Symphony B (Haydn)

The Symphony in B flat major, Hoboken directory I: 108 Joseph Haydn composed about 1762 Contrary to their high number is an early work and therefore also carries the Nummernbezeichung "B"..

General

The Symphony "B" Joseph Haydn composed probably 1762nd The work is called in old copies of " Partita " and was probably not expected so by the older Haydn research on the symphonies. Since Haydn composition in catalog of his works from 1805, however, under the symphonies as " No 7 " earned, it is now reckoned to be among the symphonies and with the number" (denoted B "( after the name in the Haydn book by Howard Chandler Robbins Landon or" 108 " in reference to the numbering in Hoboken directory). The Symphony " B" was first published in 1934 as "unknown Partita in B Flat Major ".

"Compared to other early symphonies, this B- major Symphony particularly strongly influenced by the juxtaposition of ancient and " modern " traits. "

Peter Brown emphasizes the " miniature symphony" as hitherto most successful contribution to the genre of Haydn ( chamber ) Symphony: Paul Anton Esterházy, if the work had heard, he would certainly want to do Haydn for the management of his chamber music.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. Were to reinforce the bass voice then also without separate listing bassoon (which is expressly listed in the trio of the minuet and a solo voice plays ) and harpsichord used, insist on the participation of the harpsichord in the literature different opinions.

Performance time: approximately 15 minutes (depending on the pace and after complying with the required 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 a composed about 1762 works. - 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: Allegro molto

B flat major, 4/4-time, 48 bars

The Allegro molto is unusually short with its 48 bars. In the first theme ( main theme, a second theme is missing) created by the trills and quavers in uniform "walking " bass line a baroque atmosphere. From bar 5 then " a new, youthful language breakthrough " comes by the violins play with accents provided tremolo, which give the horns short inserts. After emerging, upbeat and rhythmic phrases and a concatenation of the trill figure from the beginning of the sentence has already been using the final group in the dominant F major, which includes falling sixteenth chains in seconds and takes up quite at the end of the exposure again the rhythmic phrase.

The middle part ( " implementation " ) begins with the first theme in F major. With the tremolo passage Haydn changes to G minor and sequenced from here a combination of scales and trills figure running down that ends in measure 28 in G Minor. About the rhythmic phrase Haydn E flat major changes then back to the tonic B- flat major, in the in measure 33 begins the recapitulation. This is compared to the exposure shortened by the five-bar passage is replaced with rhythmic phrase and trill figure by a two-bar -and-coming gesture. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Second movement: Menuetto: Allegretto

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

The theme of the minuet is characterized in its first half through dialogue between strings and solo wind instruments, which ( in this dotted rhythm ) play both motifs with opener. The strings repeat their motive, then quit oboes and strings together the first part, the dotted rhythm dominates. At the beginning of the second part, the opening motif is continued in the alternation of high and low register, then the action calms over a pedal point on F. In bar 19 of the first part is taken up again, with the second half is varied.

As a trio, the solo bassoon enters into a dialogue with the strings. In the first part ( the zehntaktig as in the minuet ) reaffirms the bassoon the presented by the strings turn Key E flat major with a repeated derivative action figure. The second part sequenced a small figure down before the first part is repeated. Howard Chandler Robbins Landon feels reminded the bassoon solo in the Trio from Symphony No. 6.

Third movement: Andante

G Minor, 6/8-measure, 35 cycles

The Andante is kept only for strings and piano throughout. It begins as a fugue with the main theme in the staggered use: the second violin begins with the vocal line, to follow viola and bass in counterpoint ( bars 1 to 4). In cycle 4, the first violin repeats the theme a fifth higher, while now the second violin plays the counterpoint. In bar 7 viola and bass set, while the counterpoint is taken up by the first violin. The sentence beginning reminds therefore and of its occupation of a baroque trio sonata. The further course is determined by baroque techniques (in particular sequences) and gets "almost a Handel cal character ": In bar 11 a more sanglicher dialogue between high and low strings begins in B major with wider terms turn in sixteenths of. The semiquavers, then runs in the 2nd violin on, while first violin and viola / bass playing a Oktavsprungmotiv at a distance of tenths. Semiquavers and Oktavsprungmotiv be sequenced down. Both can be derived from the main theme.

First The second part takes up the head of the opening theme in B- flat major and then sequenced twice variants of the previous passage with the Oktavsprungmotiv down. The recapitulation at measure 27 begins with the theme in G minor, where now the bass starts offset by a clock and the first violin plays the Liegeton. The dialogue figure between upper and lower strings is extended, but the passage is omitted with the Oktavsprungmotiv. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Fourth sentence: Presto

B flat major, 2/4-cycle, 96 cycles

In Presto Haydn's individual traits show stronger than in the other movements, Howard Chandler Robbins Landon even mentions him as much more original than the Presto finales other early symphonies. The first theme is upbeat and energetic eighth movement marked ( beginning in the upper voices as tone repetition ), and some strong interval jumps. From bar 8 tone repetition and eighth notes are amplified in a screwing- up figure and led to the dominant F major. In F Major then follows the contrasting second theme for the violins in the piano, which consists of an interrupted by short breaks tune. The rhythm of the theme of a quarter and two eighths is also taken up in the subsequent Forte insert before rapid phrases end the exposure.

The middle part ( " implementation " ) leads the head from the first issue as a variant with rhythmic phrase from F major to B flat major, E-flat major and G major. With the unison passage Haydn gets back to the tonic, and thus to the recapitulation at measure 60 This is structured as the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

References, notes

Web links, notes

• Clips and information on Symphony " B" ( 108) from Haydn's project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Sinfonia "B" in B flat major. Philharmonia Volume No. 700, Vienna 1960 series. Howard Chandler Robbins Landon (ed.): Critical ssue complete symphonies of Joseph Haydn. ( Pocket score )
• Symphony " B " by Joseph Haydn: notes and audio files in the International Music Score Library Project.