Symphony No. 1 (Haydn)

The Symphony in D major Hoboken directory I: 1 Joseph Haydn composed in 1757 during his tenure with Count Morzin.

General

In the symphony Hoboken directory I: 1, it is probably Haydn's first symphony. After Haydn 's biographer Griesinger the composer himself referred to the work as his first symphony and have brought to the service of Count Morzin in conjunction. Because of the Symphony No. 37, a copy is occupied from 1758, No. 1 was created as earlier work probably in the year 1757th

General can be observed in Haydn's early symphonies different types:

• Most of the works are in three movements, but not, for example, No. 11, 20, 27, 32 and 33
• The typical sequence of movements fast - slow - ( Minuet ) - fast is not found in, for example, No. 5, 11, 15, 18 and 25, beginning with a slow movement; No. 32, 37 and "B" bring the Minuet second.
• The orchestra is usually "small" scored for strings, oboes and horns, sometimes later added trumpet and timpani parts, the symphonies 20, 32, 33 and 37.
• It occurred " gallant " works with Akkordmelodik, runs and tremolo on ( " Rococo " type, eg Symphonies Nos. 1 and 10), but partly also singable themes (eg second movement of No. 32) polyphonic settings (eg in the Symphony No. 3) and chorale - solemn -looking set of types that are reminiscent of the late baroque period (such as the input sets of symphonies Nos. 5, 11 and 25).
• As a solo instruments enter only the horns and partly on the oboe ( in the Symphony B: bassoon) to a greater extent, usually in the first few sentences of the symphonies that begin with a slow movement as well as in the trios of minuets.

While Michael Walter to the first symphony total thinks that they are " not a stroke of genius ( is ), but the work of a fairly savvy, but also technically not yet experienced symphonic composer ," Ludwig Finscher praises in the first sentence of the " masterful (s), all detailed economic ( s) structure of the sentence, which transmits the determination of the Mannheim crescendo on the determined increase in the large formal parts, " speaks on the other hand by a " relatively conventional ( n ) " Andante, while James Webster in the slow movement the " inimitably lively profundity " highlights.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. (If available in the orchestra ) were to reinforce the bass voice then also without separate listing bassoon and harpsichord used, since a study of the British musicologist James Webster on the involvement of the harpsichord are competing views.

Performance time: approximately 12 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. 1. - 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: Presto

D major, 4/4-time, 86 cycles

As was customary, the set is (similar to the other two ) rather characterized by the loose juxtaposition of motifs and figures as through thematic work in the sense of ( later establishing itself ends ) sonata form. The Presto has an entertaining, light-hearted character of the rococo type and thrives on change of his motives and the contrasts in dynamics ( piano to fortissimo ). Heinrich Eduard Jacob, in light of Haydn's childhood as the son of a wagon maker a connection with the tone repetition on D at the beginning of a sentence with a rapidly rotating cartwheel. Howard Chandler Robbins Landon emphasizes the " momentum " of the sentence.

The exposure falls by its wealth of themes and motifs auf.Je your point of view, five different "themes" are deferred in the following with reference to Howard Chandler Robbins Landon (1980 ):

• " First Theme" ( cycle 1-9 ): The set opened as a rising crescendo Tonrepetitions -D in the bass (similar to the Mannheim Crescendo ), which opens into a Hornfanfare with tremolo. After a motif characterized by quarts movement with chords, and other small Hornfanfare reaches the dominant A major.
• " Second issue " (measure 10 to 14), D major: 1st violin with a clock derived from Figure 1 and 2, 2nd violin against vote -like, then up into two violins virtuoso run and closing cadence phrase with trills.
• Reconciliation material (cycle 14 to 22 ): The violins alternate with virtuoso running figures and syncopated accompaniment, tremolo with Hornfanfare, final again as cadence phrase with trills.
• " Third Theme" ( bar 23 to 28) with change from piano to forte. Piano passage with pauses interrupted, remote figure, Forte passage with tremolo, close again with trill phrase.
• " Fourth Theme" ( bar 29 to 31): contrast by switching to piano in A minor, quaver figure with staccato.
• " Fifth issue " (measure 32 to 39 ): Final group with change to forte with virtuoso runs, tremolo; Final turn again, but " enriched" as a cadence figure with trills by Annex with piano -forte - contrast.

The development begins with further dynamic contrasts, running figures and tremolo. After four cycles Haydn changes to Forte and now a processing section begins with the motif of the piano passage from the " third issue ": First, the violins draw on the subject, then take it over in a downward sequence viola and bass, while the violins running figures play. More dynamic contrasts lead to fortissimo with dreiaktiger Hornfanfare and syncopated violin accompaniment on a bass motif, before rising more virtuosic runs in the violins announce the end of the implementation.

The recapitulation is structured similarly to the first part of the sentence, however, is the " second theme " extended by two clocks. The two main sections of the sentence ( exposure and development and recapitulation ) are repeated.

Second movement: Andante

G Major, 2/4-cycle, 78 bars, strings only

Characteristic of the Andante is the triplet upbeat, whose meaning is " in the course of the movement several times between mere rhythmic prelude function and motivic and melodic task " changes. First, the four-bar main theme is presented with Schreitendem character and characteristic tone repetition, then to be continued as a variant with derivative -like dissonance. After a passage with syncope and a seventh chord on A, the dominant D major established with her ​​short triplets dialog the violins. After that occurred before the end of the first part in bar 28, two other small motifs, both also with triplets.

The second part of the sentence begins as Fort spin drying of the main theme, which in turn merges into a triplet dialogue with downside sequencing. In bar 50, the variant of the main theme analog clock 6 in G minor uses, followed by a syncopated passage. In bar 61, the portion corresponding to clock 11 of the first part follows. Depending on the perspective, you can set the beginning of the ( shortened ) " Reprise" here. Both phrases are repeated.

Third movement: Presto

D major, 3/8-time, 81 cycles

As is typical of a symphony that time, the last record has been created as a lightweight " Clean Sweep ". Starting with the rocket - like ascending D major triad and Akkordmelodik (motif 1) follows without reconciliation another motif (motif 2), with dotted rhythms and proposal -like figure on the basis of the E major seventh chord. After six cycles with sixteenth - run figures of the 1st violin (motif 3) begins in measure 21 Scene 4 with its eye-catching jump over a tenth down and finished the first part of the sentence in measure 32 with chords, to A.

In the mini " implementation " (measure 33-47 ) occur shortly motif 1 and motif 2. The recapitulation (bars 48 ff ) is similar to the exposure structured. Both phrases are repeated.

References, notes

Web links, notes

• Symphony No. 1 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
• Recordings and information about the Symphony No. 1 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 1 by Joseph Haydn
• Joseph Haydn: Symphony no. 1 D Major.. Philharmonia Band # 701, Vienna 1962 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )