Symphony No. 13 (Haydn)

The Symphony in D major Hoboken directory I: 13 Joseph Haydn composed in 1763 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy. The symphony has in its cast four instead of the usual two horns. The second set contains extended passages for solo cello.

General

The symphony is characterized by the following features:

• Using four (instead of two) horns (like the Symphonies No. 31, No. 39 and 72);
• Occurrence of a solo cello in the second movement and a solo flute in the trio of the minuet;
• Polyphonic technique in the final movement ( fugal ).

Also in 1763 came the safe Symphonies Nos. 12 and 40

About the Music

Instrumentation: flute, two oboes, four horns, two violins, viola, cello, also in the second set, a solo 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.

In Autograph a timpani part is subsequently entered with a thicker pen and brown ink in brighter than the rest of the score. The term " Timpano " at the beginning of the work, as well as key Taktvorschreibung, bar lines, end - lines and the repetition of characters are not written by Haydn. In the Breitkopf catalog of 1767 no timpani part is mentioned when citing this symphony. , Is in some votes copies well in accordance with the local conditions, the occupation of two horns and two trumpets changed.

Performance time: approximately 19-21 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) 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 molto

D major, 4/4-time, 87 cycles

The movement begins with a fanfare-like ostinato motif in the strings in unison Forte, which is spun out on organ point-like sustained chords of the wind instruments to measure 9. James Webster praises " the memorable opening of the Symphony" as "one of the most impressive and sounded strongest structure in Haydn's oeuvre. " In particular is for the further sentence structure, the upbeat sixteenth -like figure to the third clock counting time of significance.

After a short transition section with echo in the piano (bars 9-14), the second main theme, which is derived from the first follows: Sixteenth - Aufttaktfigur and interval steps up / down in quarters or eighths. This motif appears in the dialogue between the first violin and the flute. The clocks 14/15 are thereby in turn echo-like repeats in the piano ( bar 19 /20). The following forte passage (bars 21 ff ) consists of virtuosic semiquaver runs over an octave in parallel violins and flute, which is only interrupted by a Synkopenfigur in clock 28-30. The exposition ends at bar 34 and is repeated.

The implementation processes both main motives: First, the initial motive in the bass on strings tremolo (bar 35-41 ), then ( clock 42 et seq ), the second main theme, but now without a dialogue with the flute. Here Haydn modulated, including by the F sharp minor and G major.

The recapitulation begins in measure 62 with the first primary motive corresponding to the beginning of a sentence - and surprisingly effective but now at the piano. As " compensation " is quickly followed by a rising Hornfanfare Forte nachgeschoben (cycle 68-70 ). The section with the second main subject now comes from without " echo " in the piano, otherwise the recapitulation is similar to the exposure created. Development and recapitulation are not repeated.

Peter Brown believed that the sentence had an important effect in the contemporary audience.

Second movement: Adagio cantabile

G Major, 4/4-time, 31 cycles, only strings with additional solo cello

The held consistently in the Piano set based on a cantabile melody for solo cello and the Fort spin drying. The accompanying strings perform only simple, from the basic harmony supporting chords.

The set is in two parts divided each repeated (cycle 1-12 and 13-31 clock ), with stroke 13-21 are somewhat reminiscent of an implementation and measure 22 ff to a reprise in the sense of sonata form.

Probably Haydn wrote this sentence for the dedicated on June 1, 1761 cellist Joseph Weigl. According to the then customary practice of the solo cellist probably had some room for improvisation.

Third set: Menuet

D major, 3/4-time, with Trio 84 cycles

The upbeat loose minuet begins as a descending D major - chord played forte unison. It has a festive character with typical changes of forte and piano echoartigem. After Walter Lessing give the frequent " dynamic change and repeatedly inserted pauses ( ... ) the set at the same time something witty, roguish. "

The Trio in G major for solo flute and strings is characterized by falling, broken chords for the flute, giving the strings responses in the piano or forte unison on.

Fourth movement: Allegro molto

D major, 2/4-cycle, 170 cycles

The set is covered by the use of polyphonic technique (similar to the short time before composed Symphony No. 3). The main subject of the sentence is based on the third line of the hymn Pange lingua Gregorian, which became known as Haydn's contemporaries by the textbook " Gradus ad Parnassum " by Johann Joseph Fux and, for example, Wolfgang Amadeus Mozart Missa brevis KV 192 in the and in the final movement of the symphony, K. 551 used.

The exposure (cycle 1-61 ) can be structured as follows:

• Presentation of the joints motif in the violins, piano, counterpoint in the bass of eighth notes ( bars 1-4 ); Throw in the wind with a contrasting Forte fanfare with syncope and falling, broken chord ( " fanfare motif", clock 4/5); second appearance of the joints motif similar measures 1-4, but a third higher ( 6-9 clock );
• Threefold repetition of the fanfare motif in forte: in the winds, the strings and then together;
• Third and fourth appearance of the joints motif (bars 15-22 ): first in D major in the bass with counterpoint motif (bars 15-18); then in A major parallel in 2 Oboe, 3rd and 4th horn and 2nd violin ( counterpoint here, broken chords in running eighth notes );
• Fort spin drying of broken chords from the counterpoint of the last motif run ( cycle 24-28 ), and a " swinging out " with syncope in unison of the strings (bars 29-32 ).
• New motif with a broken chord in sixteenths, change of A major and E major (measure 33-40 );
• Synkopenpassage (cycle 42-50 );
• Fünter appearance of the joints motif in flute and first violin in A major, piano, backed by a " drum bass " on A ( cycle 51-54 );
• Final group in Forte with chords in remote quaver movement.

In the implementation ( clock 62-104 ), consistently in the Forte, the fugue subject is guided through all instruments with a variant of counterpoint motif from the beginning of a sentence. Initially, nor the fanfare motif in the winds interposed, and the string parts are set so that they can be interchanged in triple counterpoint. About modulations in A major, D major, G major, E minor and F sharp minor be achieved. The final pass in F-sharp minor (bars 89-92 ) is coming off without a counterpoint. The return to the recapitulation takes place on the eighth figure corresponding to clock 23 ff

The recapitulation ( from bar 105) starts off as the exposure, according to the three-fold repetition of the fanfare, however, already follows the Synkopenabschnitt according to clock 29 ff The exuberant appearance of joints subject is this in the form of a narrowing in the strings (bars 145-151 ) and parallel in flute, oboe and violin (bar 152-155 ) " later". Clock 160 ff are then designed according to the exposure with the last appearance of the joints motif in flute and violin 1 (corresponding to clock 51 ff, but now, in the tonic D major place in A- flat major ) and the final group with contrasting chords. Exposure and development and recapitulation are repeated.