Symphony No. 22 (Haydn)

The Symphony in E flat major Hoboken directory I: 22 Joseph Haydn composed in 1764 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.

General

The origin of the nickname of " The Philosopher " is unknown. He first appeared in an Austrian copy in Modena in 1790 and was also by Aloys Fuchs in its directory of Haydn's works (1839 /40) used. Usually, the title is based on the Adagio.

The work is characterized by the following features:

• The block sequence is slow - fast - slow ( Minuet ) - fast depends on the late Baroque church sonata and is under Haydn's symphonies at No. 5, No. 11, No. 18, No. 21, No. 34 and No. 49 represented.
• While it is common in other symphonies that time, that at least the slow movement or the trio in a different key - usually the dominant - stand here all records are kept in E Flat Major.
• Use of English horns instead of oboes. Perhaps Haydn, however, was not convinced by the somewhat sharp sound, as he has not used this instrument in his later symphonies again.

The former performance practice usually took little account of the original orchestration, but directed esp. after the existing occupation opportunities. So were of the Symphony No. 22 and contemporary arrangements in circulation in which oboes or flutes were ( with correspondingly different tone) is provided in place of the English horns. In 1773 the Parisian publisher Venier published a three-movement version of the symphony: In place of the first set, which was eliminated including the minuet, the original second movement ( Presto) is. It is followed by a new Andante grazioso in A flat major, and as the last sentence of the final Presto. Furthermore, the English horns are replaced by flutes. It is unclear whether this new second set of Haydn comes from and whether these changes were made with his consent.

Also from 1764, the Symphonies No. 21, No. 23 and No. 24 have survived in autograph form.

About the Music

Instrumentation: two English horns, two horns in, 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 18 minutes in compliance with all the reps about 22 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

E-flat major, 4/4-time, 69 cycles

The sentence structure is kept relatively free ( block history at Howard Chandler Robbins Landon ). The first theme ( main theme ) with symmetrical structure begins with his signal-like E-flat major triad of the horns in fortissimo, answered by the English horns also fortissimo. The strings with dampers are held here as well as in the rest of the sentence and piano playing pizzicato. The second half of the theme is a variation of the first and end up with Hornttriller changes to the dominant B major. It follows to clock 13 is a section for strings and English horn, which leads with his chromatic motif in the short term to F major. This is followed by other small subjects in the violins. A proposal motif completes the first part of the sentence in bar 22

The middle part begins as strings section: The first violin leads the melody with the main motif ( triad ) in B flat major; followed by several cycles with dissonanzten seconds Provision and syncope. These " chains of derivative dissonance " can cause associations to the music of the late Baroque. From bar 30 the English horns begin at the beginning triad in F minor fortissimo. After an interlude of strings (bars 35-39 ), the triad follows again in the dominant B flat major and forwards to the " Reprise" from bar 44 over. This begins with the main theme corresponding to the beginning of the sentence and is generally similar to the first part of the sentence structure. In the last three cycles then the triad of the main theme has its last appearance. First part and the middle part and recapitulation are repeated.

When listening to this record various associations are possible: The is consistently drawn-out, leisurely / gravely - border movement of cello and double bass can on the one hand the image of a wandering, thoughtful philosophers, on the other hand, but also a church procession, especially the main theme in character chorale is similar. Hochkofler speaks of a " sinister gloom ", and Robbins Landon believes that the listener has the impression attend an ancient drama. He sees in the interludes of strings with the dissonant Provision and syncopation to the conscious use of an old technology and it is the Adagio as one of the most original sets in Haydn's symphonic oeuvre.

In the " Biographical news " of the landscape painter Albert Christoph says this about his visit to Haydn on May 27, 1806:

" For a long time I had set before me, asking Haydn to what extent the claim (which I had heard several times and even read) was true that he was trying to edit some selbstbeliebige literal task in its instrumentation? (...) "Rarely ," Haydn said. "I was usually in the instrumental music of my only musical imagination free rein throughout. Only an exception occurs to me now at, where I have a conversation between God and a reckless sinners chose in the Adagio of a symphony on the subject. "- On a later occasion the speech fell again to this Adagio and Haydn said he had the deity always the love and kindness expressed. I asked Haydn to determine me the theme of the Adagio, because it would have interest to most readers. But he could not remember in which symphony it finds it. "

Second movement: Presto

E-flat major, 4/4-time, 98 cycles

The set of contrasts in tempo and character clearly preceding Adagio. The main theme is characterized by the exchange of staccato eighths and quarters with an initial two-bar, four-bar units then (both repeated). By the end of the exposure cycle 38 now follows a series of motifs and figures: octave leap upward and subsequent emphasis on the second beat ( syncope), two bars and a section with Synkopenbewegung Akkordmelodik and trills. The figure at measure 32 with imitation of the violin motif in the English horns can be interpreted as the final group.

The development section from bar 38 processes the motif octave leap, the beginning of the main theme ( Reprise short note in E flat major in measure 46), the Synkopenfigur and leads in the end still a new subject with duct-like bass figure. The recapitulation ( from bar 68) is similar to the exposure structured. Exposure and development and recapitulation are repeated.

Third movement: Menuetto

E-flat major, 3/4-time, with Trio 52 cycles

In solemn minuet, the two violins are performed in parallel, the second violin in part an octave below the first violin. The last five bars of the minuet contrasted with their triplets to the previous material, the section is therefore interpretable as a kind of coda.

The trio - also in E flat major - is characterized by Terzfiguren the dominant winds, by Howard Chandler Robbins Landon, a combination of " field Parthie " (because of the dominant winds) and Landler (because of the string accompaniment with " off-beat ").

Fourth sentence: Presto

E-flat major, 6/8-measure, 119 cycles

As with the other sets, the Presto is more marked by a succession of motifs than by thematic work. The sentence is by its solid, pounding eighth notes a bit " hectic " than the previous Presto. The first theme ( main theme ) consists of three preceding quarters down the violins, answered by a Tonrepetitions - Hornfanfare, and points in the direction hunting or Posthornmelodik. There follow several characters from bar 9 with continuous eighth notes, some with Dreiklangsmelodik. Of importance for the implementation is the subject of an ascending triad at bar 32 ( " triad " motif ). A clearly distinguishable second theme is not recognizable.

In the development section the main subject is first modulated by the strings and puts carried forward; by the absence of Hornfanfare the section up to bar 53 acts relatively quiet. From bar 54 then sets the whole orchestra with the triad motif in Forte. Here Haydn G major, F minor, A flat major to D flat major and B flat minor changes. The recapitulation ( from bar 75) is similar to the exposure structured. Exposure and development and recapitulation are repeated

References, notes

Web links, notes

• Sound and score of 22 Haydn Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 22 by Joseph Haydn
• Wolfgang Marggraf: The Symphonies of Joseph Haydn. - Symphony No. 22 in E flat major (" Philosopher " ) call May 6, 2011 (as the text: 2009)
• Joseph Haydn: Symphony No.. 22 Eb major. Ernst Eulenburg Ltd.. No. 545, London / Zurich 1958, 26 pp. ( pocket score )
• Joseph Haydn: Symphony No.22 Eb major. Philharmonia Band # 722, Vienna without year. Series: HC Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 22 by Joseph Haydn: notes and audio files in the International Music Score Library Project.

• Symphony by Joseph Haydn
• Music 1764