Symphony No. 14 (Haydn)

The Symphony in A major Hoboken directory I: 14 Joseph Haydn composed in 1762 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.

General

The symphony Hoboken directory I: 14 Joseph Haydn composed in 1762 Despite the brevity and early emergence time the work already has several characteristics of a classical symphony, Howard Chandler Robbins Landon describes it as " miniature symphony". .

About the Music

Instrumentation: two oboes, two horns, two violins, viola, viola solo, cello, cello solo, double bass. (If available in the orchestra ) were to reinforce the bass voice then also without separate listing bassoon and harpsichord used, insist on the participation of the harpsichord in the literature different opinions.

Performance time: approximately 15 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 transmitted from hence composed only with restrictions on a 1762 work. - 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

A major, 3/4-time, 100 cycles

The set begins with a forte concise, energetic first theme that is marked in conjunction with tone repetition by large interval jumps ( octave, tenth ). Haydn cadences of this tonic A major, D major subdominant, tonic, dominant, E major and tonic in the descending line. In the following cycles Haydn established the dominant E major and increases speed by reducing the note values ​​to eighth. A twist with emerging intervals concludes with chords, in E major and flows seamlessly into the next dialog of the oboe with the strings on. The strings develop it own, repeating motif, the occurring here sixteenth cause further acceleration. Energetic unison staccato eighth lead to the second theme.

The second theme from bar 31 with lyrical character consists of two motifs and is played only by the violins piano. The first violin begins with motif 1 and motif 2 down then sequenced. The second violin is an offset by one clock and sequenced motif 1 down. The final group in the Forte accesses the distinguished intervals of clock 11/12.

The short implementation with reconciliation character varies the motives of the second theme: first in the strings, then with voice leading in the winds. A surprising outbreak fortissimo derives from the dominant back to the tonic, and thus to the recapitulation.

The recapitulation is similar to the exposure, however, the first theme is varied in its intervallic leaps and immediately goes into the repeated strings design from the exposure over. Both parts of sentences (exposition and development and recapitulation ) are repeated.

" The first movement is intriguing because of his fiery vigor, his forward-pressing rhythmic force as compelling to disclose the same in the opening bars (...). "

Second movement: Andante

D major, 2/4-cycle, 67 cycles

The main theme consists of a four-bar melody and their figurations provided with repetition. In the course of the first part of the sentence to close five more small, four-to five-bar motifs to: Scene 2 with proposal phrase, image 3 with tone repetition and ascending line, Scene 4 with Liegeton and up- triplet and Motiv 5 as the final group with exchange of high position ( forte) and deeper layer ( piano).

The second part of the sentence begins with the main theme in A major. Then sequenced Haydn down a character from the ornate of the theme (cycle 6 or 33) and then passes with motif 3 for Tonikaparallele B minor. With motif 2, the change to subdominant G major, then the change to the tonic D major is done. The further course corresponds with motif 3, 4 and the final group of the exposure. Both phrases are repeated.

For the Andante Haydn on the theme of the final movement II / 11 resorted ( a set of variations ) of the Divertimento Hob, which he composed the late 1750's and is known under the title of " husband and wife, or The Birthday ". The material is recombined in the Andante: The main theme corresponds to clock 1 to 4 of the eighth variation, its figured repetition time 13 to 16 and motif 2 corresponds to clock 9 to 12

A peculiarity in the tone of the sentence is that Haydn can join the largely played by the violins in unison melody from the cello over long distances an octave lower (similar to the second movement of the Symphony No. 16, there violins with mutes ), while viola and double bass also a vote against -like accompaniment play in octaves at even eighths.

" The aural effect of making running a melody over longer distances in octaves, was by his contemporaries almost as a" viewed invention " of Haydn, whom he first was to use in his early string quartets. However, it was also initially quite divided on how the music scholar Ernst Ludwig Gerber reported in 1790: " His first Quatros, which were known to the year 1760, made ​​general sensation. They laughed and enjoyed himself on the one hand the extraordinary naïveté and cheerfulness, which prevailed darinne, and in other areas they shouted about the degradation of music to comic Tändeleyen and an incredible amount of octaves. It was he, namely, who to let go hand in hand style to enhance the melody through the octave, or first and zweyte violin in octaves, which, so does great effect in major orchestras, bey expressive bodies, in this his Quatros first introduced. But you got used soon, despite all Schreyens to this style. Yes, they finally imitated by even myself. "

The Andante was probably due to the special sound effect along with the folk melody popular among contemporaries sentence. So it was published in a slightly different form already in 1767 in a working as a piano piece in the " Weekly News and innuendo, the music on ". From Divertimento there was still edits for Flute Quartet and Piano with violin.

Third movement: Menuetto. Allegretto

A major, 3/4-time, with Trio 56 cycles

The initial idea of the minuet with ausholendem on and descending gesture is characterized by cyclic changes of uniform quarter and eighth movement. Then, emphasizes the subdominant in D major with oboe used, with the upper voices the district motion to continue (as tone repetition ), the lower voices the ausholende quaver movement; exchange in the following cycles, the groups their roles. The first part of the minuet ends in the tonic A major ( not as usual in the dominant). The second part of the minuet is the eighth movement of A major continuing basis. An explicit revisiting the initial idea does not take place, instead take over from bar 17, the solo horns with a new thought in a high location, the voicing. The last six bars correspond to the first part.

The Trio ( A Minor ) plays the first solo oboe their plaintive - declamatory melody over a string accompaniment.

Fourth movement: Allegro

A major, 6/8-measure, 66 cycles

The first theme ( main theme ), which is initially presented only by the violins, consists of a simple scale down, accompanied by votes against like syncopated eighth notes. In cycle 5, the violins of E major exchange their roles. The beginning of a sentence reminds us of a double fugue. The use of the whole orchestra in forte in measure 10 brings not just the scale that runs through as a cantus firmus the whole set, rapid sixteenth-note runs. The second theme from bar 17 (piano, strings only) varies the first by second violin and bass added a fragment of scale play, while the 1st violin adds an offset quaver figure. In the noisy circuit group predominate once rapid phrases.

Even the middle part ( implementation ) is marked next to the rapid passes through the descending scale, from bar 32 in the offset used between 2 Oboe and Violin 2 and - as Synkopenbewegung this - first oboe and first violin. Then sets the " second theme " as a variant, but now with a different instrumentation. The recapitulation begins fortissimo surprisingly, where now all the essential building blocks set ( scale, eighth dissenting vote, sixteenth - running figure) occur in parallel. The further course of the movement is kept similar to the exposure, the end of the block is extended codaartig with runs.

References, notes

Web links, notes

  • Clips and Information on the 14th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
  • Joseph Haydn: Symphony no. 14 A major.. Philharmonia Volume No. 714, Vienna 1963 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
  • Symphony No. 14 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
11102
de