Symphony No. 18 (Haydn)

The Symphony in G major Hoboken directory I: 18 Joseph Haydn composed in 1757 / 59th It is probably Haydn's Third Symphony. Contrary to the usual form of the work begins with the slow movement.

General

The symphony Hoboken directory I: 18 Joseph Haydn composed by 1757/59, probably as a chronological Third Symphony during his period of employment with Count Morzin.

The block sequence is slow - fast - dance movement ( Minuet ) depends on the late Baroque church sonata and is under Haydn's symphonies at No. 5, No. 11, No. 21, No. 22, No. 34 and No. 49 represented. In contrast to the four-movement church sonata is in these works in third place no slow movement, but a Minuet ( Symphony No. 18 is a total of only three movements ). In accordance to the church sonata, however, all records are kept in the same key in the aforementioned symphonies and the Symphony No. 18, there are (at the beginning of the first movement ) as well as in church sonatas approaches to polyphony.

Howard Chandler Robbins Landon points out the similarities of the first and second sets of Symphony No. 18 to the corresponding sets of Symphonies No. 21 and No. 22. In particular, structural similarities of the beginning of the Allegro molto from No. 18 to the second set of Nr exist 21

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 was designed in the first half of the 19th century (see below) and can be transferred from there to restrictions on a composed around 1758 plant. This is also evident in the first two movements of Symphony No. 18, that no implementation or recapitulation are present in the strict sense. Suspected Allegro molto corresponds more to the two-part form, in which the second part of the sentence is considered as a modified run of the first ( " exposure "). - 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: Andante moderato

G Major, 2/4-cycle, 75 cycles

The argument advanced by the second violin, five-bar main theme consists of an interrupted by pauses motion with ceremonial pathetic -dot rhythms (some of the impression can perceived as cocky to be divertimentohaft ) accompanied only by Viola and Bass in border quaver movement. From bar 5 the issue with voice leading in the first violin is repeated a fifth higher, the second violin now makes imitative interjections. This sentence beginning with its staggered use of violins reminiscent of the beginning of a baroque trio sonata. A similar structure is found in the Adagio of Symphony No. 11, also the further course of the movement linked with its three levels at least partially against the trio sonata: the two often mutually imitative, sometimes in parallel playing violins are supported by a bass, the horns play a subordinate role.

Striking are two passages with strong dynamic contrasts: In bar 10, the first violin breaks twice fortissimo with a Zweiundreißigstel figure into the surrounding pianissimo into it. Then the border, the piano movement from the main theme goes on as if nothing had happened. From bar 20 employs a further contrast part, by a figure is accented with decreasing interval jump with an accent. Again, piano follows the walking motion, now both violins playing in parallel.

The second part of the sentence begins as the first with the main theme, but now with the roles reversed: the first violin has the first singing, in the repetition of a fifth lower then the second violin. It follows a more dynamic contrast similar to clock 10 From bar 45 the event has calmed down with the walking figure back and it uses an upward sequence of a motif. A clear recapitulation beginning is not definable, Haydn achieved in 50 clock although again the tonic G major, however, the material develops just continue without the subject is explicitly taken up by the beginning of a sentence. The dynamic contrast surface corresponding to clock 10 is omitted, instead of contrast accented according clock has already reached 20 in clock 57. The final group is codaartig extended over the first part of the sentence with its continuation of the walking motion and another forte - piano contrast.

Antony Hodgson points to the associated with the breaks in the sentence possibilities for improvisation of a (notional) harpsichord player.

Second movement: Allegro molto

G Major, 4/4-time, 83 cycles

The sentence is ( as it was then usually the case ) characterized rather by the loose juxtaposition of motifs and figures as through thematic work in the sense of (later taking root ends ) sonata form. Torn motivic gestures, wide intervallic leaps and frequent two-and three clock elements are characteristic of the Allegro molto. On the basis of closing phrases and short breaks are four sections in the " exposure " divided:

• Section 1 (cycle 1-12): The first "theme " consists of a chord strike of the entire orchestra followed on ascending and descending staccato quaver figure out the parallel strings. This is followed by a Hornfanfare, a question -and-answer character and a short tremolo passage. The next closing to the dominant D major turn leads to the first turning point ( quarter rest ) the date forward-moving action.
• Section 2 (cycle 13-21 ) with its design from impact and chord Staccatofigur similar to the first "theme", then follows an ascending cantabile line, a staccato motif of the first oboe and first violin and a closing twist with trills.
• Section 3 (cycle 21-30 ) with dynamic piano -forte - contrast, another quaver movement in the staccato, some large interval jumps and closing twist with trills.
• Section 4 (cycle 31-38 ) with contrasting D minor - motif (the second "theme" ) and Forte - final turn, again with large interval jumps.

The second part of the sentence initially varied section 1, but the tremolo passage is extended and held in minor (bars 39-55 ). This is followed by Section 3 as a variant. In bar 62 the tonic G major is reached again, the stresses Haydn with extensive Hornfanfare. The tremolo passage with counter-movement of the upper and lower voices leads to the truncated variant of Section 2 The movement ends as in the first part of Section 4 and its two contrasting motifs.

" The exposure, with little profiled topics largely corresponds to the rule; the seven additional cycles only slightly longer second part begins with the theme in the dominant and then repeating the pattern of exposure with only a few changes, so that the listener can be seen from the tonal development to the dominant way off and considering that each part should be repeated four times of approximately the same musical course is demanded. a self in the early period in Haydn quite unusual appearance "

Third set: Tempo di Menuet

G Major, 3/4-time, 101 cycles

The set is similar created a minuet, but the contrasting middle section is not specified as " Trio" refers to the repetition of the minuet part is written out without repetition and with a coda.

The main theme of " leisurely " minuet begins - similar to the Allegro molto - as tutti chord and is characterized by the alternation of triplets and dotted rhythms (these are reminiscent of the " ceremonial tone of the Andante " ) marked. The middle part reminds by Howard Chandler Robbins Landon at the middle part of the Gavotte from Wolfgang Amadeus Mozart's ballet music to the opera Idomeneo. He contrasted by the key of G minor and largely restricted to strings in the piano. Striking are several ganztaktige emphasized by accents sigh like Vorhalts notes ( interpreted as an appeal to the Forte burglaries in the Andante ), in the second part a little chromaticism comes to that.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 18 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 18 G Major.. Philharmonia Volume No. 718, Vienna 1963 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 18 by Joseph Haydn: notes and audio files in the International Music Score Library Project.