Symphony No. 34 (Haydn)

The Symphony in D major Hoboken directory I: 34 Joseph Haydn composed in 1763rd

General

The Symphony Hob I: 34 Joseph Haydn composed in 1763, the block sequence is slow - fast - dance movement ( Minuet ) - fast depends on the late Baroque church sonata and is under Haydn's symphonies at No. 5, No. 11, No. 18. , No. 21, No. 22 and No. 49 represented. In contrast to the four-movement church sonata is the third no slow movement, but a minuet.

Since the first sentence in D minor is the key of the symphony is sometimes collectively referred to as d - minor. The remaining sets are but (except for the middle part of the Presto assai ) in D major, so even the name D major is indicated as total key.

In the literature, the rates are 2 to 4 times less light to significantly considered in relation to the Adagio, but the reviews are total different. Some authors point next to the Adagio and the Allegro out and see in the wide interval jumps harbingers of later works in the " dramatic " style such as the Symphonies No. 39 or 49, the fourth sentence is sometimes called ( in relation to the expectation that the Adagio arise leave referred disappointing). Antony Hodgson thinks the sentence acts like hurry hingehauen in the hour before Haydn would have to give the work to the copyists. After Michael Walter the Presto assai leaves something " Although no doubt as to its function as a conclusion of" it is " but, like the Allegro composed in a masterful restraint" and destroy "will not the emotional impact of the symphony as a whole, by the d- minor Adagio was given " Michael Walter total lifts the work out. :

"In the Symphony No. 34 (...) Haydn performs his previous different attempts at a first synthesis. The coordinated set of characters give the symphony a hitherto reached at best in the No. 12 unity and integrity that is missing everything Playful or plain Representative so that the Symphony No. 34 as no symphony was previously suited to determining Haydn as those composers who the less formal than content actually only constituted by it freed the genre of their representative function in favor of a purely musical and emotional determinate mode of existence. (...) The function of this particular symphony became merely to be themselves and despite their different expressive characteristics of the sentences as a whole increased to represent in themselves dormant unit. The audience par excellence and not the prince alone presented Haydn exclusively grounded on musical logic genus concept for discussion in which these immanent logic replaced the playful and festive character of earlier symphonies. "

Elaine R. Sisman draws contrast, a musical program (theater ) background into consideration.

James Webster writes that " very few of Haydn's works are so torn [ are] perhaps not between two worlds, but between two sections of his career. "

About the Music

Instrumentation: two oboes, two horns, two violins, viola, viola solo, cello, cello solo, 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 to 25 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 1763 work. - Note that this outline and description of the sets is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

First movement: Adagio

D minor, 3/4-time, 98 cycles

The Adagio " with astonishing emotional depth " and " dark, painful, almost tragic expression " is dominated by the strings. Oboes and horns occasionally appear to reinforce the tone to, but are deliberately set: In the exposition accompany you to the second issue, the horns, from the second theme, the oboes. In the middle section ( " implementation " ) mention the wind, and in the recapitulation they occur together.

The first theme consists of three layers in the strings: The accompaniment consists of a bottoming foundation of Viola and Bass in descending districts, and broken chords in continuous eighths of the second violin. In playing the leading vote first violin, the four-bar theme, which consists of a Liegeton and a falling line ( only in syncope, then as sixteenths ) exists with the target tone of the dominant A. The head of the subject is repeated, then the melody but with some chromaticism with sigh phrases continued up to a fermata to A in measure 18

The following new motif in the Tonikaparallelen F major ( " second theme " ) exhibits a distinct forte - piano - contrasts. The combination of Liegeton and sixteenth-note figure and the descending line are reminiscent of the first theme (as opposed to now accompany the oboe instead of horns ). Based on a variant of the subjects head up an octave develop pianissimo wide melodies held predominantly parallel violins. In bar 34 the bass accesses the previous melody while the violins play twice a closing twist with trills. The exposition ends with an interplay of upper and lower voices.

In performing Haydn can initially the first theme - interrupted by an energetic unison phrase - in F major and then occur in G Minor. Then emboss a sixteenth-note figure that was already occurred several times in the previous sentence the course ( in the exposition in the sweeping melodies of the violins at measure 29 and in the energetic unison turn shortly beforehand clock 47, depending on your view, the form can by also from the sixteenth turn be interpreted derived second topic) events, some with sequencing of larger blocks and dialog the violins.

The recapitulation at measure 67 is similar to the exposure structured, but following the first issue once the second theme, where now horns and oboes are sometimes used together. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Second movement: Allegro

D major, 4/4-time, 94 cycles

The sentence forms with its stormy character and " nervous tension " a stark contrast to the previous Adagio (similar for the other symphonies the Adagio as the initial set, see above). The first theme is characterized by its large interval leaps in vocal leading 1st violin of almost two octaves. This " interval design" is repeated varies twice: Based on the performance in half the note values ​​(bars 1 to 4), first as a reduction in quarter notes (bars 4 to 6), then in eighths with small representations ( bars 5 to 8). The second violin accompanied with tremolo, the remaining strings in eighths and fan with ganztaktigen, sustained notes. An echo-like repeated unison signal leads to the second "theme" in the dominant A major. This consists of a dialogue between the oboe (piano ) and the remaining strings ( forte). The following tremolo passage, in its closing phrase in turn large interval jumps that are particularly accentuated by grace notes. The final group is characterized by a motif similar dialogue of oboes and strings as in the second issue.

The development begins with the first theme in A Major, the two repetitions of the interval motif are changed in their intervals towards the issue. After a shortened unison fanfare in minor followed by a reminiscent of the second theme interplay between oboe and string basses. The subsequent tremolo passage leads over a quarter - derivative motive to B minor. With the harmonious repeatedly varied appearance of the head of the second theme Haydn leads back to the tonic D minor and thus to the recapitulation.

The recapitulation is shorter than the exposure: On the varied first theme ( turn to subdominants G major ) follows a greatly shortened and altered variant of the unison signal, a scaled down to three bars tremolo passage and then ( with the omission of the second theme ) once the final group. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Third movement: Menuetto moderato

D major, 3/4-time, with Trio 52 cycles

The minuet begins its four-bar theme, which is composed of two contrasting elements: a vigorous forte opening motif with trill notes and also auftaktiges piano motif with border districts. The repetition of the opening motif leads to trio Lenke tablets and simple cadential final turn. The second part brings a four-bar question ( forte, Streicherunisono in the lower register ) response (piano, violins in high position ) - motif, before a variant of the first part with upward sequence of the border motif begins.

The trio ( also in D major ) is " piquant rhythmic stimulus": The voting leading solo oboe play a ländler like melody. The strings accompany pizzicato, and the horns with syncope.

" In the minuet, the dance character, insofar as this is possible for a dance set, withdrawn; the trio is played by two solo oboes and horns, which are primed only rhythmically by the strings. The minuet character remains while rhythmically available here ( in the oboe melody ) though, but at the same time undermined by the syncopation of the horns, which the trio is a strangely weightless character. "

Fourth sentence: Presto assai

D major, 2/4-cycle, 108 cycles

Almost the whole movement is characterized by continuous, forward-driving trio Lenke tablets, whereby similarities arise, for 6/8-Taktimpuls. The character reminds one of a perpetuum mobile " in the manner of a tarantella ", an Italian Spring dance or a slightly exaggerated baroque gigue. The triplets are partly provided with suggestions. On the eight-bar repeated main theme followed by a middle part ( clock 8 to 20 ) and then the return of the theme ( measure 21 to 28), so that the three -part structure is reminiscent of a variation theme or rondo theme.

Even the middle part in D minor is divided into three parts according to the same pattern. On him the almost verbatim repetition of the opening section ( from bar 69 ) with a strettoartigen coda fortissimo. The required repetition in the score for the section from bar 69 is rejected by Anthony Hodgson as inconsistent and omitted in many recordings.

"So here is a three-part symmetrical shape floor plan with a final coda before, in which each main part itself into three parts reintegrated. For a Symphony finale an absolutely unique case "

References, notes

Web links, notes

• Clips and information for the 34th Symphony by Haydn Project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony No.. 34 D major. Ernst Eulenburg Ltd.. No. 584, London / Zurich 1968 ( pocket score ).
• Joseph Haydn: Symphony no. 34 in D major. Philharmonia Band # 734, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 34 by Joseph Haydn: notes and audio files in the International Music Score Library Project.