Symphony No. 36 (Haydn)

The Symphony in E flat major Hoboken directory I: 36 Joseph Haydn composed the early 1760s. A special feature is the second set with the occurrence of solo violin and solo cello.

General

The Symphony No. 36 Joseph Haydn composed probably in the early years of his employment at the court of Esterházy, probably shortly after the " time of day cycle " ( Symphonies No. 6, No. 7 and No. 8), ie 1761-1762. A special feature is the second sentence with the occurrence of solo violin and solo cello. He remembers the character of a concerto grosso. The solo passages (as well as in some other symphonies with solo instruments, such as next to the " time of day Symphonies " and the No. 13) are likely for the ( particularly "excellent" applicable ) musician Luigi Tomasini (violin) and Joseph Weigl (cello) designed in the Esterházy orchestra.

About the Music

Instrumentation: two oboes, two horns in, two violins, viola, cello, double bass. In the second set additionally a solo violin and solo cello. Bassoon and Harpsichord (if available in the orchestra ) were used for amplification of the bass voice then even without special notation used, the harpsichord probably not in the orchestra of the Esterhazy Palace.

Duration: about 18-20 minutes.

When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century ( see below). - 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

E-flat major, 3/4-time, 165 cycles

The symphony opens with a powerful, distinguished, on the E flat major - based triadic theme in Forte with change of ausgehaltenem initial chord, neighborhoods, staccato quavers and semiquavers in unison including trills. Staccato turn from the second part of the theme occurs in the further course of the movement back on ( staccato motif). From bar 9 of the subjects head is repeated as a variant in the piano and spun out. The Horn of fanfare initiated reconciliation passage (bars 17-35 ) is consistently at Forte and partially engages also to motifs from the main theme returns ( for example, themes head in variant and staccato motif).

The second theme (bar 36 ff ) with more motivartigem character contrasts with the previous action by the lecturer in piano, its turbidity in b minor ( minor dominant to E-flat major ) and the offset used in the strings (compared to the more " gallant " expiration date ). The final section (bars 43 ff ) is again in contrast Forte ( B flat major ) and begins with the staccato motif, followed by a further variant of the subjects head and a series of falling, " flowing " semiquavers.

The implementation ( clock 61-121 ) is designed in some detail for a symphony that time: it starts with the first theme in the dominant B- flat major, which is shifted in abruptly clock 67 in the tonic E-flat major. This briefly gives the impression as if already begin the recapitulation; with the use of a longer minor tremolo passage (bars 70-76 ) with a sharp change ( accents) of forte and piano but is then clear that one is still in the implementation. The tremolo passage goes into a section, in which a design from the reconciliation group is presented in dialogue (bars 77 ff ), where Haydn changes to G major and then with two chords, G is on a break. The G major acts as dominant to the following section in the Tonikaparallelen C Minor, Haydn can occur in up to bar 108 several small motives behind each other, even including the head of the first theme and again the motif staccato. From bar 109 the second theme ( still in C minor ) is heard, this time with the participation of oboes.

The recapitulation is then in a clock 121 with the first theme in E flat major. The further course is largely in the exposition, is somewhat shortened (there are no such as the horn fanfares ). Exposure and development and recapitulation are repeated. Overall, the set has a very lively character. The two violins are usually evenly matched (partly even the viola detached from the bass part), which may be an indication of the excellent orchestra, Haydn had available, interpreted.

Second movement: Adagio

B flat major, 4/4-time ( alla breve ), 40 cycles, only strings with solo violin and solo cello

The " hochpathetische " set is characterized by the change from a unison motif in Forte ( border figure with dotted rhythm in the whole orchestra) and solo passages with a " great dialogue " between the solo violin and solo cello. The character of the movement thus reminiscent of the Baroque concerto grosso. Individual segment boundaries can be identified in

• Clock 16/17: Coast of movement pianissimo in the dominant F major, new beginning with the tutti unison from the beginning of a sentence in F major;
• Bar 30: Start with the tutti unison from the beginning of the sentence in the tonic B flat major ( " Reprise" ).

The set ends according to the structure of clock 16/17 with a quiet decay in pianissimo.

Third movement: Menuetto

E-flat major, 3/4-time, with Trio 60 cycles

The main melody of the minuet has a forward border, almost march-like character. Note the change in the dynamics between forte and pianissimo. The second part begins with a motif sequencing and has 18 bars only slightly longer than the first part with 12 cycles.

The trio ( without horns ) begins with a downward continuous phrase in brilliant B flat major, then modulates but with provision and uniform bass motion in chromatic line, amazingly, to C minor, and according to D minor, in which also ends the first part of the trio. In the second part of F major and E-flat are achieved, which shows dominant passes back to B flat major. As in the minuet, the second part with 16 bars is hardly longer than the first part with 14 cycles.

Fourth movement: Allegro

E-flat major, 2/4-cycle, 128 bars

The sweeping main motive of the first theme consists of a first up, then down out broken -flat major triad in staggered use of oboes and violins on the one hand and viola and bass on the other. The downgoing part is held as a sixteenth run with dotted rhythms, this running -like figure ("running theme" ) repeatedly occurs in the further course of the movement. The four-bar main theme is repeated twice as a version with piano -forte contrast, after his third appearance, it closes with a final turn from the topic.

The transition ( from bar 16 ) provides the motif running over ( up and down and the alternation of the upper and lower parts) a trill motif and then sequenced the running motif upstream. The second theme ( from bar 29) in B flat minor, sung only by the strings, is more applied motif -like ( similar to the first sentence ): The first violin plays a piano tremolo with characteristic octave and second jump, while the other small staccato strings inserts bring ( the horns are silent ). The final group in the Forte contains the barrel motif and tremolo in the last four bars a vigorously repeated bass figure.

The first five bars of the implementation guide the listener initially dominant table back to the tonic E-flat out and actually from bar 58 is followed by a reprise appearance with the first theme in E flat major (similar to the first sentence ). That one is still in the implementation, is from measure 65 clear: the running motif occurs sequenced ( even after minor), followed by the trill motif from the reconciliation section. From bar 83 then enters the second theme in the Tonikaparallelen to C minor. About tremolo Haydn changes then again after it, in which it is the "right" recapitulation begins in measure 96. This is similar to the exposure structured, but the reconciliation section is reduced to the second theme. Exposure and development and recapitulation are repeated.

As in the opening set, the two violins are treated approximately equal.

References, notes

Web links, notes

• Sound and score the 36th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 36 by Joseph Haydn
• Joseph Haydn: Symphony no. 36 E flat major. . Philharmonia Volume No. 736, Vienna 1964 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 36 by Joseph Haydn: notes and audio files in the International Music Score Library Project.