Symphony No. 24 (Haydn)
The Symphony in D major Hoboken directory I: 24 Joseph Haydn composed in 1764 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy. The energetic outer movements are marked by contrasts, the slow movement reminds his solo flute at a concert set in the minuet and the wind comes out solo.
General
Also composed in 1764 Haydn Symphonies No. 21, No. 22 and No. 23, Haydn was then hired as Vice - Kapellmeister to the Esterházy family.
About the Music
Instrumentation: two oboes, flute in the Adagio and the trio instead of 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 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 from 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.
Sentences 1, 3 and 4 have the autograph no tempo marking. The set of terms used here were taken from the Philharmonia score and correspond to the names commonly used in comparable symphonies.
First movement: Allegro
D major, 4/4-time, 88 cycles
The strong and energetic first theme forte is carried forward by the voting leading oboes and horns ( not as usual most common of the violins ) under a string accompaniment in the piano. The main thematic unit by a dreitaktiges motif with a characteristic rhythm (quarter - two eighth - half ) and a final phrase coined. After a Unisonolauf the strings (cycle 4, " Running motif" ) is the extended one clock main unit repeatedly ( bar 5 to 9), from 8 clock change the strings on the violins forte and participate in the vocal line.
The transition from bar 9 is kept consistently forte and contains energetic string figures in unison and a subject with large interval jumps over a continuous bass movement.
The second "theme" ( 19-22 clock, dominant A- flat major ) consists of a two-bar motif ( simple chord refraction in A major / E major ), which is stretched by repeating on four measures. It contrasts with the calmer, remote border character in the piano to the previous events. By the end of exposure, then again dominated the energetic gesture: First, an emerging motif is repeated ( derivable from the running motif of bar 4) four times. Final section from bar 34 includes a falling in ganztaktigen Melody line with suggestions about tremolo, but the exposition ends again with the energetic running motif.
The " implementation " (however, strictly speaking, hardly thematic material of the exposition processed) begins as usual as a variant of the first theme in the dominant A major. After a few bars Haydn begins to change the keys. From the timed key changes the unusually long-lasting Fortissomo Passage (cycle 44-60 ) is marked with tremolo, forward-moving chords in the violins. The recapitulation is heralded in 59-60 clock with the running motif, chord punches on A and a caesura ( general pause ).
Although Haydn was designed to reprise the beginning as expected with the first theme, but as strongly contrasting variation in D minor for strings in the piano. The " implementation " and the reprise of the beginning are often highlighted in the literature ( see below). After the themes resonate head in A Major sets in measure 71 directly (ie, without the transfer of the exposure), the second "theme" one, now also in forte. The rest of the recapitulation corresponds structurally to the exposure. Exposure and development and recapitulation are repeated.
In particular, the implementation and the change to the recapitulation are highlighted in the literature:
" A premonition of expressive musical language of the so-called" Sturm und Drang "period of Haydn, one may see in the first movement of the Symphony No. 24, the motor - whipped up restlessness of exposure in the predominantly held in the minor performing a veritable " outburst " (Marc Vignal ) increases. This ends with a general pause, on employing the recapitulation surprising in piano and reduced to pure string sound - after eight bars is the issue in the forte to its original force. "
" The Allegro exceeds that of No. 23 on nervousness and strength, and the implementation (mainly minor) rises to a fit of rage. After a pedal point one expects the recapitulation. It happens, however, is very different from the beginning of the sentence. Piano forte instead, minor instead of major, with a reduced on the skeleton theme "
" In a not inconsiderable number of symphonies, the recapitulation over the exposure is changed more or less, most commonly shortened ( ... ). In most cases, the reasons for the changes are not recognizable. But special interest they can claim if it can be assumed that Haydn reacts with them on certain developments within the ducts, if so makes impossible the inner logic of the set course of an unchanged repeat of the exposition. It is of such a varied reprise ie especially entitled to look where heads towards the implementation of the ordinary. Such a very impressive case offers the Symphonic 24 Your friendly, pre- rendered oboes and horns topic according to the time of execution, usually cited briefly, but then break completely unexpected fortissimo wild crashing triads a, over 16 bars constantly and with unchanged extreme dynamics on different harmonic levels repeatedly. They deny the execution to the end without the subject or derived from it melodic material came to speak again. This wild burglary passionate emotion which relentlessly destroys the previously spread rather contemplative mood of the sentence is unprecedented in Haydn's early symphonies, and it seems almost self-evident, that then could not be returned to the beginning of the sentence, as if nothing happened. The disturbance is rather so great that the subject only very tentatively announces the beginning of the recapitulation in the strings without all the brass luster to word deteriorated in the piano and after D minor (...). "
" The implementation is in their motor skills of a Unerbitterlichkeit, which certainly must have worked pretty amazing in the former ears (...). Quite uncommon after the entry of the recapitulation. It begins - waiving the wind - suddenly in D minor and the Piano, a contrast which acts more surprising by the modulating chord progressions and the Forte uninterrupted movement of the implementation part. It is initially a bit puzzled about the elegiac Cantilene that raises so unexpected there - but after eight bars Haydn moves things into the correct position (...) ".
Second movement: Adagio
G Major, 3/4-time, 56 cycles, with solo flute instead of the other wind instruments
The leading vocal solo flute playing in the Adagio cantabile lyrical melody lines which are subdivided into a number figurations. The strings accompany almost always discreetly in the piano. Thus, the Adagio reminds a flute concert in which " the gallant - sizzling atmosphere of the Rococo " blossomed. Thus, the Adagio contrasts strongly with energetic and dramatic Allegro.
The opening theme (bars 1-8 ) is composed of two-bar blocks. The first begins with a sustained half note, the second in the responding character with dreitaktiger repeated notes. The building blocks 3 and 4 are derived from block 2. Based on a variant of the Bausteinw 1 and 2, Haydn changes from bar 9 with rising in triplets chord figures to A major, the D major serves as preparation for the establishment of the dominant with dialogue between the flute ( ascending line ) and Strings ( descending line ). This " dialogue design" is repeated figurative decorated. After a Tonrepetitionsmotiv the flute, the short -circuit turn with their further dialogue between flute and strings terminated ( now strings ascending, descending flute ) the first part.
The second part ( from bar 24) is a variant of the first. So about the subject of extensive dialogue designed (bars 36 to 44 ) and there is a short minor turbidity. After a Forte - insertion of the strings in unison, the flute plays a solo cadenza, where Haydn's records are not geblieten get this. The movement ends with the final phrase corresponding to the first part. Both parts are repeated.
Third set: Menuet
D major, 3/4-time, with Trio 60 cycles
In the minuet with " rustic style Landler " the oboes and horns are involved with the vocal line and emerge as a soloist. The main thematic idea of the minuet consists of two two-bar modules: in the first the whole orchestra in unison forte and a signal-like D major plays - triad, the strings feature a sixteenth - scooter. The second component consists of a response to the solo oboe and horns. The theme is then repeated, then again block 2, which now take over the part of the violins oboes. A final twist with trills finished the first part.
The middle part begins in A major from a variant of block 1, which is led by B minor. Another piano variant leads back to A, prepared as a dominant re-entry of the initial part in D major. In the " Reprise" both components of the theme played by the whole orchestra, in block 2 and the sixteenth scooter in the bass occurs. Block 2 is repeated. The final twist is opposite that of the first part changed and expanded with the sixteenth scooter, strong dynamic contrasts ( pianissimo to fortissimo ) and echo effects.
The trio is also in D major, and has, like the minuet -based triads Landler melody. Similarly, the wind comes out solo, where now the flute replaces the oboe. The periodically structured, eight-bar melody of the first part is carried forth in the second part also eight bar.
Fourth movement: Allegro
D major, 4/4-time, 84 cycles
The sentence begins pianissmo as simple question-answer - turn, backed by the tense tremolo the second violin. From bar 5 uses a sanglichere melody line in the first violin, terminated by a final twist in triplets with border bass accompaniment.
By the end of the exposure of the sentence is then maintained throughout forte to fortissimo. Overall, the Allegro remembered by his dynamic contrasts, the energetic gestures and the same clock to the first set, especially by the upward course of the 1st violin when moving to the Forte in bar 11 (similar to the running motif of 4 -stroke from the first set ). In the course of exposure several partially repeated motifs are connected in series. Important are the character from half notes with small interval steps as well as the accompanying figure of broken triads. First, follows from clock 12, a motif in which the half -note figure, - accompanied by the triad figure - alternating with rapid scale runs. Another, then motif also has a half note and a scale run. From bar 20 the half -note figure of oboe, viola and bass is played while the accompaniment next to the triad motif (1st violin) to chord strumming (2nd violin) is enriched. The tremolo passage from bar 26 is characterized by its falling line in thirds and the triad motif in the bass. A short -circuit motif in unison with the strings tone repetition terminates the exposure.
The implementation (measure 35-57 ) does not begin with the initial topic, but with the half -note figure in combination with the triad motif corresponding to clock 12, both will be processed shortly. Then follows a variant of the tremolo passage according to clock 26 with the falling line in thirds and the triad motif in the bass. In bar 52 Haydn has reached the Tonikaparallele B minor. A reconciliation passage for strings goes back to the tonic D major.
The recapitulation at measure 58 is changed in relation to the exposure: The question - answer - figure from the opening theme is accompanied by the horns. The triplet figure from the opening theme is omitted, it is after three cycles with virtuoso runs already the passage according to clock 20. The final motif is first heard piano, then forte again. Exposure and development and recapitulation are repeated.