Symphony No. 21 (Haydn)
The Symphony in A major Hoboken directory I: 21 Joseph Haydn composed in 1764 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.
General
The work is characterized by the following features:
- The block sequence is slow - fast - slow ( Minuet ) - fast depends on that of the late Baroque church sonata and is under Haydn's symphonies at No. 5, No. 11, No. 18, No. 22, No. 34 and No. 49 represented. The Symphony No. 5, in addition to full sequence and key even further structural similarities to the Symphony No. 21 in the first and fourth movements (see there).
- While it is common in other symphonies that time, that at least the slow movement or the trio in a different key - usually are the dominant, here all the sets are kept in the home key of A, with the exception of the trio all in A Major.
Also from 1764, Symphonies No. 22, No. 23 and No. 24 have survived in autograph form.
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 20 minutes.
When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century (see below) and can be used for a symphony of 1764, with some restrictions. - 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: Adagio
A major, 3/4-time, 70 cycles
The sentence structure does not fit any clearly defined shape, but is free, as it created fantasy -like. Noteworthy is the hitherto novel treatment of dynamics, melody and orchestration, for example in the form of oboe solos.
The sentence begins as a dialogue between the strings, who play the singable melody in quiet - supported districts, and a solo of oboe. From these first six bars the further material of the sentence is derived. From bar 16 causes the second violin with the main melody while the first violin accompanied by a downward sequenced figure. Then ( bar 29 ff ) take cello and double bass to the melody, while the remaining strings put a carpet of sound from partially dissonant staccato quavers in it. In bar 49, the first violin begins again with the vocal line, one after the other then put a second violin, viola and cello and double bass. The previously very quiet atmosphere of the set will shortly disturbed by dissonant chords in Forte (cycle 54-60 ) before the movement ends with a solo of the winds and a final phrase of the tutti.
Second movement: Presto
A major, 4/4-time, 102 cycles
The Presto contrasted not only by the pace for the previous sentence, but also by its content: Was the Adagio with meaning and worn, now follows a relatively simple design, cheerful set with forward driving, almost pounding eighth notes. The first theme with its sequence of broken chords, which are recited in unison energetic staccato goes seamlessly into a Fort spin drying with Tonrepetitionsmotiv over until in bar 16 with chords, the dominant E major is reached. After a quarter rest as a turning point of the previously presented material consistently forte is the second theme in E major. It's like the first theme rather motivartigem character and consists of derivable from the previous section staccato downward movement, which is led imitative in the strings in the piano. After four bars begins a new Forte - section, with its characteristic pendulum motif begins with dotted rhythms and is particularly characterized by its Tonwiederholungsmotiv with derivative action. The exposition ends with the final group and its syncopated motif.
The development begins with material from the second theme, which Haydn starts in the dominant E major and the material then in imitation leads, inter alia, on A major and D major to C-sharp major. From bar 56 is followed by a more modulatory passage motif pendant with the motif or the Tonrepetitions which opens into a wild cadence of broken chords in the first violin. The whole implementation is fully within Forte.
The recapitulation begins not with the first theme, but with the Tonrepetitionsmotiv the transfer to clock 66 in the tonic A major. The further course is similar to the first exposure, but follows in measure 95 instead of the expected final chords still a " for subsequently " appearance of the first theme. Exposure and development and recapitulation are repeated.
Third set: Menuet
A major, 3/4-time, with Trio 60 cycles
The dance minuet closes with his merry - loose character of the Presto. The first part is after the question - answer - established principle, the question and the answer forte piano is played. The second part is spinning away the material and is equipped with 24 bars much longer. The beginning of the main melody reminiscent of the minuet of the "Kleine Nachtmusik " by Wolfgang Amadeus Mozart and Haydn's String Quartet in the Minuet from Op 20 No 4
The Trio in A minor for strings based on a repeatedly sequenced motif with dotted rhythms and subsequent triplet. Here, too, the first part with eight cycles being substantially shorter than the second part 20 clocks.
Fourth movement: Allegro molto
A major, 4/4-time, 90 cycles
The fourth set includes in tone and character to the Presto: It weighs about a series of motifs and Akkordmelodik with somewhat more energetic tone repetition. The first theme ( main theme, no clear second theme recognizable) consists of a hoquetusartigen piano motive in the violins, punctuated by an energetic forte unison motif of the tutti, runs away from bar 5 and the preliminary conclusion with chords, on the dominant E- major leads. In the subsequent section a Tonrepetitionsmotiv is sequenced with trills. By the end of exposure in 40 clock strike followed by other motives, under which a figure with half-notes (bars 22 ff ) and a motif syncope ( bar 26 ff.)
The implementation processes the main theme as well as the motives of the half notes and trills. The separation between development and recapitulation is not unique, they could be on bar 59 ( the beginning of the section with the trill in the tonic A major ) set. Exposure and development and recapitulation are repeated.
References, notes
Web links, notes
- Recordings and information about the Symphony No. 21 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Thread the Symphony No. 21 by Joseph Haydn
- Joseph Haydn: Symphony No.. 21 A major. Ernst Eulenburg Ltd.. No. 561, London / Zurich 1962, 28 pp. ( pocket score ).
- Joseph Haydn: Symphony no. 21 A major. Philharmonia Volume No. 721, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
- Symphony No. 21 by Joseph Haydn: notes and audio files in the International Music Score Library Project.