Symphony No. 30 (Haydn)
The Symphony in C major, Hoboken directory I: 30 Joseph Haydn composed in 1765 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy. Your nickname " Alleluia " goes back to the main theme of the first movement, which builds on the Easter Alleluia of the corresponding Gregorian chant.
General
From the Year of the Symphony No.; 30 ( 1765 ) are preserved in manuscripts dated three more symphonies of Joseph Haydn: No, 28, No., 29 and No, 31
The name " Alleluia " already exists on contemporary copies of the symphony. It is based on the use of the Gregorian Alleluia of Easter liturgy in the main theme of the first movement. Other composers of the 18th, century used this Alleluia - for example, Wolfgang Amadeus Mozart in the canon Köchelverzeichnis 553 Haydn himself used the theme again in the baritone Trio in D major, Hoboken directory XI: 64, the first sentence on the first movement of the Symphony No.; 30 back.
Due to the use of the Gregorian Alleluias the symphony was perhaps (also) written for church use (possible performance on Easter Sunday, 1765 ).
A special feature of the symphony is also the fusion of Minuet and Finale to a rondo -like " Tempo di Menuet " - a type of mold, the Haydn also used in the piano sonatas and trios, with the symphonies however seldom used ( like structure, for example, at No., 18 ).
About the Music
Instrumentation: Flute ( this only in the second and third set ), 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. The the so-called " Kees catalog" at the Symphony No.; 30 listed trumpets and timpani are not included in the autograph. Perhaps Haydn has added them later.
Performance time: approximately 15 minutes.
When used herein the terms of the sonata form has to be considered that this model only at the beginning of the 19th; was designed century (see below) and can be used for a symphony from 1765 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.
First movement: Allegro
C major, 4/4-time, 81 cycles
The set opens with a achtaktigen topic that consists of two-stroke module and indicated by its trills and runs gets a baroque character. Vocal leader are first oboe and first violin. Hidden in the middle voices (2nd oboe, horns, 2nd violin, sometimes bass) also occurs - from the " main melody " superimposed - the Gregorian Alleluia on ( in rhythmically adapted form: with opener and by pauses interrupted). The main melody can be interpreted as an embellishment of the arguments put forward by the middle voices Alleluia version.
From bar 8 is a passage with little fanfare, virtuoso runs and a motif Tonwiederholungs joins. The second theme (bar 20; ff ) in the dominant key of G major is a further variant of Alleluias: The parallel violins play the piano with long ausgehaltenem D of the first oboe the start of the topic, decorated with trills, turbidity after Moll and modulations via g minor, D major, B flat major and E flat major. The topic header (the first four tones) is then in a tremolo passage (measure 30; ff ) spun out and leads to short -circuit group (cycle 35-37 ). The exposition ends with chords, G, and will be repeated.
The development begins in G major, such as exposure to the superposition of the two topics. From bar 45 modulates Haydn with sixteenth-note runs in the violins in A minor, D minor, G major, C major and E major - backed by the subjects head of the Alleluia motif in the other strings and the second oboe. About a falling in line Tremolo such return to the tonic C major, in the in bar 58 begins the recapitulation.
In contrast to the exposure, the Alleluia issue occurs now clearly audible on the solo wind instruments. After only a transition clock already follows the corresponding variant of the second theme Alleluias in C major / minor (bars 64, et seq analog clock 20; ff ) with long ausgehaltenem G in the first oboe or the horns. The subsequent tremolo passage and the final group match structurally exposure. Also, development and recapitulation are repeated.
Perhaps Haydn has assigned the first appearance of Alleluias the middle voices, in order to incorporate the Bible saying, "The last shall be first " in the music.
Second movement: Andante
G Major, 2/4-cycle, 71 cycles, with solo flute, without horns
The periodically structured main theme of the movement gets a border character by its characteristic dotted rhythm. Of the elements of this main theme (especially the dotted rhythm ) can be further motives of the sentence derived.
From the clock 9-12 solo flute takes up the issues head on as a variant. Similarly, the following vogelrufartige motive in the oboe in dialogue with a string unison phrase can be traced back to the main theme. This dialogue is repeated with altered roles (violins instead of the oboe, flute instead of violins). The passage is in the dominant key of D major, and can therefore be considered as a second subject and because of their contrasting to the previous happening instrumentation / timbre depending on your view.
The section of clock 21ff. based on a figure in the violins, after two attempts screwed in dotted rhythm upward and into the final design flows ( 27ff clock. ). Here the oboe takes up the " bird call " motif again, similar to the design of the final group from the first set. The exposition ends at bar 29 in D major.
The subsequent " middle part " (no implementation in the strict sense, since no material of the exposition is processed ) brings you once the main theme in D major, then to provide space for a longer solo flute. Here Haydn modulates the circle of fifths down ( clock 35ff. ): E minor / major, A minor, D major, G major and C major. The recapitulation ( from bar 45) is similar to the exposure structured, but the instrumentation is somewhat changed ( for example, involvement of the flute in the final group).
Third set: Tempo di Menuet, Allegretto più tosto
C major, 3/4-time, 115 cycles
A special feature of the symphony is the fusion of Minuet and Finale to a rondo -like " Tempo di Menuet ". The minuet has two trios, but no repeats of the minuet part between Trio I and II (Form Type: ABCA ). When Minuet (cycle 1-32 and 71 et seq. ) And the Trio II ( 53-70 clock, A minor ) the whole orchestra is involved, while the ländler like Trio I ( 32-52 clock, F -Dur) for flute and string is set.
The movement ends with a brief coda fortissimo. The Trio II has, inter alia, because of its chromaticism - as well as the trio of 1765 also created Symphonies No.28 and No.29 - Slavic trains on.
References, notes
Web links, notes
- Sound and score the 30th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Wolfgang Marggraf: The Symphonies of Joseph Haydn. - Symphony No. 30 in C major (" Alleluia " ) call May 6, 2011 (as the text: 2009)
- Joseph Haydn: Symphony No.. 30 C major ( Alleluia ). Ernst Eulenburg Ltd.. No. 566, London / Zurich undated, 18 pp. ( pocket score ).
- Joseph Haydn: Symphony no. 30 C major. Philharmonia Band # 730, Vienna without year. Series: HC Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
- Symphony No. 30 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
- Symphony by Joseph Haydn