Symphony No. 25 (Haydn)

The Symphony in C major, Hoboken directory I: 25 Joseph Haydn composed in 1760 / 61st The work stands out for its unusual set sequence.

General

The symphony Hoboken directory I: 25 Joseph Haydn composed in 1760 / 61st The work going on within the symphonies of Haydn a special position: Firstly, it is not containing the so-called " design catalog " in Haydn's catalog raisonné of 1805. These are important documents to verify the authenticity of Haydn's authorship. There were therefore occasionally expressed doubts whether the symphony ever comes from Haydn. Meanwhile, however, his authorship is considered to be sufficiently secured. Secondly, the block sequence is unusual: The Adagio is a cross between an independent set and introduction. Due to the relative brevity and the character has been suggested that it may have come to trade at the symphony is a prelude to a cantata or stage work.

After Michael Walter Haydn attempted here for the first time, a connection to manufacture in the outer movements with similar musical ideas ( both sets begin with designs in half notes and in both sets captures the implementation also offset between the violins in half notes ).

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 15 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 around 1760 plant. - 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 - Allegro molto

Adagio: C major, 4/4-time, clock 1-23

The Adagio begins seriously pianissimo in the strings with the hint of a Joint: A subject with emerging sixth and offset occurs in unstable key between the violins and the bass in syncope falling due to. Later, however, it plays in its complete form is no longer relevant, the following events has more theatrical gesture: In bar 7 of the character swings abruptly in a moving passage with Forte - piano contrasts and key changes, cycle 12/13 brings a new theme with echo-like repetition minor in piano, clock 14/15 attack the emerging sixth of the sentence beginning on in unison, but this remains at a fermata. The subsequent serious, quiet passage is reminiscent of the baroque beginning of a sentence. With a series of trills figures the action comes on the dominant G major (which was previously achieved three times ) to rest.

Allegro molto: C major, 2/4-cycle, clock 24-187

The Allegro molto is with "his lilting, divertimento ductus " a stark contrast to Adagio dar. The set is held up on the short second theme, a remote figure for the violins, consistently forte. The first theme with Hornfanfare based on Dreiklangsmelodik, the transition to the second theme of the first issue contains derived upbeat phrases under tremolo and emerging unison figures. The final group is characterized by descending chords in half notes and the repeated phrase from ascending tremolo and kadenzierendem motif.

The implementation does not begin as usual with the first theme, but as falling in C minor - Line of mixed playing violins. As apparent recapitulation occurs in measure 94 on the head from the first theme. The following lengthy passage ( beginning with a reminder of the beginning of the Adagio Synkopenlinie ) in A minor contains new material: Accompanied by the tremolo of the first violin, playing oboe, viola and bass on the one hand and second violins on the other hand in the dialog. Furthermore, there is a section with the upbeat phrases, the emerging Unisonofiguren and - backed by a pedal point on the dominant G - the second theme.

The recapitulation is compared to the exposure varies slightly and shortened by the passage is omitted with the opening phrases. Exposure and development and recapitulation are repeated.

Second sentence: Menuet

C major, 3/4-time, with Trio 50 cycles

The minuet has its dotted rhythms, triplets and trills a baroque courtly ceremonial character. In the first part of the violins are performed in parallel. At the beginning of the second part mimic first oboe and first violin, the voice of the second oboe and second violin.

The trio is also in C major. In the first part of the solo horns and oboes playing a question and answer - dialogue. In the second part, they first perform together first the thematic material continues. The revisiting of the first part is limited to the " question " of the horns, which is now partly distributed on both instruments, and a cadential final turn. The strings accompany pizzicato.

Third movement: Presto

C major, 2/4-cycle, 113 cycles

The set begins with a contrast theme from piano four- note motif in half notes (strings with offset use of violins and viola / bass) and staccato scale motif in unison ( oboe and strings) in eighths of. The four -note motif is reminiscent of similar motifs final movements in the Symphonies No. 3 and No. 13 In bar 8, the motif is repeated as an extension with fitted eighth notes in the bass. Syncope, rapid runs and tremolo lead to the final group consisting of an upbeat question and answer - motive is, in turn, with staggered use between upper and lower voices.

The development begins (as in the Allegro molto ) with the four-note motif in staggered use of violins and repeated it again with a counter-movement of the violins. The subsequent C minor - Passage contains an oboe motif reminiscent of Wolfgang Amadeus Mozart's Overture to the oratorio La Bethulia Liberata.

In the recapitulation at measure 57, the opening theme appears immediately with the winds, mixed together between the upper and lower voices and the eighth accompaniment. Moreover, it is extended to a new design with tone repetition and trills. The final group is extended by an insertion of Viertonmotivs. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

• Clips and Information on 25 Haydn Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 25 C major. No Philharmonia. 725, Universal Edition, Vienna 1963 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 237 to 250
• Symphony No. 25 by Joseph Haydn: notes and audio files in the International Music Score Library Project.