Symphony No. 23 (Haydn)

The Symphony in G major Hoboken directory I: 23 Joseph Haydn composed in 1764 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy. Minuet and Trio are composed as a canon. The final movement has an unusual end in pianissimo.

General

The symphony Hoboken directory I: 23 Joseph Haydn composed in 1764 in the same year - during the time as Vice - Kampellmeister the Esterházy family - Haydn composed the Symphonies No. 21, No. 22 and No. 24.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. Bassoon and harpsichord were to reinforce the bass voice then even without special notation used, insist on the participation of the harpsichord in the literature different opinions.

Performance time: approximately 20 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 about 1764 works. - 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

G Major, 3/4-time, 127 cycles

The symphony begins with a " great ", " of compelling rhythmic power and dramatic impulses fulfilled (...) header record. " Strong first theme (main theme, a contrasting second theme is missing) consists of two halves for the rhythm of four quarters and eighths is typical in dotted rhythm. In the first half of the district are designed as a powerful chord strumming and the players with vocal leader, the second half is initiated by an ( important in the further course of the movement ) sixteenth turn and passes through a greater tonal range than the first. The second half is repeated varies.

From bar 9 is followed by an interplay of objections the oboe with the rest of the orchestra. In bar 20 is one half repeats the main theme in the dominant D Major, then the sixteenth-note figure of the second half to become independent first down sequence and then - enriched with octave leaps down - for unison. The Unisonobewegung accumulates with chromaticism, and after a brief piano echo follows an extended tremolo sound -and-coming area with scale segment in the oboes. The final section contains a motif with dotted rhythms ( reminiscent of the main theme ) and at the end of a small Bläserfanfare.

The development begins with the main theme in D major. Then the sixteenth turn is processed intensively from the main theme: the staggered deployment of Strings, imitative passage in the violins with octave jump ( up and down ) and in unison. From bar 81 is followed by a passage with syncope as well as elements from the subjects head (quarter movement) and the final group that ends in B minor. With the Einwürf Passage ( here: oboe and strings ) changes Haydn back to the tonic G major, and thus to the recapitulation.

In the recapitulation at measure 96, the passage with the objections and the second appearance of the main theme are omitted, for the tremolo sound surface is somewhat broader. Exposure and development and recapitulation are repeated.

Second movement: Andante

C major, 2/4-cycle, 105 cycles

The set is held (as usual in Haydn's early to middle symphonies ) for strings and piano mostly. The first theme is symmetrically from two-bar blocks and has a song-like character. Also typical for the further course of the movement are the objections of Viola and Bass, here first as Triolenroller up. The topic header is repeated ( now down to sixteenth scooter ) and answered with minor twist. In the following dialogue between violins and viola / bass of the sixteenth scooter occurs dominantly in appearance. In the second, set phrases stick "theme" in the dominant G major only play the violins. In the final group from bar 28 of the dialogue between the upper and lower voices continues, the throw of viola and bass is now extended as scale up.

The implementation of the repeated motifs of exposure as variants. Starting with the first theme in G major, followed by a more extended, dissonant minor passage, the second "theme" in A minor and the shortened final group. The recapitulation is changed from the exposure: The repetition of the first theme is omitted, it extends the minor passage and enriched with dissonance. Exposure and development and recapitulation are repeated.

Third movement: Minuet

G Major, 3/4-time, with Trio 50 cycles

The minuet is structured as a two -part canon. Voice 1 play oboes and violins offset by one clock voice 2 viola and bass. The horns filled with interjections from the harmonies. The theme is characterized by alternation of quaver movement with triplets and break interrupts.

Canonical minuets in G major, there are, for example, in Haydn's Symphony No. 3, in a symphony by Michael Haydn and Wolfgang Amadeus Mozart in the symphony KV 110 and KV Cassation 63

The Trio in C major is also a canon in three parts for strings ( 1st violin, 2nd violin and viola / bass) turned by two bars voices use.

Fourth sentence: Presto assai

G Major, 6/8-measure, 96 cycles

The set is due to its virtually continuous, forward-driving motion of the violins in piano and - in short Forte interjections of the entire orchestra - as a dynamic contrast.

The first theme begins as Forte " exclamation mark" of tone repetition, followed by an up aufschaubenden, upbeat piano figure of hurrying in eighths violins. The theme is repeated and then goes to the dominant D major on where in bar 19 after another " exclamation mark" the second "theme" (rather: Motif ) is used with scale fragments. A four-stroke slightly longer throw Forte leads to the final section, in which the (again interrupted by a throw-in ) piano movement of violins remains virtually through their repeated Sekundschritte on the spot.

The implementation varies the first theme and sets the fortepiano - contrasts in cycles side by side, several keys are touched. The recapitulation at measure 59 is structured as exposure, however, the end of the block a special feature that is often highlighted in the literature and interpreted as an early example of Haydn's humor: The music ebbs away more and more of breaks interrupted pianissimo. As already appears set to end, Haydn added after general pause even an unexpected pizzicato chord added. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

• Clips and Information on 23 Haydn Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 23 G major. No Philharmonia. 723, Universal Edition, Vienna 1963 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 197 to 214
• Thread the Symphony No. 23 by Joseph Haydn, Booth April 26, 2013
• Symphony No. 23 by Joseph Haydn: notes and audio files in the International Music Score Library Project.