Symphony No. 97 (Haydn)

The Symphony No. 97 in C major composed by Joseph Haydn in 1792. The work belongs to the famous " London Symphonies " and premiered on the 3rd or May 4th, 1792.

General

For general information regarding the London Symphonies see the Symphony No. 93 The work was premiered on 3 or May 4, 1792 in London as part of the " Salomon 's Concerts " and concludes the symphonies of Haydn's first London trip. In particular, the first sentence is in the tradition of up to the Baroque reaching back, festive C major - symphonies for large orchestra with drums and trumpets, and triad and fanfare theme of which Haydn had earlier composed some representatives ( early in Haydn's symphonies, for B. No. 20, No. 32, No. 33 and No. 38). The symphony was repeated " special request " on May 11, 1792. Contrary to the conservative tradition of the works, the Symphony No. 97 also contains several then modern elements:

• Thus, for example, writes of Ulm (2007 ): The Symphony No. 97 is "the most modern plant of the first London Symphony series. None of her sister works Haydn was so innovative omitted in any way, in any he has exceeded the limits of the traditional canon of forms so consistently. "
• Mainka (1991 ) thinks that the symphony "is not only a culmination of this tradition is, but (...) was intended by the composer as an expression of an ideal type " and cites the examples of tonal tension of the first bars of the introduction on.
• Jacob (1952 ) refers to the " even for his kind unusually high-spirited work" as " very Austrian " and looks at the often abrupt changes in timbre of the symphony echoes of Franz Schubert.
• After Finscher ( in 2000), No. 97 " in respect maker further into the future (...) than the earlier London Symphonies: Beethoven has its recalls in the first symphony and still in the Eroica. The tendency of the previous works, Introduction and Allegro and beyond to connect several or all records of the cycle, is stronger, and as there is more about subthematische and structural relationships than to thematic " Finscher highlights as Special features: 1. Motif linking the of Introduction and Vivace, 2 linking Trio and Presto by identical initial sounds, 3 a structural link by peculiarities in the finals of all the sets, the fourth form of the first movement with the unusually long coda as an independent clause.
• According to Walter ( 2007), however, remains Haydn at his last symphony in the festive C major type of claim behind the back, " the audience to present a great on the content and scope of work as a conclusion of this first stay in London. "

As with the other London symphonies, the work was distributed shortly after appearing in numerous arrangements for household use (eg flute with string quartet, piano trio, piano).

After Ludwig van Beethoven began a symphonic movement in C minor during his time in Bonn, he turned 1795/1796 working on a C major symphony, which was influenced by Haydn's Symphony No. 97. Both Beethoven's works remained unfinished, but Beethoven used some of the material of the C Major - fragment for his Symphony No. 1. The "Jena Symphony", which was once considered as a work of the young Beethoven and also shows hints of No. 97, was identified in the 1950s as a work of Friedrich Witt.

About the Music

Instrumentation: two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, two violins, viola, cello, double bass. The harpsichord is not explicitly listed, but was possibly also used ( see overview at the Symphony No. 93).

Performance time: approximately 25 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 - Vivace

Adagio: C major, 3/4-time, clock 1-13

Haydn Symphony opens with a unison C Forte, the second violin with piano pounding Achtelrepetitionen pretending the meter. A somewhat pensive cadence figure of strings with default phrase expands then abruptly the harmonious space to double dominant D major ( bar 2 ), but results quickly on the dominant G major ( bar 3 ) back to the tonic C major ( bar 4). After this closed turn the parallel run solo flute engage with the first violin melody arc in a melodious passage on and run it with ornaments with string accompaniment on. The introduction ends is not the same standard practice "open" on the dominant, but leads with the design of clock 2/3 directly into the Vivace. This " cadence motif" appears again as a variant in the final group of the Vivace from bar 99 and at the beginning of the coda from bar 240 (linking phrases, see above).

Vivace: C major, 3/4-time, clock 14-293

The Vivace begins contrasting to initiate the Forte of the entire orchestra with his " noisy " first theme, which consists of four parts: descending C Major - triad, rumbling sequence of fourths (initially upbeat and with dotted rhythm ) as a " start-up " for the following, radiant - ascending C major - triad and a short, simple final turn. Overall, the first issue therefore has a fanfare- like -celebratory, heroic character. The final twist is then continued with echo effects, before the new Forte block from bar 40 the falling triad motif picks: first with dotted rhythm, then to vote like in the bass for on ascending and descending accompaniment figure in the violins with eighth chains and with the jumping " gallop " rhythm ( " bass motif "). The passage from bar 60 with eighth chains in unison gets a restless character, despite the even note values ​​by chromaticism, accents and large interval jumps. About the triad motif of the first theme, a caesura ( general pause, clock 74/75 ) announced in preparation for the second theme.

This has ( from bar 76) is in the character of dance and is played by the strings with accompaniment of the bassoon. The proposal phrase of the theme and the on - descending eighth chains can imagine derived from the previous material. In the second part of the theme also oboes and flutes are in addition. The final group ( from bar 91) brings in the Tutti and Forte triplet runs in unison, and then attacks on the strings piano cadenza, the motif again ( from bar 99). The exposition is repeated.

The development begins with the head of the first theme in E flat major to repeat it after a short piano figure in the strings with bassoon in D major from. Subsequently, the woodwinds put a with a polyphonic passage, in which the motif Quart upbeat and abtaktig migrates from the first topic in the mysterious pianissimo by strings. From bar 143 the bass motif is then according to clock 53 processes with the eighth chains as an accompaniment ( from bar 151 swapped roles between bass and treble ) in Forte block. The uniform eighth chains lead on to the recapitulation.

In the recapitulation is initially identical to the exposure, the reconciliation part, however, the subjects head then has a dramatic appearance in A flat major ( from bar 195 ), while the motif bass (initially) is omitted. The coda ( from bar 240 or 246) expands the cadence motif reflective of the circuit group or the introduction to the length of ( up to bar 267 ), then goes after the bass motif rendered in the recapitulation brings again the head from the first topic and finished the sentence with fanfare -like Dreiklangsmelodik. Due to its unusual length, the Coda is enhanced here as an independent set of component, so that one can speak depending on your view of a Vierteiligkeit the sentence ( exposition, development, recapitulation, coda ).

Second movement: Adagio, ma non troppo

F Major, 4/4-time ( alla breve ), 149 cycles

In this set of variations Haydn has all repeats written out to the minor variation in order to vary the reps slightly (eg, the tone). Possible parsing:

• Presentation of the topic ( 1-44 clock, piano ): The main thematic unit is in the first part (bars 1-16) from four bars with two motifs: an interrupted by pauses, in dotted rhythm ascending F Major - triad and a singable figure in uniform, bound quarters, which is enriched in the postscript with chromaticism. At the end of each unit, the wind plays spotted two final chords. The second part (cycle 17-44 ) begins with the lead voice in the bass and then expands the motif quarter with chromaticism, which the tone is marred somewhat melancholy.
• Variation 1 (cycle 45-66 ), F major, predominantly with resolution of the melody in triplets, as far strings with leading vote first violin.
• Variation 2 (cycle 67-84 ), F minor, change of tutti outbursts in Forte with expressive string and woodwind passages in the piano.
• Variation 3 ( clock 85-128 ), F major, with resolution of the melody in sixteenth notes, with the violins " al ponticello " play ( with the bow near the bridge), creating a slightly hard sound is produced; Exchange of passages forte and piano.
• Coda (bars 128 ff ), F major, with auftaktigem derivative motif of idyllic, pastoral tone through the use of woodwinds and strings.

Third movement: Menuetto. Allegretto

C major, 3/4-time, with Trio 116 cycles

In the third movement Haydn wrote out all the repetitions (as in the Adagio ) to vary the sections in their timbre (eg in the beginning of the minuet: first main melody in the tutti, then the head of the tune staccato by the strings in the piano ).

The Minuet has a simple main melody in a uniform neighborhood movement. Due to the heavy kick and the emphasis on the second and third beat in measure 3, the meter is somewhat veiled, in the further course of the movement, the emphasis / accent play an important role. Overall, the minuet has a festive and pompous character, and thus connects to the Vivace. What is striking is the contrast of bound, " soulful " district movement (some of chromaticism "tarnished " ) from the second part of the main melody, alternating with the staccato sections of the first part of the main melody and a drum roll shortly before the end of the second section of the minuet.

The trio is also in C major, harmonic simplicity is maintained ( tonic - dominant) and is consistently in the piano. The solo run first oboe and bassoons play with the parallel -run first violin a country- like melody with jodler like proposals. At the last statement of the theme ( from bar 109) Haydn has noted: " in 8va Salomon ma solo piano" ( " in the upper octave Salomon solo, but quiet" ): The concertmaster Johann Peter Salomon with the first violin melody should play here solo an octave higher - now supports by the trumpets and timpani, who had been silent.

Fourth sentence: Presto assai

C major, 2/4-cycle, 333 cycles

The first theme (or rondo theme, because the movement is in the form between rondo and sonata form: " Sonata Rondo " ) is in three parts created ( ABA '): The main thematic idea (cycle 1-8 ) consists of an upbeat, folksy - dance piano motif in the strings with leading vote first violin and a descending staccato eighth chain forte unison (the first four notes are identical to the theme of the trio ). When advertised repetition (cycle 9-16 ) the bassoon is a leader with voting, which emerges as a soloist again in the further course of the movement. The rondo theme is repeated as a whole (A- part, clock 1-16). The middle section (B section, clock 17-36 ) continues the eighth chains, initially in the dialog strings - Oboe and consistently backed by dabbing tone repetition of the horns. Then the main idea is taken up again as a variant, one derived from the previous material bond motif with five times the tone repetition is typical ("Final Scene "; A'- part cycle 37-50 ). Also clock 17-50 is repeated as a whole.

The first interlude or couplet ( clock 50-113 ) begins as a lively continuation of the main melody ( legato motif). From bar 58 is abrupt, a forte passage, the final design as a variant succession occurs in the instrument troops against vote -like accompaniment of the eighth chains. From bar 81 the sentence with the final subject in the double dominant D major is again unanimously. Haydn then leads to the Legato motif from bar 97 to the dominant G major. But then the music comes with the upbeat topic header from the main motif to a halt and eventually regained the tonic C major.

Reprise -like chorus or as the main theme in C major will be played ( clock 114-121 ), but no repetitions: after only eight bars followed by the second interlude or couplet.

This ( clock 122-195 ) begins with the main theme in unexpected fortissimo, Haydn modulated in the following by various flat keys and relaxes the otherwise dominant staccato movement in eighths partly by semiquaver accompaniment. After a general pause ( 156-157 clock ) then starts again a section with the final design in flat keys.

The second appearance of the refrain (bars 196-245 ) brings the rondo theme again in his three-part structure corresponding to the beginning of a sentence, but no repetitions.

The coda ( from bar 246) is designed in some detail how to Vivace. The theme makes several tries, but just cuts off ("like a music box whose work is covered or already expired " ) is stretched in its note values ​​of quarters and eighths to whole and half notes with pauses, and ended up quiet pizzicato tones before it could be heard in full form, and finally dissolved more and more into its basic building blocks. At the very end of the chromatic transition occurs from the dialogue of the rondo theme ( bar 21 ) again on, but now upwards instead of downwards.

Due to its exuberant character and the fast pace gets the Presto features a " Clean Sweep " piece. The sentence after Mainka (1991), " something of the excitement of the so-called" imbroglio " opera buffa -. Trains comic horror and indignation within grotesque scenes of comic opera " The sentence is " a real clean sweep, in the swirling Impetus can fade away very boisterous merriment the festive beginning of the work. " Ulm (2007) also refers to the Presto assai as" cheerful, funny and bubbly. "

References, notes

Web links, notes

• Sound and score the 97th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• 97th Symphony ( Haydn ): notes and audio files in the International Music Score Library Project.
• Symphony No. 97 is available as a PDF on MuseData.org available
• Thread the Symphony No. 97 by Joseph Haydn with discussion of various recordings
• Joseph Haydn: Symphony no. 97 C major. No Philharmonia. 797, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ).
• Joseph Haydn: Symphony No.. 97 C major. Edition Eulenburg no. 483 Ernst Eulenburg Ltd.. , London / Zurich undated ( pocket score )