Symphony No. 37 (Haydn)

The Symphony in C major, Hoboken directory I: 37 Joseph Haydn composed in 1757 / 58th Contrary to the conventional numbering is one of the first symphonies of Haydn.

General

The Symphony No. 37 Haydn composed around 1757/58, making it one of his earliest symphonies. In the former archives of the Princes of Schwarzenberg in Český Krumlov, a copy of the symphony was found, which is dated " 1758 ". Haydn was employed at the time the Count Morzin.

The symphony is in four movements (which was not yet a standard), contrary to the later establishing itself donor set sequence is the Minuet second ( so even in the early symphonies "B" and No. 32).

After Howard Chandler Robbins Landon Haydn's earliest symphonies in C major draw for "big " orchestra (No. 20, 32 and 37, trumpets and timpani part added later ) by a rather impersonal Atmösphäre who remember the cold elegance of Baroque Austrian monasteries.

About the Music

Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. Bassoon and harpsichord were to reinforce the bass voice then even without special notation used, insist on the participation of the harpsichord in the literature different opinions. In a transcript located in Regensburg Thurn and Taxis archive the horns are replaced with trumpets, also added a timpani part. But it is not certain whether the trumpets and timpani part of Haydn come. The old Breitkopf & Härtel complete edition, in which the work was first published as a printed score, no trumpets and timpani.

Performance time: approximately 15 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 transferred from there to restrictions on a composed around 1757/58 work. - 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: Presto

C major, 2/4-cycle, 168 cycles

The formal construction of the Presto is due to its construction from a few design components for a symphony that time " of an astonishing unity ". The first theme begins as a simple tonic-dominant - tonic - chord progression. The rhythmic motif with upbeat sixteenth notes in the first violin ( " Scene 1") is characteristic for another set construction. In the second half of subjects it is offset from 2nd Violin and Viola / Bass continued while the first violin accompanied in syncope. The beginning of the sentence bears similarities to Georg Reutter Servizio di tavola. The second theme conducting passage is preceded by a unison Dreiklangsfanfare and upbeat motif from falling scale fragment in uniform eighths ( " Scene 2"). The passage then varied the rhythm of motif 1, sometimes under large interval jumps, interposed are rapid semiquaver runs.

The second theme from bar 40 contrasted sharply to the previous, noisy events: It is in G minor ( minor dominant ) and piano is only played by the strings. The first theme consists of half an ascending line in ganztaktigen notes, the second from a variant of motif 2 with forte - piano - Jump. The final section brings motif 1 in the violins dialogue and turn motif 1 in Viola / Bass under Synkopenbegleitung the violins.

The implementation is kept short with 13 cycles and remains in the dominant. It is based on a six-bar phrase with elements of motif 1 and motif 2 The phrase is repeated in a minor key piano. The shortness of the implementation is thereby "balanced" that the recapitulation ( from bar 82 ) the processing thematic material continues: the section between the first and second theme has Haydn against the exposure greatly extended. The section introduces different types of clays and processed motif 1 and 2 (eg down sequencing of motif 2 from bar 118). The section from the second theme ( now in C minor ) is then structured as the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

" The opening Presto, with all its clarity of form a fantastic mishmash of distant but related motifs whose form and formal function is constantly changing. "

Second sentence: Menuet

C major, 3/4-time, with Trio 50 cycles

The simple, courtly minuet is characterized by the alternation of triplets and dotted rhythms, and passages of the tutti and the violins alone.

The trio ( C minor ) with baroque trains is only for strings in three -part harmony ( 1st violin, 2nd violin, viola bass ) and consistently maintained piano. Similar to the Presto, a rhythmic idea is also influential: the juxtaposition of three bound -eighths and three staccato quavers. The two violins imitate several times each other's material.

Third movement: Andante

C minor, 2/4-cycle, 71 cycles

The Andante is how the Trio in C Minor, also contributes Baroque trains and is also ( and as early symphonies of Haydn's usual) kept only for strings. The sentence is structured in two parts: In the exposition both violins are initially vocal leader, in the middle with the viola, and in the final group takes the first violin voice guidance while accompany the other strings.

The upbeat main theme consists of two four-bar halves, the subjects head with a falling line in the dotted rhythm. From bar 9 the violins play the subjects head in the dialogue and in the end - as knocking Tonrepetitionsbewegung in sixteenths comes up in the violins - it also appears in viola and bass. The tone repetition then continues in the bass, also play violins and viola a broken figure of breaks. After surprising ascending unison gesture at Forte follows the final group in the Tonikaparallelen E flat major with triplets.

The performance begins with the topic header in E flat major in the 2nd violin. Already after one clock takes the first violin with the material of the final group, the vocal line, while the remaining strings take up the continuous tone repetition in sixteenths. The passage from bar 35 with a new motif is by strong forte - piano - in contrast and change of key. From bar 40 times the inverse of the head motif of the main theme in D major appears. The unison gesture announces the recapitulation.

The recapitulation at measure 47 is compared with the exposure changed slightly: The main theme goes after his first appearance directly into the dialogue passage, and before the section with the knocking repeated notes is still a push with the strong forte -piano contrasts. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Fourth sentence: Presto

C major, 3/8-time, 82 cycles

As is usual for contemporary symphonies, the Presto a fast and light -weight " Clean Sweep " that stands out (change from forte and piano ) in relation to Haydn's final movements of other early symphonies by many dynamic contrasts. Already beginning of the block ( which reminds with its chord shock and the interrupting breaks at the beginning of the opening Presto ) fall these contrasts on a narrow space between the tutti ( forte) and the violins ( piano). After a " noisy " passage, which is initiated by a signal-like two- note figure, followed by the small second theme in the strings ( from bar 22) in the dominant G major, with the vote leading 2nd violin ( the violin figure from measure 3 / 4 recalls ) a stereotyped like voting against the first violin is opposite set. The final group contains Ascending Triolengruppen.

The short implementation varied in two phrases of material reconciliation, announced each of the two grades signal figure. A variant of the material from the second theme (or the violin figure from the beginning of block) leads to the recapitulation, which is similar in structure to the exposure. Both parts of sentences (exposition and development and recapitulation ) are repeated.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 37 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 37 in C major. No Philharmonia. 737, Universal Edition, Vienna 1963 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ).
• Symphony No. 37 by Joseph Haydn: notes and audio files in the International Music Score Library Project.