Symphony No. 15 (Haydn)

The Symphony in D major Hoboken directory I: 15 Joseph Haydn composed in the year in 1761.

General

The symphony Hoboken directory I: 15 Joseph Haydn composed in 1761, a performance of Symphony No. 15 was possibly the reason for Haydn's setting when Prince Paul Anton Esterházy on 1 May in 1761..

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 20 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 1761 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: Adagio - Presto - Adagio

The framing of a fast part of the sentence by two slow adagio is unique in Haydn's symphonic whole. In the older literature is slow-fast -slow sometimes seen with a sequence based on the French overture. Contradicted by the fact that ", neither the framing nor the slow parts rapid midsection recognize any correspondence to the musical gesture typical of the French overture " in the symphony. Thus, the introductory Adagio introduction is not majestic, but rather leads divertimentohafte trains. Wolfgang Marggraf sees " in this remarkable plant is characteristic of Haydn's early formal experiment ".

Adagio: D, 3/4-time, bar 1 to 33:

In the Adagio the pianissimo consistently held 1st violin developed their structured in two-stroke groups " charming Cantilene ", which is accompanied by the other strings pizzicato. In the turning points of the melody give the solo horns short inserts. This creates a left - divertimentohafte atmosphere. Similarly as in the Adagio of the Symphony No. 11, also silent in this sentence the oboes. From bar 9 the first violin continues its Cantilena. On the ascending Lombard rhythm line of first violin then follows a passage with change of strings of high and low position under sustained notes of the horns. Then the horns take over the vocal line while now accompanies the first violin as Liegeton. After a further rising in the Lombard rhythm figure of the first violin, the Adagio ends with a Tonrepetitionsfigur alternating between upper and lower strings in the dominant A major.

Presto: D, 4/4-time, clock 34-111:

The spirited, fiery movement begins in the tonic D major with a two piece "theme". The first part is a dramatic, dissonant voice-over of the oboes and tremolo violins as " not an issue, but pure musical process is increasing pseudo - imitation (...). " After three cycles followed by a new idea, which is similar to the opening theme of the first designed set from the Symphony No. 4 and to a Croatian folk dance ( Kolo ) is ( chord shock Roller sixteenth -eighth - Staccatofolge ). Unison sixteenth runs the oboes and violins lead to the second theme in A major, prior to which the bars are not 47/48 designed rhythmically differentiated: The first violin plays syncope, the second violin and the viola descending semiquaver figures ascending, the second violin against motion -like semiquaver phrase.

The second theme ( from bar 37, in A major ) is pianissimo initiated by the two violins with an eighth - Staccatofigur that you can think of is derived from the second motif of the first theme. This figure is then extended with minor turbidity and the accompaniment of other instruments. The final section begins as Unisonowendung the strings, then produce a tremolo figure similar to the beginning of a sentence, and three times in the vote against the viola -like upward phrase from clock 47/48. The exposition ends with the tremolo part of the first theme in A major.

Without repetition of the exposition seamlessly including a sequence at the beginning followed by the middle section ( " implementation " ) several motifs, including a variant of the tremolo part of the first theme and elements from the second issue. Note the strong contrasts of fortissimo and pianissimo from bar 72

The recapitulation sets in measure 81 a to the second motive of the first theme and then proceeds in a similar exposure. The Presto ends after Unisonoläufen the Strings in A Major.

Adagio: D, 3/4-time, clock 112-134: The revisiting of the Adagio is shortened by ten bars: After the dialogue of the first violin and horns immediately sets the passage with the change of the strings in the high and low position and the Liegeton one of the horns.

Second sentence: Menuet

D major, 3/4-time, with Trio 68 cycles

The in the " sublime, almost Handel's " Minuet prevailing dotted rhythm remembers " the French style " and adds " the set some of the dignified reticence of a Baroque minuet ". The beginning of the sentence bears similarities to the trio of the minuet from " Servizio di tavola " of 1757 the Vienna Hofkapelllmeisters Georg Reutter.

In chamber music trio for strings ( G major ), the violins alternate with the solo viola and solo cello -like dialog from with legato Zweitongruppen.

"Here, therefore, met for the first time that tendency to solo exposing individual instruments, namely particularly common in the trio of the minuet, which is then emerge significantly especially in Haydn's symphonic music of the sixties. "

Third movement: Andante

G Major, 2/4-cycle, 73 cycles

The predominantly two-part Andante is kept only for strings and reminds the frequently interrupted by pauses, expressive melody and the sigh -like Provision to the sensitive style of Carl Philipp Emanuel Bach. The upbeat beginning phrase of the four-bar main theme plays in the further course of the movement an important role: following the theme in the violins a new theme with tone repetition in dotted rhythm, the bass fills the breaks with this phrase. Also, in the following passage from bar 12 it occurs dominantly in appearance. After a fortissimo outburst a falling in syncope line leads to the conclusion motif of exposure to tone repetition and forte -piano- contrast.

The beginning of the second part of the sentence is marked by the dialogue of the violins, the first violin plays the phrase from the main topic. A renewed outbreak to fortissimo again leads to a passage with syncope in the first violin (bars 38 to 47 ), while the second violin continues its sighs like secondary motifs. The recapitulation at measure 50 is similarly structured exposure. Both phrases are repeated.

Fourth sentence: Presto

D major, 3/8-time, 158 cycles

The Presto is in three parts created by the ABA scheme, echoing as well. Somewhat by the character of dance to the structure of a minuet and trio The A- part is held in the galant style of a " Clean Sweep ". He, too, is in three parts in it:

• Part 1 ( position 1 to 20): Presentation of the topic, which consists of two phrases ( Phrase 1: clock 1-6, Phrase 2: cycle 7 to 10). The theme is zehntaktig and ends first "open" on the dominant A, then it is repeated once with closing on the tonic D (measure 20).
• Part 2 (cycle 21 to 32 ): further thoughts from the A - part.
• Part 1 (cycle 33 to 44 ): revisiting the topic with varied final turn.

The central part contrasts with the key of D minor, and the restriction to strings in the piano. The first violin is with " a eigentlümlich dance- resilient tune " vocal leader, the other strings accompany ( the second violin with " whispering sixteenth - chains ", bass and viola with getupftem foundation ).

• Part 1 (cycle 45 to 60 ): The eight-bar theme has a characteristic fourfold tone repetition with second upwards in his head motif as well as a loosening of Rhythm ( shortened variant of the head motif with via the clock held note and second upwards ) on. It is repeated.
• Part 2 (cycle 61-82 ) consists of two phrases. The first starts from F major and the motives of the previous topic varies ( second down and two-time tone repetition ). The second phrase begins by addition of tone repetition large interval jumps on and then forwards as falling line seamlessly into the revisiting of the topic of Part 1.
• Then part 2 fully repeated (cycle 83-104 ).

From bar 105 of the A section is repeated almost verbatim. With a Coda Haydn finished the sentence.

References, notes

Web links, notes

• Clips and Information on the 15th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Wolfgang Marggraf: Haydn's earliest symphonies ( 1759-1761 ). The symphonies of "Sonata da chiesa " type. , Call 30. January 2013.
• Joseph Haydn: Symphony no. 15 in D major. . Philharmonia Volume No. 715, Vienna 1963 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 15 by Joseph Haydn: notes and audio files in the International Music Score Library Project.