Symphony No. 12 (Haydn)
The Symphony in E major, Hoboken directory I: 12 Joseph Haydn composed in 1763 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.
General
The Symphonies Nos. 12, 29 and 44 are the only ones in the complete works of Joseph Haydn in the unusual for that time symphony key of E, the first two in a major key, the last in a minor key. The Symphony No. 12 represents a typical example of the Austrian Chamber Symphony in the mid- 18th century dar. However, the last sentence is not an easy " Clean Sweep " more, but already has its own weight, though not as pronounced as in the two years later composed Symphony No. 29 The first movements of both e major symphonies are characterized by a sanglich - lyrical character.
"In the balance of their three sets, in the charming thematic invention and formal concentration it is one of the best early Haydn symphonies under. "
About the Music
Instrumentation: two oboes, two horns in D, two violins, viola, cello, double bass. Bassoon and harpsichord were to reinforce the bass voice then even without special notation used, insist on the participation of the harpsichord in the literature different opinions.
Performance time: approximately 12-20 minutes ( depending on the speed and adherence to the prescribed repetitions).
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) and can be used for a symphony of 1763 with some restrictions. - 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
E Major, 157 bars, 4/4-time ( alla breve )
The strings begin in unison and - unusually for the opening of a symphony that time - in the piano with a gentle melody. The eight-bar theme is structured periodically and is picked by the tutti at bar 9 in a slightly modified form. From bar 17 is followed by a passage with evenly - throbbing tone repetition, a motif Tonrepetitions something energetic with quaver movement and a motif Vorhalts. From bar 34 the hitherto relatively evenly then running motion is then interrupted by pauses district, where Haydn modulates to the dominant B major. The second theme (bar 39 ff, H -Dur) is recited only by the strings and contrasted in character hardly the first. The violins play thereby mixed with Viola / Bass at a piano falling in Sekundschritten Terzfigur to. The movement finally comes to violins almost entirely to rest, while still holding on viola and bass in the form of quarter-note beats. In this way, Haydn changes in the short term to double dominant F-sharp major ( bar 49 ). It follows the final group with strong chords (change from F-sharp major and B major ) and steady quarter-note beats in the bass (bars 59-64 pedal point H).
In the subsequent central part with reconciliation character ( no implementation in the strict sense ) the strings first play piano two broken, diminished chords that form with their target sound Gis a chromatically falling figure. The section on Gis is held in pianissimo. From bar 83 the following stronger movement, as the violins added a motif with quaver movement play, added from bar 89 syncope.
The recapitulation at measure 97 is prepared over a pedal point on H and is similar to the exposure structured, but, for example, the first theme is modified in the repeat pianissimo something, and also the transition section is somewhat varied. Exposure as well as middle and recapitulation are repeated.
Second movement: Adagio
E Minor, 69 bars, 6/8-measure, strings only
The set has a total of by his forte Unisonoausbrüche, chromaticism, " deceptive cadences " and dissonance echoes of the opera seria. The Adagio opens as a typical Siciliano motif in the vote leading 1st violin, answered in sharp contrast with a broken - falling, diminished chord played forte unison. The response will be repeated. From bar 12 the input motif comes back, now in B minor, followed by new material, which is characterized by its partial chromatic movement. Haydn changes to the double dominant F-sharp major to complete with energetic octave leaps in the minor dominant B minor the first part. This is unusual in Haydn otherwise mostly in the corresponding parallel key ( here: G ) the exposure ended.
The second part begins piano as a variant of Siciliano motif in E- flat major. The following are strongly contrasting runs in unison and Forte, chromatic sections in A minor and G major and a sequenced motif with fourth, which already appeared in clock 20. In bar 44 again connects to the opening motif in E minor, followed by a chromatic section with the fourth motif. It concludes with again the energetic octave leaps, interrupted by a short solo for the violins. Both phrases are repeated.
Dietmar Holland thinks that Haydn " never before [ ... ] designed in a manner similar musical attitudes and characters so perfectly in the phrase" I like here. Antony Hodgson remembers the set of the melancholy of a shepherd in a landscape of the 18th century.
Third movement: Presto
E Major, 133 bars, 2/4-cycle
The first theme is based on the ascending E- major triad with tone repetition. It is structured periodically, sung forte and with modified trailer that leads directly into the transfer passage from bar 17, repeatedly. Here the Tonrepetitionsmotiv is spun out as upbeat version. After a break on the dominant B major joins from clock 39, a further variant of the subject there, now in the piano and with Pralltriller which can be regarded as the second theme depending on the perspective. The final group to clock 57 is decorated throughout in Forte and consists of unison figures and tremolo.
In the implementation of the triad motif of various stages of occurs, interrupted by a new, falling motif in the transfer operation. From bar 85, the recapitulation begins with shortened conduction part. It is striking that the entire set except the " second theme " is held at the Forte. Exposure as well as middle and recapitulation are repeated.
References, notes
Web links, notes
- Recordings and information about the Symphony No. 12 by Joseph Haydn in the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Thread the Symphony No. 12 by Joseph Haydn
- Joseph Haydn: Symphony No. 12 in E major. Philharmonia Volume No. 712, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
- Symphony No. 12 by Joseph Haydn: notes and audio files in the International Music Score Library Project.