Symphony No. 32 (Haydn)

The Symphony in C major, Hoboken directory I: 32 Joseph Haydn composed in 1760 / 61st The early work is held in the festive C major style " with drums and trumpets ."

General

Haydn composed the Symphony No. 32 to 1760/61 probably for the court orchestra of Count Morzin, where he was hired in 1760. The early work is held in the festive C major style " with drums and trumpets ." From Haydn's early symphonies also include No. 20, No. 33 and No. 37 to this type (some drums and trumpets were added later ). Most of the other symphonies from this period have a smaller cast according to the rather small court orchestra of Count Morzin.

After HC Robbins Landon these early C major symphonies stand for "big " orchestra by a rather impersonal Atmösphäre who remember the cold elegance of Baroque Austrian monasteries. The focus of No. 32 is as was customary on the first set, which is particularly pronounced in the festive character of a baroque Intrada, with its numerous fanfare. The final movement, are much easier to put on a " Clean Sweep " Haydn. The symphony is - what then was not, of course - four movements. Contrary to later establishing itself ends scheme is the Minuet second and the slow movement in third place ( early symphonies of Haydn as eg in Nos. 37 and 108 ). The slow movement is sanglich held and as well as the trio of the minuet orchestrated for strings.

About the Music

Instrumentation: two oboes, bassoon, two horns in C alto, two trumpets, timpani, two violins, viola, cello, double bass. On the role of the harpsichord exist in the literature different opinions.

Performance time: approximately 15 to 20 minutes (depending on pace and after complying with the required repetitions)

In the alternative, here used concepts 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 of 1760 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 molto

C major, 2/4-cycle, 181 cycles

The symphony opens with an imposing fanfare-like passage ( " first subject " ) Forte: signal -like ascending triads in the violins with the participation of horns and trumpets; "Drum Bass " on C bassoon, cello and double bass, intermittently blows the timpani. This opening fanfare consists of a six-bar (bars 1-6 ) and a four-bar (bars 7-10) thoughts. The four-bar idea is repeated and then changes rapidly from the tonic C major to the dominant G major, which is reached in bar 19 with two chord strokes. The following section (bars 20-46 ) is initially through the exchange of question (piano ) and response ( forte, with Hornfanfare ) in follow staccato triads in the violins, which merge into a tremolo.

The short, contrasting " second theme " (bar 47 ff ) is in G minor and is played only by the strings piano. It is based on a questioning staccato Tonrepetitionsmotiv answered by a falling line. This four-measure unit is repeated with continuation of the falling line that goes into the final group with tremolo and fanfare. The first part of the sentence ( " exposure " ) ends in measure 70 and is repeated.

The central part of the sentence attacks the fanfare-like triads from the beginning of a sentence on with echo effect ( repetition in the piano ). A longer Forte tremolo passage touches upon different keys, and then transferred into another section, in which triad arpeggios and alternate runs in the violins. With the break in cycle 113, the tonic C major is prepared ( dominant G is reached and accented with trumpet fanfare ) and leaves the listener waiting for the entrance of the recapitulation. This delay Haydn addition, however: The strings put a piano, the violins added to the Tonrepetitionsmotiv the " second theme " from clock 47 play, while short-term leave again in C major.

The beginning in measure 132 recapitulation is shorter than the exposition is indeed between the opening fanfare and the " question and answer " - a tremolo passage motif inserted, the question-answer - motif is, however, counted only once and the " second theme " omitted. The final group largely corresponds to the exposure and finished the sentence in tremolo. The second part of the sentence ( middle and Reprise) is repeated.

" [ The Symphony No. 32 is operating in the first movement ] with larger size sound surfaces, corresponding to large-scale contrasts and targeted improvements through clock group extension, motivic compression and movement increase [ ... ] - the large-scale, in detail again and again and surprisingly differentiated two-part exposure of the first movement with its almost lehrbuchhaftem contrast of first and second theme and motif complex is quite close to the classical language and far from almost everything they have to offer their contemporaries. "

Second sentence: Menuet

C major, 3/4-time, with Trio 58 cycles

The courtly ceremonial Minuet ( consistently forte) begins as an ascending triad figure in dotted rhythm ( imitates bass ) and tone repetition. The four-bar idea is terminated by a fanfare horns and trumpets and repeated as a variant with triplets. The short middle section takes up the Tonrepetitionsmotiv, while the triplets continue to run in the 2nd violin, and returns after six cycles back to the main idea.

The contrasting trio is in C minor and is kept only for strings in the piano. The expressive melody in the first violin is enriched chromatic. Your characterizing three ganztaktigen notes occur each varies (for example, at the beginning of the second trio section as ascending, caressed by a pendulum figure line).

Third movement: Adagio ma non troppo

F Major, 2/4-cycle, 86 cycles

The set is kept only for strings and contrasts with its chamber-musical timbre and the " broken with pauses, sighs like Cantilene " to the previous event. The sentence begins pianissimo with a two-bar, ascending in regular staccato quavers motif with trills, which is run by the instruments: first, with " deep " root in the bass and viola, followed by the first violin and second violin. By accompanying with octave leap upward and held on the clock marks the impression of polyphony. This first passage ( "first issue " ) leads to the dominant in bar 9 in C major, where now the " second theme " used (bar 10ff ): The leading vote first violin plays a melody line set off by pauses with sixteenth notes, with the staccato accompaniment in the second violin at the head motif of the " first theme " recalls. From bar 18, the melody flow by omitting the breaks even and achieved twice a sustained A- flat major - seventh chord that resolves each case as falling line. The " bottom group " from bar 28 is a variant of the opening motif dar. The first part of the sentence ( " exposure " ) ends in measure 25, and is repeated.

The central part of the sentence begins with the design of the block start from in staggered use of both violins of C major. After a brief reconciliation is already accomplished in the manner reprise clock 41 with the opening motive again the tonic F major. This bill Reprise leaves but then F major to G minor and short - to graze in F minor - with the reversal of the initial motif. The "right" Reprise turn then begins with the opening motif in F major in measure 54 it is compared to the first part of the sentence to the extent varied as the section of the " first theme " a falling sequence passage of the initial motif ( with the sustained via the clock notes in the bass ) and the transition to the section of the " second theme " with a ganztaktigen C Major - seventh chord ( accented with fermata ). The sentence fades away in pianissimo. Also midsection and recapitulation are repeated.

Fourth sentence: Presto

C major, 3/8-time, 96 cycles

The Presto is held in the then typical character of the light " clean sweep " set, with short, upbeat and similarly structured motifs in the alternation of forte and piano are connected in series. The first thematic unit ( clock 1-8, C major ) is through her ​​staccato knock motif with question ( forte) - response ( piano) - A structure. The next passage nachsatzartige clock 9-16 ( G major ) has a more flowing, but stepped up movement. It is followed by three more short dance motifs, the third in G minor, alternating between 2nd and 1st violin. A variant of the knock motif forms from bar 29, the " bottom group " of the first part of the sentence ( " exposure "), which is repeated.

The short middle section sequenced first, the question-answer - upstream motifs and then accesses the remote upward movement from the beginning of the sentence, which in the recapitulation (bars 65 ff ) is omitted. The recapitulation is otherwise similar to the first part of the sentence. Also midsection and recapitulation are repeated.

References, notes

Web links, notes

• Recordings and information about the Symphony No. 32 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 32 C major. No Philharmonia. 732, Universal Edition, Vienna 1962 series. HC Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), 19 pp.
• Symphony No. 32 by Joseph Haydn: notes and audio files in the International Music Score Library Project.