Symphony No. 19 (Haydn)

The Symphony in D major Hoboken directory I: 19 Joseph Haydn composed in 1760 / 61st

General

The symphony Hoboken directory I: 19 Joseph Haydn composed in 1760 / 61st A performance of the Symphony No. 19 (or No. 15) may have been 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, 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 12 to 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 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

D major, 3/4-time, 120 cycles

The first theme ( main theme ) is achttaktig with two four-bar halves. The first half consists of three motifs: motif A with ascending D major chord in unison ( clock 1/2), motif B with sixteenth - two punch figure and tone repetition (cycle 2/3), motif C with falling semiquaver figure ( measure 3 / 4). The second half of the theme contains motif D ( measure 5 /6) from eighths to sixteenths and -coming two rhythmic gesture and the closing motif E ( bar 7 /8) with sixteenth run and trill turn. The motifs A to D and its variants are characteristic for the further sentence structure:

On the repetition of the first theme in the piano forte half follows first a tremolo passage, then an upward sequencing of motif B of the 1st violin in the offset to use a variant of motif D of the second violin. The second theme in the dominant A- flat major at measure 38 accesses motif C in the change of violins and goes with motif B in the final group on. This is - initiated by motif A - from a repeated three-bar figure with Hornfanfare ( the rhythm of motif D) and tremolo twist and a further variant of motif D.

The development begins with the first half of subjects in A- flat major, these advances, however, quite abruptly back to the tonic D major. From here, Haydn begins at measure 53 then a longer, modulating tremolo passage (similar from bar 15), with which the Tonikaparallele B minor is reached in measure 60. The subsequent processing of the motifs B, A and C is initially in B minor. In the course of the implementation dominated motif B, which is passed to E major and then achieved via an upward sequence with other changes of harmony in A major. With a pianissimo Forte - Contrast Haydn prepares the recapitulation entry.

The recapitulation at measure 83 is structured as the exposure, but the topic is not repeated, but goes straight into the tremolo passage. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Howard Chandler Robbins Landon (1955 ) points to the thematic work in the first sentence, especially on the role of the material of the first eight bars. Even Walter Lessing ( 1989) emphasizes the motivic work:

"Of the three sets of head set deserves special attention because of its amazing for this early date compositional unity. Clearly here are already signs the technique of motivic development from, one of the essential elements of Haydn's style. While the head movements of his very first symphonies usually have only a more or less loose Aneinanerreihung different thoughts, Haydn studied in the first movement of No. 19 to give the individual moldings greater unity, that it is limited to only a few, the main theme motifs taken. "

Second movement: Andante

D minor, 2/4-cycle, 57 cycles

The unusually short sentence is kept only for strings and piano mostly. The main issue with leading vote first violin is characterized by its prelude with dotted rhythm, the border quaver movement in the staccato and stressed suspensions. The further course of the movement has a border to march-like character.

The topic header is repeated, then the start character independent. From bar 13 Haydn changes to Tonikaparallelen F major. The bass and - as shifted by one-eighth Synkopenstimme at intervals of one tenth to the bass - the 2nd violin playing descending scales, while the remaining strings ( 1st Violin and Viola ) accompany the tone repetition in syncope. The final group in pianissimo with triplets ends the exposure.

The implementation varies the timing of exposure: First, the subjects head is sequenced up. The subject head is then repeated in the second violin, but now store the syncopation on the eighth movement until the syncope eventually dominated in G minor Forte. After contrasting final group pianissimo Haydn changes with the start character to A major, which prepares the recapitulation entry dominatrix table.

The recapitulation is shorter than the exposure: The subject head goes straight into the passage with opening of the independent figure. Otherwise, it corresponds structurally to the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

After Howard Chandler Robbins Landon (1955 ) of the sentence (as well as the Andante of the Symphony No. 17), an attractive, dark kind, serious but not tragic. The uniform atmosphere will set sent by loosened exchange of forte and piano.

Third movement: Presto

D major, 3/8-time, 110 cycles

The set is characterized by three motifs: motif 1 with incipient Forte chord shock, tone repetition and trill figures in the piano (bars 1 to 4), the energetic motif 2 in Forte with the descending line of the upper voices and ostinatoartigem rhythm in the bass ( bar 5 to 12, Scene 1 and 2 together as the "main theme ") and motif 3 with fast - grinder -like, sometimes upwards sequenced sixteenth - run figures (cycle 12 to 22 ). In the passage with motif 3 Haydn changes to the dominant A major. At a short, contrasting insertion of the running figure of motif 3 in the piano which in turn energetic final section follows the Forte with tremolo.

The implementation takes as usual to the beginning of the exposure of the dominant from. With the sixteenth - run figures Haydn then changes to Tonikaparallelen B minor, where now 1 motif occurs. In the following passage that something is with its octave leaps and tremolo in staggered use of the strings to the bottom group, Haydn sequenced the two-measure main block down. In D minor set clock in 65 pianissimo first motif 1, then a variant of motif 2 with ganztaktigen notes in the descending line of the upper voices. The recapitulation is announced over a pedal point on the dominant matic A with motif 3.

The recapitulation at measure 83 is shorter than the exposure: In motif 1 and 2 follows the piano passage with motif 3, but is now about twice as long as before. The final group is slightly shortened. Both parts of sentences (exposition and development and recapitulation ) are repeated.

References, notes

Web links, notes

  • Clips and Information on the 19th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
  • Joseph Haydn: Symphony no. 19 in D major. . Philharmonia Band # 719, Vienna 1963 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
  • Symphony No. 19 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
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