Symphony No. 33 (Haydn)

The Symphony in C major, Hoboken directory I: 33 Joseph Haydn composed in 1760 during his tenure with Count Karl Morzino.

General

Haydn composed the Symphony No. 33 in 1760 probably as part of his employment with the Count Karl Morzino where the particular work year is not known. In the literature there are differing views on the details: "ca 1760 " " 1761-1765 " " before 1767 " " 1760? " After James Webster reference the sources at the Symphony" on a clear date of origin in 1760 or earlier, "while the main page of the Haydn Festival Eisenstadt Symphony No. 33 as the date of composition " 1761 to the spring of 1762 " indicates. While the former data all point to Haydn's period of employment with Count Morzin, the latter source already ( as of 1 May 1761) extends into the period of employment at the Esterházy princes.

The early work is held in the festive C major type " resoundingly " where the use of drums and trumpets, however, apparently is not obligatory ( see below). From Haydn's early symphonies also include the composed before No. 33 No. 20, No. 32 and 37 to this type. Most of the other symphonies from this period have a smaller cast according to the rather small court orchestra of Count Morzin.

In relation to the earlier Symphony No. 32 with a similar type # 33 is so far more "progressive " than the last sentence is not constructed as a lightweight " Clean Sweep " (which was still common), but (as it should be common later) a has approximately the equivalent weight in relation to the first set.

About the Music

Instrumentation: two oboes, bassoon, two horns in C alto, two trumpets, timpani (but trumpets and timpani are obviously not obligate requirement), two violins, viola, cello, double bass. On the role of the harpsichord exist in the literature different views

Performance time: approximately 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: Vivace

C major, 3/4-time, 149 cycles

The symphony opened as a contrast motif complex ( " first subject " ): In the opening fanfare with trills and ascending C major - triad (motif 1) is followed by a three times repeated closing phrase (motif 2) and a singable, descending line ( Motif 3 ), which is underlain by continuous eighths chains. These also determine the further course and cause the propulsive impulse of the sentence. The other event is also characterized by a sequence of contrasting elements: Forte - Piano - Motif (cycle 10-12), tremolo passage (bars 13-16), the proposed motif (bars 17-19), syncope Passage with falling line (cycle 20-24 ) and one leading to the dominant G major final turn with virtuosic runs.

The subsequent page set in G major ( bar 29 ff, " second issue " ) attacks the closing phrase of motif 2 again and then adds as a singable line at (if both are " subjects " is similarly structured ). The final section from bar 34 takes you to little melodic forte chords, a cantabile character before the first part of the sentence with G Major - chords ends.

The middle part ( implementation, clock 52 ff ) begins with the fanfare motif of the first theme. The triads from the fanfare motif be extended, but fall off the closing phrase and the cantabile line. In bar 60 is as apparent reprise the first theme in C major with fanfare motif and closing phrase before then starts later in the actual processing part. Initially Haydn leads with tremolo and trill to E major, where imitative passage with the proposal motif from bar 19 starts. The subsequent singable character in A minor recalls the relevant passage from the second issue. In bar 90 sets of E major, starting a question and answer - a passage in the alternation of forte and piano, where the Forte response with their chords, reminiscent of the final group. From F major changes from Haydn then with tremolo and chords from the final group ( 101 stroke similar to clock 49) back to the tonic C major.

The recapitulation ( from bar 103) begins with the first theme in C major. It is largely structured as the exposure. Exposure as well as development and recapitulation are repeated.

Walter Lessing refers to the balance of the sentence proportions: exposition and development are each 51 measures long, the recapitulation with 47 cycles only slightly shorter.

Second movement: Andante

C minor, 2/4-cycle, 105 cycles

The set is only scored for strings and often kept only two voices (violins and viola and bass in parallel). With this economical occupation, the dominance of the piano and the change to the minor set forms a contrast to the preceding, festive " noisy " Vivace.

The simple, plaintive melody line of the first theme consists of a sustained Liegeton ( with lined, border bass figure (measure 1-3), tone repetition and Sekundmotiv ( sighing motif, clock 3-6), and a final twist with accent and triols (cycle 6-8). the subject is then reduced as a variant repeats (cycle 9-14). another accent motif with large interval jump down ( twelfth ) via chromatically ascending movement to a Triolenpassage, which established the tonic parallel -flat major. goes in E flat major it then continues as a border, melodic semiquaver movement of the violins (the second "theme" ). final section ( from bar 32) accesses the Liegeton, the tone repetition and the final phrase of the first theme.

The implementation ( bar 41 ff ) enters with the first theme in E flat major, then spins the material with Liegeton, tone repetition and triplets continued on and then changes according to F minor. In F minor, then step on the second "theme" and the head of the first theme. A second "theme" structurally appropriate, uniform movement of the sixteenth Violins via G major back to the tonic C minor, in the recapitulation begins in measure 73. This Haydn as the exposure structured, but omitted the chromatically ascending line. Exposure and development and recapitulation are repeated.

Third set: Menuet

C major, 3/4-time, with Trio 44 cycles

The whole first part of the festive minuet (cycle 1-10) is in Forte and is down to the final turn with virtuoso triplets deposed by his - in border movement with change of quarters and eighths. The melody leading upper voices ( oboes and violins) perform this larger interval jumps out as the votes against the manner set to lower voices (viola and bass ) with their Sekundschritten. This, and the occurrence of the eighth turn on the first and third quarters of the clock of the walking rhythm is broken.

The second part of the minuet consists of a six-bar piano passage, in which the second violin, a variant from the upper parts material and the first violin plays a variant of the votes against lower voices -like material from the first part. Already in measure 17, the main idea is taken up again in Forte reprise -like.

The trio is in F major. Just as the Andante of the sentence is scored for strings only and mainly in two parts: The voting leading melody line (1st and partial 2nd violin ) is mostly held in syncope, while the accompanying line ( second violin part, and bass) corresponding with the normal clock rhythm, uniform quarter and eighth is characterized.

Fourth movement: Allegro

C major, 2/4-cycle, 136 cycles

The set begins with a striking unison motif in Forte from three-quarters ( octave up and down sixth ), followed by a piano response of two violins, this with a characteristic opener in dotted rhythm. This four-bar main idea ( "theme" ) is repeated as a variant, which leads to the subdominant F major. The third attempt with the unison motif spins the opening motif continues with accompaniment of horns and tremolo, and then goes to eighth - passage with wild staccato interval jumps. From bar 20 sets according to another variant of the unison motif again a staccato passage with large interval jumps, but now in quarters and backed by syncope of the second violin. Then establish virtuosic semiquaver runs in the violins, the dominant G major, in the from bar 41 begins the final group in the piano. Here the prelude with dotted rhythm from the beginning of a sentence emerges again. The exposure is up ended and repeated as a simple Quart motif with horn participation in the piano.

The implementation has " an almost operatic drama " on: Starting from unison motif sets in bar 55, a longer Forte - section one, in which the derived from the unison motif quarter movement is accompanied in the bass tremolo and sustained oboe chords. Haydn modulates this from g - Moll D minor, A major, B major and F major to F minor in Clock 67 / 68th Here then is carried to clock 69/70 an enharmonic reinterpretation of As (a third of F minor ) to G # ( third from E major ), which has probably worked very abruptly to the listener of the 18th century. Haydn then goes on about a minor and D minor to G major, the first fortissimo with seventh, then piano with elements of the end section ( opening motif) prepares the recapitulation.

The recapitulation (bars 91 ff ) is largely similar in structure to the exposure. The passage with the virtuoso runs, however, is extended by some trill figures. After the final group Haydn is still a strettaartige coda at the end. Also, development and recapitulation are repeated.

Peter Brown Lifts the Allegro as one of the greatest symphonic finales of Haydn's earliest symphonies forth.

References, notes

Web links, notes

• Clips and information to the 33rd Symphony Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 33 by Joseph Haydn
• Joseph Haydn: Symphony no. 33 C major. No Philharmonia. 733, Universal Edition, Vienna 1963 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 117-139.
• Symphony No. 33 by Joseph Haydn: notes and audio files in the International Music Score Library Project.