Symphony No. 3 (Haydn)

The Symphony in G major Hoboken directory I: 3 Joseph Haydn composed around 1761, the work is considered within Haydn's earlier symphonies by the use of counterpoint, tendencies to sonata form and the appreciation of the final movement as significant..

General

The Symphony in G major Hoboken directory I: 3 was built around 1761, Haydn's early symphonies Within # 3 has a special status and is therefore emphasized in some cases as particularly important. . This is because that the work already "modern" features has of what is known as typical of the Viennese Classical symphony later:

• First sentence with tendencies of sonata form: typical contrast between the first and second issue, implementation with processing of material of the exposition;
• Four movements with a minuet as the third movement;
• Appreciation of the final: no lightweight Kehraus, but an equivalent counterpart of the first set.
• Paradoxically, the use of the then " old-fashioned " baroque art of polyphony (which runs through to the later works of Haydn, as well as other contemporaries ).
• Furthermore, the treatment of the wind instruments is more differentiated than in the previous symphonies.

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 15 minutes.

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 the Symphony No. 3. - 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, 122 cycles

The set opens with two falling intervals ( fourth and sixth ) of the parallel violins and oboes (similar to the beginning of the first movement of Mozart's Symphony KV 183). The second motif of the " first theme " consists of an ascending figure in neighborhoods with trills. Both motifs are underlain by a continuous bass movement in the staccato. From 7 to 9 clock still follows a third motif with a falling line in the piano, in which the second violin takes up the quaver movement in the bass. The issue is thus not established periodically and symmetrically due to the unequal length of its components. In bar 10, the whole orchestra forte begins with a Fort spin drying of the main subject. Until the beginning of the " second theme " in bar 29 then new material is brought from an upwardly sequenced motif with syncope (cycle 20-24 ) is emphasized. It performs the second violin, while the first violin, the figure of the bass of clock 10 to 14 picks (ascending, broken chords). This syncopated motif appears later in the set on again.

The second theme (bar 29-36 ) in the dominant D major is in piano and is based on a two-measure, melodious motif, the oboes and violins to throw himself dialogue -like. The exhibition ends in the final section (bars 37-45 ) with a tremolo figure from the passage in front of the second theme, a phrase in the bass makes for loosening.

In the implementation of the first theme and the motif syncope are processed. Here Haydn modulated by clock 57 to 71 over C major, F major, A minor and E major / E minor. From cycle 53 to 56, the first theme is accompanied in the second violin from a motive of the first violin that is found again in the fourth set in a similar form.

The recapitulation begins in measure 80 with the first theme in the tonic G major. After the first run, viola and bass grab on the subject, overlaid by a vote against -like accompaniment of violins. The further course of the recapitulation is similar to the exposure structured. Exposure and development and recapitulation are repeated.

Second movement: Andante moderato

G Minor, 2/4-cycle, 86 bars, only for strings

The phrase is from a few Aktzente held consistently piano and in total by the upbeat nature of the motifs with hoquetusartigen breaks. The two main themes are constructed symmetrically, but mirror images of each other: in the first theme makes the first phrase of the antecedent by sixteenth breaks a stock impression, while the second phrase seems more fluent by the lack of breaks. In the second theme (bar 12-20 ) in the Tonikaparallelen B flat major is reversed: In antecedent to the current flowing character continues, it dominates the first violin. The postscript, play set in the 1st and 2nd violin, on the other hand again has a stock -by- sixteenth breaks character. It follows the final section (bars 20-28 ) in B flat major with two short unison Provision in Forte.

In the implementation (measure 29-59 ) is the first theme, in particular its first phrase, processed by the material is slightly modified and modulated; (cycle 48 ff ), it can be achieved, for example, in F minor (bar 40), in E flat major (bar 42) and C minor. The recapitulation is similar to the exposure structured. Exposure and development and recapitulation are repeated.

Third set: Menuet

G Major, 3/4-time, with Trio 48 bars

The upbeat loose minuet is a two -part canon, the first voice of oboes and violins, which is one clock offset second voice of viola, cello and double bass played; accompany the horns. In bar 19/20 the vocal lead changes, now the second voice is the first one clock ahead. - A canon -like Minuet Haydn also used in the Symphonies No. 23 and No. 44

The trio is also in G major and is dominated by a triplet dialogue between solo horns and violins.

Fourth proposition: (Allegro)

G Major, 4/4-time ( alla breve ), 131 cycles

The rate is based on two issues with their votes against processed counterpoint:

• Cantus firmus theme: second upwards - third down - second upwards. The topic has the beginning of a sentence also a main tones skimming vote against.
• The second topic of tone repetition and Sekundschritt up. Dissenting vote with descending broken chord in the winds as half notes in the strings as umspielender eighth run.

Possible Structure:

First section ( " exposure " ) presenting the topics in the tonic G major:

• Clock 1-26: The subject is first presented with his dissenting vote in the violins. This is followed by Viola ( clock 9-12), cello and double bass (bar 13-16), horns (cycle 17-20), and finally the oboe (bars 21-24). The section is consistently in pianissimo and corresponds to a proper form fugal exposition.
• Clock 26-38: presentation of the second theme and its dissenting vote, the volume changes abruptly forte. The section is not a " proper form " fugal exposition is more, but consists only of upward sequencing. As an interlude followed by a 35-38 clock tremolo passage with change of A major and D major and the head of the first theme in the bass.

Second section (bars 39-102, "Implementation " ): processing and comparison of the main theme (and this offset against itself ), Theme 2 and vote against, clock 91 ff four-part stretto from the main topic. Beginning in the dominant D major, then modulations. From bar 97 the interlude follows analog clock 35 ff

Third section (measure 103-131, " Reprise" )

• Clock 103 ff main theme against second theme ( now down with Sekundschritt ) in the strings, piano;
• Clock 110 ff.Variante the vote against the second topic, forte;
• Clock 115-122: pedal point in the bass on D, above main theme in stretto and Topic 2

The set ends after rapid unison eighth rounds of the dissenting vote of Topic 2 James Webster praises: " But the finale, a masterpiece that trumps all of this with a great synthesis of fugue and sonata style and is probably the first example of this with Haydn as important final movement type. The finale of the "Jupiter Symphony" is similar to it in so far that it is a sonata form, with ornate contrapuntal structure over a " cantus firmus " -like theme from four whole notes. " Sometimes the sentence because of the use of two topics is also called double fugue referred to, with no " strict " form of double fugue is present, but a hybrid with elements of " Sonata " (eg the shift to dominant).

References, notes

Web links, notes

• Recordings and information about the Symphony No. 3 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 3 by Joseph Haydn
• High School Task No. III of the advanced course music, Celtis -Gymnasium, Schweinfurt (1997): Analysis and classification of sets 1, 3 and 4 of Joseph Haydn's Symphony No. 3 in G major. http://www.musiklk.de/51abihay.htm
• Joseph Haydn: Symphony no. 3 G Major. Philharmonia Volume No. 703, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 3 by Joseph Haydn: notes and audio files in the International Music Score Library Project.