Symphony No. 17 (Haydn)

The Symphony in F major, Hoboken directory I: 17 Joseph Haydn composed in 1760 / 61st The first set has an unusually long passage for a symphony that time.

General

As for some other of the most undated early symphonies of Haydn also arises at No. 17, the difficulty of a chronological classification. In No. 17 speaks of the first set because of its length, especially by the implementation, for a rather later work year, while the sets 2 and 3 are kept in the style of Haydn's earliest symphonies. According vary also make available the time of origin of this symphony in the literature. The Haydn Festival Eisenstadt give 1760/61 as a development period.

The symphony is one of the first works of Haydn, which was listed in the New World. This is by the German - American composer Johann Friedrich Peter 1766 made ​​and in the archives of Winston- Salem, North Carolina kept handwritten copy of the work assigned.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, 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 in the first half of the 19th | Designed century (see below) and can be transferred from there to restrictions on a composed around 1760 plant. - 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

F Major, 3/4-time, 164 cycles

The Allegro with his formative, over large parts of continuous quaver movement begins forte with the powerful first topic that is viertaktig and consists of two motifs: motif 1 and-coming gesture and trills, Scene 2 with kick- fourth and a closing sixteenth turn. The theme is repeated an octave piano.

In the following passage from measure 8, several motifs / figures lined up: Scene 3 with Forte chord beat and rhythmic piano figure ( these through fourth and sixteenth turn of motif 2 found ), even eighth chains in staccato under syncopated accompaniment of violins, the offset between the violins put forward motif 4 with the sixteenth turn from motif 2 and a concluding octave leap and motif 5 with tone repetition and vote against -like movement in the second violin. The upbeat juxtaposition of a character from Motiv 5 leads to clock 28/29 to another motif 6 with the movement abfedernder, double sudden sixteenth-note figure that prepares the dominant of C major.

In C major, now appears as a " second theme " motif twice, first one in Forte on, and only in the violins and piano by motif 6 as a variant in question-answer structure. A stereotyped like Fort spin drying leads us to the final group in clock 42 forte with the upward sequenced motif 7 (change from Oktavfloskel in the bass and descending Staccatoketten of violins ) is used and the exposure fortissimo finished with tremolo and chord shots.

The implementation initially brings the first theme in C major, but it moves immediately back to F major. Then processed Haydn the motives of exposure by it varies and goes through different keys: Based on motif 3 with turn to B - flat major, it accesses the Synkopenpassage and the " dialogue design" 4. In bar 80 is a contrast passage with a change of a piano figure and a energetic Forte twist, and the piano figure from the Fort spin drying of the second subject is derived. This is followed by the sequenced motif 7 of the final group and motif 5 The entry of the recapitulation Haydn prepares before effectively by the music seems to fade away in pianissimo.

The recapitulation sets in measure 113 a forte with the first theme. It is largely structured as exposure, but lack the Synkopenpassage. Both parts of sentences (exposition and development and recapitulation ) are repeated.

The Allegro falls through the length of the implementation at in relation to the length of the other sentence parts. Particularly noteworthy is that the implementation is longer than the exposure (exposure: 54 cycles, performing 58 cycles, Reprise: 52 cycles). This is within the early Haydn symphonies unique, otherwise the implementation (or middle part, because often no " processing " of the material of the exposition in the strict sense occurs) significantly shorter fails.

Howard Chandler Robbins Landon describes the Allegro as " curious milestone" in the development of the first sets of the Haydn symphonies. However, Haydn fill here merely " old wine in new bottles': The Allegro constitutes an elongated two-piece set, which is on the one hand outgrown its form, on the other hand, no full-fledged three-part ( exposition, development, recapitulation, in the sense of the later evolving sonata form ) fancy.

Second movement: Andante ma non troppo

F minor, 2/4-cycle, 107 cycles

The Andante is kept only for strings and almost always piano. The leading vote first violins begin the eight-bar main theme, which consists of the two-bar motifs 1 to 4 (or two four-bar groups). By upbeats and breaks affects the theme " strange haltingly ," or ntsteht a little march -like character.

After the first issue follows a passage with tone repetition and pendulum movement ( Scene 5), which merges with motif 6 with its melodious tune of the first violin, while the second violin continues the pendulum motion. With closing phrase in measure 18 in E flat major is reached. In the Tonikaparallelen flat major now starts again the head from the opening theme (motif 1), then reach in motif 7 with ausholendem gesture and varied pendulum figure above. The section ends in measure 28 with a further closing twist. The final group in A-flat major is marked by the parallel violins with their sighs seconds (motif 8).

In performing Haydn sequenced initially Scene 1 upwards, then it processes motif 5 in three variants ( from bar 47 in offset application, then after zwischemgeschaltetem motif 2 in combination with motif 7 and a similar closing phrase as in bar 28, then to chromatic passage with voice leading in the lower voices ). A syncopated figure with chromatically descending line leads back to the recapitulation in F minor.

The recapitulation at measure 76 is similar to the exposure structured. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Third movement: Allegro molto

F Major, 3/8-time, 92 cycles

The short set in the then typical " Clean Sweep " character begins forte with the dancing eight-bar main theme in the vote leading oboes and violins. It consists of two four-bar halves. Characteristic is the head motif of both halves with initial shock chord, triols and emerging quaver figure. It is characteristic for the other set. The break between the two halves of bar 4 is filled by horn, viola and bass.

In section clock 9-20 Haydn replaced with a derived from the quaver figure trill motif and ascending sixteenth chains to the dominant of C major. After contrasting inset with chromatic variation of the head motif in the alternation of piano ( violins) and forte ( unison) follows the final group, which relies in turn on the head motif of the theme.

The short middle section in C major combines the head motif with the ascending sixteenth six-bar chains as a unit, the piano and is repeated in a minor key. The recapitulation is constructed as the exposure, however, follows the contrasting inset as Fort spin -drying the unison figure nor backward sequencing of a triad figure in the strings. The movement ends with a brief coda from Akkordmelodik. Both parts of sentences ( exposure and central part and Reprise ) are repeated.

" We conclude with a lively set in 3/8-time, one of those harmless and playful, conventional finales, as they are characteristic of most of these early symphonies of Haydn. "

References, notes

Web links, notes

• Clips and Information on the 17th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 17 F major. . Philharmonia Volume No. 717, Vienna 1963 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 17 by Joseph Haydn: notes and audio files in the International Music Score Library Project.