Symphony No. 16 (Haydn)

The Symphony in B flat major, Hoboken directory I: 16 Joseph Haydn composed in 1763rd

General

The symphony Hoboken directory I: 16 Joseph Haydn composed in 1763rd

About the Music

Instrumentation: two oboes, two horns, two violins, viola, 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 1763 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

B flat major, 3/4-time, 114 cycles

The symphony begins Haydn uncommon in the two -part string piano Viola and Bass are a eight-bar theme (each two-bar blocks) from descending sighs -second vocal leader, the second violin plays to a dissenting vote from staccato quavers (other instruments are silent ). In bar 9, the theme is repeated a fifth higher in the violins, now the second violin is voiced leader and the first violin plays the dissenting vote. This sentence beginning with the subject in double counterpoint reminiscent of the beginning of a fugue, next to get the opening bars by the descending chromatic sigh chain a " baroque train ". From bar 17 the issue is with use of the entire orchestra played a third time with voice leading in first oboe and first violin ( eighth in voting against viola and bass). From bar 23 of the subjects head appears briefly in the bass, while the eighth - dissenting vote in the violins verselbständig. As repeated in unison turn with trills ( " trill motive " ) announce the eighth chains to the second theme in the dominant F major.

This consists of one cycle of the eighth against and the Soifer - Sekundmotiv in staggered use of violins .. Haydn spins the quaver movement continues as a downward sequenced figure and develops the final group. The final group consists of a repeated six-bar motif, including the trill motif.

The short implementation (measure 55-77 ) raised the issue as at beginning of F major with a further rising against vote -like turn of the first violin. Then comes the second theme in D major on with Synkopenbegleitung. Expansive and ascending and descending eighth harmonic chains lead from D major to F major and terminate with the trill motive the recapitulation.

The recapitulation begins at bar 77 as at beginning piano with the sigh topic in viola and bass. The first violin plays now the eighth dissenting vote, the second violin accompanied by a fall in ganztaktigen notes line. The further course is shorter than the exposition: the subject is immediately repeated forte throughout the orchestra use, and the transition to the second theme is kept scarce. The course from the second theme corresponds largely to the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Second movement: Andante

E-flat major, 2/4-cycle, 73 cycles

The set is kept only for strings in two -part structure ( violin / viola and solo cello and bass) and piano throughout. The violins are playing out in parallel and subdued. Her voice is an octave deeper doubled from solo cello, " which on the one hand, results in a aparter sound effect, on the other hand, the solo instrument appears as a variant of the orchestral sound. ". The special sound effect is also highlighted by other authors. For more details see at the Symphony No. 14 in its second sentence, the ( undamped there) by the violins in unison melody played will be doubled by the cello an octave lower. Howard Chandler Robbins Landon describes the Andante as one of the first slow movements, show the typical features of Haydn's individual style.

The main theme consists of its relatively smooth, melodious four-bar phrase of the voting leading violins and solo cello, which, however, is interrupted by a conspicuous break in the second bar. Characteristic is next to the sweeping gesture of the initial stroke, the sixteenth phrase with thirds ( " Terzfloskel " measures 2 and 3). The theme is repeated as a five-bar variant. A trill passage leads in clock cycle 14/15 to a derived from the Terzfloskel motif with derivative action ( " Derivative design", including imitation in the bass ). Then sequenced Haydn another phrase in the descending line down. In bar 20, the dominant B flat major is reached, in the now still follows the final group with staccato in Viola / Bass and triplets in the violins / cello solo.

The middle part ( " implementation " ) begins as usual with the main theme in B- flat major, Haydn then swings with a falling chain of sighs like seconds after minor. In the derivative action motif (again with imitation in the bass ) trio follow Lenke tablets, which lead Zumm temporary financial statements in C minor. With the Abwärtssequezierung the derivative motif ( upper voices ) or the Terzfloskel ( lower parts ) changes Haydn back to the tonic, which is reached in measure 52 with the recapitulation. The recapitulation is down to a shortening of the main theme ( without repetition ) structured as the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Third movement: Presto

B flat major, 6/8-measure, 71 cycles

The lively movement begins with his catchy unison theme. Its head motif and distinctive rhythm of eighths and sixteenths is characteristic for the whole set. A (as in the Andante) extended to five bars variant of the theme leads to the dominant F Major, from where from bar 10 rapid runs alternating with octave jump - repeated notes to the extended tremolo passage lead with the head motif in the bass. According to a variant of the motifs from bar 10 end more rapid phrases exposure.

The implementation of spins initially the subject of F major in violin and viola ( without bass ) on. With the energetic Forte - use of the entire orchestra in D major, bar 41 is reached where the head motif is processed in combination with the octave leap in the bass alternating with interjections of violins. About another key change Haydn finally arrived in F major, with the throw- figure in the violins spreads for tremolo. F major prepares as dominant before the recapitulation entry.

The recapitulation beginning Haydn was designed with a surprisingly - jocular structure, which will be henceforth more and more typical of his style (see the quotes below): The issue appears initially for three cycles only distributed on the violins, before the whole orchestra forte uses. The subject goes right into the tremolo passage, from then on, the course as the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

" The finale is a rollicking romp in 6/8-measure; humorous is also the beginning of the implementation, if the main theme finally pretending to be " regular" - but only until the sixth cycle. The recapitulation begins with a patently earliest of Haydn's " facetious " twists; it is by no means his worst. "

" In the finale, a research Presto 6/8-measure, we encounter a train, which as a specific haydn shear final movements henceforth more and more mint: the joke. So Haydn surprised at the beginning of the recapitulation with a nice punch line. After the conclusion of the implementation, which is highlighted by a short pause, he can not use the theme as usual forte of the entire orchestra, but first, divided between the two violins, present in the piano, only heard the strong theme in unison Tutti (...). "

References, notes

Web links, notes

• Clips and Information on the 16th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 16 in B flat 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. 16 by Joseph Haydn: notes and audio files in the International Music Score Library Project.