Symphony No. 2 (Haydn)

The Symphony in C major, Hoboken directory I: 2 Joseph Haydn composed probably 1757-1759 during his period of employment with Count Morzin.

General

The Symphony in C major, Hoboken directory I: 2 Haydn composed probably 1757-1759 during his period of employment with Count Morzin. The autograph of the Symphony has been lost, but there are contemporary voices copies before. The authenticity is secured by the entry in Haydn's hands-on " design catalog".

A special feature of the work is that the rates are not as usual have repetitions of parts of sentences. Despite their proximity in time to the Symphony No. 1 produced compared significant structural differences, and in particular the first movement of the Symphony No. 2 is highlighted in literature reviews as particularly:

After Howard Chandler Robbins Landon, a comparison of the first sets of the symphonies 1 and 2 is a constant struggle between pure Baroque style and the Vienna, Mannheim and Italian school pre-classical elements. Are also independent of its outlying structures Nos. 1 and 2 worlds apart. The Symphony No. 1 in lean more towards the Mannheim school, while No. 2 return unto baroque cadences and long, deliberately archaic sequences. Nevertheless, No. 2 was clearly modern in terms of the general structure and thematic development. It is hard to believe that both symphonies were composed at a distance of a few years. The first set was in a formal, orchestral and harmonic structure completely different from Haydn's Symphony other records from that time.

" From a very different world, the C- major Symphony I come: 2 - did not know you otherwise, one would hardly suspect that the two works have the same author. Here the first movement combines homophonic and contrapuntal sections so that the main subject of the homophonic beginning to one of the contrapuntal motives is, and the great form that combines elements of the sonata and ritornello; on the dominant level appears a contrapuntal incidence in G minor instead of G major, as " correct" dominant joins the main theorem in G major, including contrapuntal - motivic processing, and so it goes on in a real game of deception. "

" This symphony refuted once and for all the idea that the instrumental works of the young Haydn " conventional " are. The opening Allegro is unique; it is the subject of a kind of dialogue or confrontation between traditional and modern styles. Although it simply begins with a haunting dotted unison theme and a homophonic sequel, the piano suddenly conjures reply the learned counterpoint. In fact, the whole set of free switching between homophonic and contrapuntal passages is controlled, based on the ascending dotted theme. But this set is formally unique. He is the only Haydn's symphonic faster initial set, the internal repeats its two parts ( ... ) are missing. "

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 10 minutes.

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 the work of 1760. - 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

C major, 4/4-time ( alla breve ), 194 cycles

The first theme ( or thematic unit, clock 1-19) is decorated throughout forte and consists of several motives: at the beginning there is a motif in unison, in which, after issuing octave leap down a scale over one octave upward in dotted rhythm using (motif 1, " Tonleiterrmotiv " ), followed by a further rise ( as Quint ) in eighths and a cadential phrase in quarters ( motif 2, " cadence motif "). After repetition of motif 1 is followed by motif 3 in dotted rhythms and trills ( " trill motive " ), but the interval jumps are larger. The final phrase of the thematic complex ends with emphasis on the tonic C major ( triads and Hornfanfare, clock 17-19).

Immediately thereafter, the second violin piano begins with the scale motif, shortly accompanied by the other strings - the first violin plays a gradually descending dissenting vote, in which the second violin matches then added. Now the whole orchestra is again forte with two variants of the trill motif (the first without and the second with dotted rhythm ), then from bar 34 with motif 4 in stepped motion. Here Haydn changes to the dominant G major, which is reached in bar 41.

The second "theme" ( Scene 5, starting at measure 41) but then contrasted in the minor dominant ( G minor ). It is argued by the strings piano as dialogue: the first violin begins as a " question " with its upbeat three-note motif in dotted rhythm, answered by an ascending fourth four-note motif as the second violin and viola. Both elements can be derived from the scale motif. Subsequently, the remaining strings grip the four-note motif dialogical (in each case first violin and bass, and second violin and viola together) and sequenced it down.

The final group in turn requires a forte and besides tremolo of the violins motif 6 in dotted rhythm. After a piano scale over a tenth up the violins Haydn completed the first part with chords, in G major.

The implementation process in particular the scale Motive: This is twice in thirds down sequenced ( 74-80 clock in the basses, 94-100 clock in the first oboe and first violins) while counterpointed each of votes against. The scale also occurs downward instead of upwards on ( clock 79-81 in the violins ). In bar 113 pianissimo followed by a passage that is similar from cycle 19: The first violins begin with a motif in dotted rhythm ( at motif reminiscent 1 ) in the context of an ascending fifth ( reminiscent of motif 2 ), set the second violins added a - the subsequent stepwise descent corresponds to the clock from 20-24. Furthermore, Haydn processed sequenzierend and dialogical also reinforces the trill figure from Trilllermotiv ( from bar 82, piano, violins), from bar 100, a scale fragment downstream ( to the scale motif reminiscent, alternating between bass and 1 violin) and from bar 108 is the variant the trill motif from bar 25 quotes.

Compared to the exposure, the recapitulation is shortened from 134 cycle first by " first theme " (according to clock 1-19 ) immediately follows the motif 4 with its contrasting movement. The final group is expanded, however, by the scale on the motif 6 motif is again sequenced down in thirds (like from bar 94) with short notes in the bass ( inverse of the scale motif in the bottom frame). The piano scale over a tenth up the violins finished with chords, forte as in the exposure of the sentence.

After Anthony Hodgson (1976 ), the set is reminiscent of the finale of Haydn's first horn concerto.

Second. Sentence: Andante

G Major, 2/4-cycle, 78 cycles

The two -part writing is kept only for strings and piano throughout. The parallel violins play a continuously ongoing, perpetual motion machine -like melody in equal semiquavers, which is often decorated on the first clock time with trills. Likewise, the accompanying with their border movement viola and bass instruments are performed in parallel.

By then evenly flowing movement (mostly legato, partly somewhat staccato ) can hardly recognize one another contrasting themes or motifs. The first eight bars are dominated by the tonic G major, then switches to the dominant Haydn D major (from about 16 clock reached). The first part ends in measure 30 and flows seamlessly into a middle section with minor turbidity. The recapitulation begins in measure 54. It is similar in structure to the first part, but shorter.

Due to the continuously flowing movement of the upper voices and the bass border the Andante is a reference to late baroque models, in particular on the Baroque Fort spin -drying technique

Third movement: Presto

C major, 3/8-time, 231 cycles

The set is constructed as a Rondo with the main theme ( chorus ) and two couplets.

• A section (bars 1-56, chorus ): Presentation of the periodically structured, dancing the main theme with trills and staccato in the whole orchestra with parallel-guided upper voices ( oboes, violins) and central and lower parts (viola and bass). The A section is in three parts in the scheme aba structure: The a- part represents the actual chorus theme, while the b- part of the issue continues briefly and then with a design variant of the main theme, the offset from " top to bottom " by the votes passes back above leads to a part.
• The Couplet 1 (cycle 57-91 ) is in C minor and is held for strings in the piano. The first violin starts in three batches with a motive to offset a clock followed by the second violin imitating, on the other strings accompanying.
• From clock 92-129 of the chorus is repeated.
• The couplet 2 ( clock 130-173 ) is in the subdominant F major. The oboe silent. It's like the chorus is constructed in three parts in it (sample cdc '). The first part ( F major, pianissimo ) is characterized by its question-answer turn with trills and the closing falling line, the second ( piano) has an up-down movement in C minor. Then the first part is repeated as a variant. The trills and on ascending or descending line can be depending on how you interpret as derived from the chorus.
• The chorus is then repeated again.

References, notes

Web links, notes

• Recordings and information about the Symphony No. 2 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Symphony No. 2 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
• Joseph Haydn: Symphony no. 2 C Major.. Philharmonia Band No. 702, Vienna 1962 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )