 ff ) modulated with a pedal point and triplets of E major to A major, thereby consolidating the latter key in the now (bar 76 ff ) uses the second theme.

This is in character similar to the first topic: sanglich - dance, performed in piano strings; However, antecedent and consequent are only viertaktig here. The antecedent is repeated with solo flute and guided imitatorischem Cello throw. Instead of the consequent appears a Vorhalsfloskel with energetic chords, to A.

In the final section (bars 95-112 ) Ascending eighth runs of the strings dominate the staccato Forte (again ) for repeated insistent repeated notes of the wind on A. The exposition ends at bar 112 and is repeated.

The first, tightly crafted part of the implementation ( clock 113 ff ) is based on a derivative of the second theme Vorhalts motif. The processing is done by modulating the subject through the instruments and a vote against -like, continuous quaver movement is opposite set. Another dissenting voice comes from bar 136 in the upper voices. - The second part ( clock 154 ff ) passes in the first piano in the dialogue between flute (variant from Vorhalts motif) and violin ( three times repeated, broken chord analog clock 39 ff ) to the second topic about that now in C major is presented ( clock 161 ff ), but breaks already in antecedent. Each with two clocks from the antecedent modulated by Haydn A major, B major and E major to F-sharp major, whereupon fortissimo occurs a further variant of the derivative action motif. With Akkordmelodik in A major and the quaver movement already used the implementation ends dominatrix table on the A- major seventh chord, followed by a general pause clock with fermata.

The recapitulation (bars 182 ff ) is similar to the exposure structured. In the postscript of the first theme, the first violin plays, however, a vote against eighth -like motion, and the transition portion to the second topic is greatly shortened. The final group, however, is extended with Akkordmelodik ( depending on your view as a separate coda interpretable ).

" The first movement is a prime example of a " singing allegro "; he is wrapped in a quiet development and softness of the subject matter, as one would hardly expect after contrasting slow introduction and Haydn hardly knows before. "

Second movement: Largo cantabile

G Major, 4/4-time ( alla breve ), 88 cycles

The sentence can be structured as follows:

• Presentation of the solemn march-like theme (cycle 1-16 ): First in string quartet (ie two solo violins, viola and cello), then the string tutti with bassoon; each repeated once and the piano.
• Episode 1 (cycle 17-22 ): Forte - Tutti, G minor, theme Baroque ornamentation and emphasized by dotted rhythms.
• Theme in the strings with Fort spin drying, piano, G major: Cycle 23-29
• Episode 2 (cycle 30-43 ): continuous, "floating" triplet " with solo oboe melody; running out with broken D major triads.
• Theme in the strings, piano, G major: 44-47 clock.
• Episode 3 (cycle 48-60 ): First theme in G minor for strings with wind accompaniment, from bar 52 dominant triplet with solo oboe melody; Leakage again with broken D major chords.
• Theme in the strings with bassoon and flute, piano, G major, clock 61-64.
• Episode 4 (cycle 65-70 ): solo oboe melody in triplets on sustained notes of the violins and viola.
• Theme, G major (bars 71-88 ): First, the antecedent of the subject in forte tutti, postscript ebbs echo-like in the instruments up to the pianissimo; in measure 80, a surprisingly " obscene " Deep C of bassoons fortissimo followed by Fort spin -drying the march tune that fades gradually in the piano.

Third movement: Menuetto. allegro

D major, 3/4-time, with Trio 98 cycles

Characteristic of minuet and trio is the juxtaposition of two contrasting sections. So the minuet begins as energetic, symphonic figure in unison, which is compared with a dance from bar 7 " postscript ". The second part of the minuet attacks initially at the figure from the beginning of the sentence and modulates thereof abgespaltetes motif, which is accompanied in both the upper voices as occurs in the bass and with votes against eighth -like runs. Over a six-bar drum roll on D, the restoration of the Reprise announced, but only of the dance part is brought. Due to the rapid pace (Allegro) the dance passages have become a total somewhat exaggerated.

The trio is also in D major and is always in the first half of the two part structured as follows: A hard, almost threatening acting brass signal from neighborhoods and triplets, presented in Forte and unison, is in dialogue with a "soft" string motif in the piano which is somewhat reminiscent of the march theme from Largo. The winds persist in on D and A, while " Suggest vain terzverwandte keys " the strings ( B minor, G major, F major ). The second half of both sections is kept similar to the minuet and dance Akkordmelodik.

Fourth sentence: Presto ma non troppo

D major, 2/4-cycle, 312 cycles

The first theme is first presented by the strings in the piano. There is a total of 16taktig and consists of eight bars each antecedent and consequent (periodic structure ). Characteristic and another set for the development of particular importance is the initial motif ('the main subject ) with auftaktartigem interval ( here: the sixth), and upward semiquaver run down, also a legato figure ( again occurs in the coda ). The section up to bar 16, which ends on D major is repeated once. Fort spin drying -like sets in measure 17, the main motive was added and varied in the instruments on a major, then switches to a short passage to D minor (bars 25 ff ) and then emphasizes the prelude from the main subject more than once. About an A - major seventh chord such return to the first theme in D major, that will now be presented with the winds as a variant. This section ( up to bar 50 ) is also repeated, so that the whole course of the movement up to this point to a Rondo reminds idea of a topic in ternary form.

The following section is held in place by management like: The main motive is modulated ( E minor, A- flat major ) and occurs - analog clock 17 ff - put into the instruments on. From about 78 clock the musical events is reduced to the start of the main subject before in measure 84, the first theme is again presented as a variant in A Major by the strings and the solo flute. The occurrence in the dominant key can arise in the listener the impression that instead of the expected second theme simply the first theme is used again. Accordingly conclusion also follows a group -like cadenza passage with Akkordmelodik to A and D, so that the entry of the "right " second theme seems surprising.

This ( clock 118-131 ) is sung by oboe and bassoon with string accompaniment, reminiscent of the second theme from the first movement. Without a break Unisonopassage connects with detached quaver movement in the Forte, which can be initially heard as the final group, but firmly running with the opening motive from measure 153 to C sharp. As an " exclamation mark" Haydn brings the key then back to D major.

From bar 172 the first theme in D major sets like reprise again in the tonic. A typical development section between exposure (which is not defined in the score and will not be repeated) and recapitulation thus missing, instead the thematic work is shifted to the exposure (cycle 51 ff ) and parts of the recapitulation. Here, the processing part analog clock 50 occurs within the first theme run in clock 186, whereby in addition to modulation by the F and B- flat major, the D minor passage is turned on according to clock 25 et seq. The second theme begins in measure 237 and is thus - in comparison to the exposure - closer to the first topic. The final group ends on an A major seventh chord with the following general pause.

The coda (bars 268 ff ) repeated first on a seven-bar drum roll (long timpani roll in the Minuet ) legato motif of the first theme and then goes through a quaver figure analog clock 96 ff in broken chords on D and A major on. Below is a brief dialogue between Bläserfanfare (from the start motif derived, reminiscent of the cry "Viva la libertà " from the finale of the first act of Wolfgang Amadeus Mozart's Don Giovanni) and the main motive in the strings; the set closes with Akkordmelodik Forte.