Symphony No. 26 (Haydn)

The Symphony in D minor Hoboken directory I: 26 Joseph Haydn composed in 1768 It is entitled " Lamentatione ". . In the first two sets Haydn refers to melodies from a passion play.

General

The Symphony Hob I: 26 Joseph Haydn composed in 1768 The autograph is no longer available. . The oldest known copy of the Lower Austrian Augustinian monastery Duke Castle bears the title " Passio et Lamentatio " ( Passion and lament ). It is unclear whether the title of Haydn comes from. The common use today entitled " Lamentatione " refers to data processed in the first and second set liturgical melodies from one to the late Middle Ages -reaching, Gregorian Passion play after the Gospel of Mark. This was back in Austria apparently spread with regular performances at Easter ( Holy Week ), the lamentations were sung on the chorale melodies.

In the transcript from the monastery Herzogsburg HC Robbins Landon found in the exposition of the first movement in the 2nd Violin entries, which he interpreted as evidence of persons acting in the paschal drama. Robbins Landon was demonstrated by pressure in the St. Florian monastery from 1763, which contains this passion, show the quotes used in the first movement of Haydn 's Symphony No. 26. Therefore, he assumes that the first two sentences may have served as an illustration of the Easter Passion Play set time and points, for example, the figure from measure 37 of the first movement as a programmatic " Crucify " reputation.

Although other authors consider using the sets 1 and 2 in worship or Holy Week as a composition occasion into consideration, but point out that no Choralbearbeitung in the narrower sense is taking place and that Haydn also " far from it [ was ] to compose an instrumental Passion Drama. "Even Wolfgang Marggraf replies programmatic interpretation of Howard Chandler Robbins Landon, that the quotes from the Passion " were arbitrary and perhaps for musical reasons, according to their suitability as construction material of the sentence ", elected obvious. Because of this and because of the shortness of the quotes leave from Listeners also no nacherlebbare musical representation of the Passion hear, this was probably hardly intended by Haydn. Furthermore likely " even the contemporaries, which the Passion was familiar from the annual performances, [ ... ] hardly been able to identify the little profiled melody quotes. " Howard Chandler Robbins Landon and Michael Walter on the other hand believes that the passions of the were then listeners generally known.

The in the first complete edition of the publisher Breitkopf & Härtel ( 1908-1933 ) emerging entitled " Christmas Symphony" is found not to copies. Robbins Landon thought that this title with the fact that the actual paschal a reference under the previous researchers Haydn was not known. Robbins Landon praises the Symphony: From all other Haydn symphonies was no more effective in their incredibly strong expression, not tragic, not emotional (and therefore romantic ) in its conception.

An Easter terms can also be found in the 1765 composed Symphony No. 30 Symphony No. 26 Haydn's last symphony in three movements, all four movements later.

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 (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 transmitted from hence composed only with restrictions on a 1768 work. 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 assai con spirito

D minor / D major, 4/4-time, 133 cycles

Haydn starts the set with a darkly energetic passage that " no thematic contour has " but only from pressing Synkopenketten is with tone repetition and falling line. Separated by quarter breaks, follow blocky two contrasting piano four-stroke. The first is characterized by the four -fold repetition of a falling fourth in the Horn and sigh of violins, the second uses the moving Synkopenfigur from block start again, with the falling line is made ​​more explicit.

Without modulation in turn followed by a block-like brightening the parallel key of F major with use of the entire orchestra in Forte / Fortissimo and the first liturgical "Quote " of the evangelist in measure 17 with declamatory character. Much like at the beginning of the Allegro of the Symphony No. 30, the Gregorian melody is something "hidden " since the 1st violin frames the melody of the first oboe and second violin with continuous staccato quaver figures. Now close without a break and with similar instrumentation, the remaining three quotes at: The "Christian" (measure 26 to 31 ) in the piano with voice leading in border, half notes, a short, turn declamatory Forte throw the Evangelist (measure 32 to 34 ) and with " Jew. " overridden section from bar 35, which is held as the evangelists - section and terminates the exposure with a " thumping " in unison. The exposition is repeated.

The performance begins with the "theme" of the block start in F Major, where now the intervals between the repeated notes are larger and also the bass part in the falling line. The first four piano clocks corresponding to the exposure change to G minor. Now break the downward trend from the implementation picking up " crashing scales in the range of an octave and continuously syncopated rhythms, which determine the musical progress over eight clock cycles, and then go into a little less urgent section in which the oboe in held half notes to the " Christu " quote of the exposure recall. " the first violin during which holds as middle part of the pulse with its staccato eighth straight chains. From bar 74 the motion with switching to piano and cyclically descending bass is withdrawn, the quaver movement is running as an interval jump motif continues in the first violin.

The recapitulation at measure 80 sets initially as the beginning of a sentence in D minor one, but Haydn changes after the two piano Dreitaktern to A major, where the movement comes to rest and just completely fails with a general pause. Then begins the first quote, now in D major, with the participation of the first horn of the vocal line. The further course corresponds largely to the exposure. From bar 115 ( the second evangelist Passage ), the 1st horn detaches again from the voice leading of the first oboe and second violin. The final group is expanded with its thumping unisons against the exposure. Development and recapitulation are not repeated.

Over and above the sonic effect of the key change to D major different views: while Howard Chandler Robbins Landon speaks of an intensification of the wild, bitter mood and to the orchestra " hineinbeißenden " Horn denote Ludwig Finscher and Michael Walter, the D major as " radiant ". After Finscher the handset is " invited to think about the Passion of Christ and also on Easter Sunday. "

Second movement: Adagio

F Major, 2/4-cycle, 80 cycles

In the Adagio, Haydn takes on a chorale melody back, namely the Lektionston for the sung in Matins of Holy Thursday to Holy Saturday Lamentations of the Prophet Jeremiah. This comes from an alphabetically arranged collection melodies ( " aleph ", " beth ", etc. ), which is contained in the same pressure, the Haydn took the Passion Quotes of the first set. As in the first set, first oboe and second violin are also vocal leader, while the first violin plays against vote -like figurations and accompanied the bass in uniform, wider terms quaver movement. Antony Hodgson points out that Haydn has used the theme in several other works ( including a trio of Symphony No. 80 - as Wolfgang Amadeus Mozart in his Masonic Funeral Music, K. 477).

The solemn melody consists of three parts: the head motif with movement in seconds ( bars 1 to 3), a plaintive monotone Tonrepetitionsmotiv ( introduced by a second upward with a short change to B major and G minor, clock 4 to 10) and a final twist that up to a third shifted beginning measure the head motif corresponds to ( bars 11 to 13). After the presentation of the theme of the three-bar topic header is repeated before in measure 17 uses an alternate to the dominant C major passage with semiquaver triplets of the first violin. This is characterized by repeated notes and scale runs. She will be accompanied only by viola and bass. From bar 24, the theme is repeated in C major, the first violin continues its trio Lenke tablets.

The middle part ( " implementation " ) brings the issues head three times, interrupted by interludes with the semiquavers of the first violin: first in the dominant C major, then in the Subdominantparallelen G minor, and finally back to the tonic F major. The action then builds up to a " rhetorical colon" on a dominant seventh chord that announces the recapitulation.

The recapitulation begins with the chorale theme as the beginning of a sentence, but the instrumentation is changed: vocal leader the wind is ( the horns which have been silent, now occur to be much in the first sentence ), while accompany the strings, the violins with sixteenth-note triplets. The theme appears in the recapitulation only once, but the middle section will be expanded with the plaintive Tonwiederholungsmotiv and harmonious changed: first with harmonic changes according to E minor and A major, then in an even quieter movement ( ganztaktige notes) with changes of harmony between D minor and A major. With the final phrase of the theme in the Adagio pianissimo ending. Both phrases are repeated.

Ludwig Finscher thinks that the recapitulation " in their particular sound color [...] on the sadness also assign [ seems ] to the coming Easter miracle. "

Third set: Menuet

D minor, 3/4-time, with Trio 80 cycles

The unusual Minuet is marked by sharp dynamic contrasts, irregular metric and change of key. It starts with a piano passage from auftaktiger repeated notes, which sounds like a search for the right key: In the first cycle veiled F major and D minor, then Haydn changes over G minor to an oscillation between A major and D minor. Only after a long general pause the music starts again, now forte in the decisive F major unison. But after four cycles, the mood changes again abruptly changes to the piano in which the strings folk - dance-like staccato quarter playing with proposals that are reminiscent of the style of Franz Schubert.

Again, with abrupt changes in the keys, follows in the second part a contrast motif with energetic unison phrase at Forte Piano and response of the strings. In bar 32 viola and bass begin already with the revisiting of the opening theme, the upper voices follow, however, only one clock later. The result is an emerging canon, " which seems to rise up to the sky ", but crashing on a secondary dissonant chord. After another long, general pause the movement ends with the dance Staccatopassage.

Ludwig Finscher indicates similarities to the minuet of Haydn's String Quartet opus 9 No. 4.

The trio "in the characteristic style of solemn round dance " is in D major, the change in the key recalls the sound effect of the recapitulation of the first movement. His dance melody is punctuated by chords, on the third, unaccented beat of the clock, on the answers the first violin alone ( in the first part by a descending scale in the amount of two octaves).

The sentence is variously described in the literature:

" In the final minuet neither the structural principles nor the musical content of the preceding sentences are taken up [ ... ]. "

" However, this is standing in D Minor Minuet from the otherwise characteristic of sentences like Haydn's cheerful - boyish attitude so far away that it is quite fits at least from his general mood forth into the work. "

" [ ... ] This strictly concentrated [ is ] set in many ways the most intense of all. From the beginning of the tonally unfixed beginning, the rhythmically unstable motifs, the Neapolitan harmonies and ambiguous phrases rhythm produce a depressed mood. Up to the recapitulation no fixed tonic appear - and even that is unstable ".

" The final Minuet is a defiant overcast last dance, a sort of surrealistic dance overpainting in the style of Arnulf Rainer, and even in the trio make stubborn forte chords on the third cycle time for the energetic suspension of any dance move - the gritty passion atmosphere of commencement occurs so that finally back to the plan. "

References, notes

Web links, notes

• Clips and Information on 26 Haydn Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 26 by Joseph Haydn, call April 1, 2013
• Joseph Haydn: Symphony no. 26 in D minor. Philharmonia Volume No. 726, Vienna 1963. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Joseph Haydn: Symphony No. 26 d minor. Edition Eulenburg no. 550, Ernst Eulenburg Verlag, London undated ( pocket score ).
• Symphony No. 26 by Joseph Haydn: notes and audio files in the International Music Score Library Project.