Symphony No. 39 (Haydn)
The Symphony in G minor, Hoboken directory I: 39 Joseph Haydn composed in 1765 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy.
General
The Symphony No. 39 Haydn composed in 1765 during his tenure as Vice - Kapellmeister to Prince Nikolaus Esterházy. Early references dated the symphony later: around 1768 or 1767, possibly in connection with the appointment of a fourth horn player in Esterhaza in March this year.
The composing symphonies with wild character and darker timbre came about at this time also in some contemporaries Haydn ( eg Carl Ditter von Dittersdorf, Johann Baptist Vanhal ). In the development of the symphony, this time it was a novelty. Wolfgang Amadeus Mozart in 1773 probably heard some of these works during his stay in Vienna and was probably influenced in the composition of his Symphony in G minor, K. 183, which also provides four instead of the usual two horns.
On various Symphony No. 39 is filed in connection with the Sturm und Drang period or even with blows of fate:
"A feeling of tipping against the unpredictable fate supposedly to be felt in the sudden breaks and surprising modulations of implementation. "
Ludwig Finscher (2000 ), however, rejects the classification in the Sturm und Drang the context:
"With the youth movement of the literary Sturm und Drang, which had a short life and was received hardly content in Esterhaza as throughout the Habsburg court culture (...), have Haydn's minor symphonies nothing to do - but very well with the general trend, to enrich the language of the symphony by minor keys and the adoption of elements of language such as Opera Orchestra tremolo, Synkopenketten, large intervals, abrupt contrasts, recitative formulas, to deepen, to bring with them in the first place to talk. "
According to Howard Chandler Robbins Landon, although the two middle movements, especially the Andante, in their quality behind the outer movements back. The Andante was from Robbins Landon as " disappointment " compared to the previous sentence and the instrumentation as "primitive ", while other authors just emphasize this contrast to be effective:
" Phases of relaxation has postponed the entire opening movement through and saved up for the second set, which is thereby significantly enhanced Haydn; Another " trick " in this symphony. "
" The Andante was unjustly criticized for its " shallowness "in the context of a minor symphony, but that now appears to be anachronistic romantic: There is no law under which any minor symphony by Haydn must give the impression to be" through-composed ", as in the " farewell Symphony " or the No. 44 in e minor is the case. The sentence may be many sophisticated and witty effects boast (...). "
When the symphony was originally composed in 1765, it presents Haydn's first " minor Symphony " represent a special feature is the use of four instead of the usual two horns, the Haydn symphonies in otherwise only found in the No. 13, No. 31 and No.. fell back 72. The other three symphonies are all but in major, and at No. 39 Haydn used in contrast to the major symphonies rare parallel all four horns. The horns are tuned in pairs on No. 39 G and B. Therefore, they can be used almost indefinitely on the g minor scale as well as on the relative major ( B flat major ).
About the Music
Instrumentation: two oboes, two horns in B, two horns in G, two violins, viola, cello, double bass. (If available in the orchestra ) were to reinforce the bass voice then also without separate listing bassoon and harpsichord used the harpsichord probably not in the orchestra of the Esterházy Palace ).
Performance time: approximately 15 to 20 minutes (depending on adherence to the prescribed repetitions).
When used herein the terms of the sonata form for parsing it should be noted 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: Allegro assai
G Minor, 4/4-time, 115 cycles
The beginning of the sentence is unusual in two respects: first, by the provision piano instead of the then customary Forte beginning of Symphony sets. On the other hand, the expected sentence structure is disrupted with a periodically structured topic: While starting the strings - accompanied by the horns - with a four-bar, symmetrically structured antecedent, which is based on a two-bar, memorable design with upbeat and tone repetition. From this motif key parts of the other set are derived, therefore it is called as the " main subject ". It then follows, however, not directly to the postscript, but a one-bar general pause, so that the listener first gets the impression that the music was canceled. In the postscript only the violins piano are represented, answer the thoughts of the main subject. However, the vote leading 1st violin comes even after short-term achievement of the closing tonic ( bar 9 ) not to rest, but changes to the dominant D major and repeated three times " questioning " their opening - cliché. After another pause, the general four-bar antecedent is repeated and then spun out as a forte passage of the entire orchestra on B- flat major, C minor and E flat major with virtuosic semiquaver runs. From bar 31 is followed by a new motif, however, is the main subject derivable by its repeated notes. The motif occurs offset between the violins and viola, cello, double bass and bassoon in, some with dissonances (small seconds at bar 38/39 ). The motif of the final group (cycle 40 ff ) can be imagined derived for the characteristic repeated notes from the main subject.
The implementation (measure 51-81 ) also based on the main subject. After modulation by the C minor and G major follows from clock 61, a section in fortissimo with a new motif ( broken triad up eighth running down) that is played in imitation between the two violins. This is followed again the subject of the final group (cycle 68-73 ). The Reprise entry has obscured Haydn: The antecedent to the main theme is first heard in the strings in E flat major, then in F minor, and finally (as Reprise beginning ) in the tonic G minor (bar 82). Thus, the line gives up Eb FG, but the impression of a chromatic line arises when listening due to the falling bass line down. The piano passage of the two violins is then answered by the energetic unison of the whole orchestra. After an appearance each of the antecedent to the main theme in D minor and D major follow as in the exposition the passage with the motif according to clock 31 et seq and the final group. Exposure and development and recapitulation are repeated.
The unusual structure, in particular the " uncanny " sentence beginning with its breaks are highlighted in the literature often:
" Such a momentary - perplexed beginning of the sentence is singular in that time, not only in the works of Haydn. Probably for the first time in the history of music the laborious In -course coming of the musical flow has been shown so convincingly and vividly as here. It is as if, before the development starts, once checked whether the unfolding of a musical process is possible with this thematic material. While a theme is set, but it is possible only with difficulty and after an attempted change to put the molding process with him in transition. "
"How in the Symphony No. 13 Haydn also used here on the subject of the first movement (...) the horns just as dominant background of the first four issues clocks whose sinister character is underlined by the following, the topics flow interrupting longer pause, so that when the listeners as a result of this approach and the unusual key of the beginning of the sentence must have seemed confusing as to what was certainly Haydn's intention. "
" Haydn's G minor Symphony No. 39 begins with a somber topics - antecedent, the once a general pause is added. Haydn's unerring instinct for the " dramaturgical value" of the general pauses would be worth a separate treatise and runs through his work, like a thread. In the early symphonies of the foundation is laid for this stylistic device. "
Second movement: Andante
E-flat major, 3/8-time, 100 cycles
Compared to the other sets, the Andante is not proposing to " dramatic " tones. Even through his instrumentation for strings contrasted the sentence to the previous Allegro assai. The movement is characterized by flowing triplet in the vote leading violins (usually 1st violin ) and border -eighths in the bass. The first theme (bars 1-8) is based on a one-bar motif with tone repetition and final turn, with the consequent of the theme ( measures 5-8 ) a triplet variant of the antecedent is. The short following reconciliation section (bars 9-16 ) brings a shift from Forte - appoggiatura figures and piano triplets. The section of clock 17-22 in the dominant B flat you can possibly be interpreted as a second "theme", however, he is with his two-bar, little melodic structure ( Forte chord and subsequent piano triplets) also applied rather like motif. After ascending unison run in Forte the final group is reached in measure 26, which is also characterized by triplets.
The implementation (measure 31-64 ) begins with a hesitant picking up the first theme, which is then spun out from bar 35 and modulated. Interrupted, it is known only by the clock 10 forte proposal figure. The recapitulation (bars 65 ff ) is similar to the exposure structured. A small coda ends the movement with expiry of the figure of the first theme in pianissimo. Exposure and development and recapitulation are repeated.
Third movement: Menuetto
G Minor, 3/4-time, with Trio 52 cycles
The Minuet with its chromatic, remote melody line and some stressed Provision has a sinister dark character and is consistently in the Forte. In contrast, the more dance- Trio in B flat major, in particular through the voting leading wind instruments ( oboes and horns in B) with triad twists on a downright brilliant timbre. The vote for the first horn is kept exceptionally demanding.
Fourth movement: Allegro molto
G Minor, 4/4-time, 95 cycles
The Allegro molto includes in its striking expression and his " dramatic tone " in the first sentence. Due to the large intervals, the dynamic opposites, the tremolo backing of the main theme at the beginning of the sentence and the sometimes virtuosic runs produced an almost wild character. As in the Allegro assai, only one main topic and a nearly continuous, forward-driving quaver movement is also available in the Allegro molto. The melody in vocal leading first violin is characterized by wide leaps in the bass makes downward characteristic interjections from a broken chord. Second violin and viola accompany with tremolo, the wind instruments ( except bassoon) with sustained chords. From 9-13 clock fast-paced runs are followed down, but still can be expected as the main theme structurally. In the further course of the movement several motifs / phrases are strung together: In a section with semiquavers and sharp forte -piano- contrasts (measure 14-19) follow trill figures (bars 20-25 ), an upbeat - remote, "jumping " bass figure (measure 26 - 28); the final section (bars 29 ff or - depending on the view - measure 31 ff ) in turn contains virtuosic semiquaver runs and a final flourish with trills.
At the beginning of the implementation only play the two violins two voices in a piano to the previous events contrasting, derived from the main theme melodic motif which is based down on a broken chord. Here, the first clock acts in a dominant table or as a derivative action to the next cycle. The motive is sequenced up. From bar 48 then uses the entire orchestra with his head to the main theme, which is kept in sharp change from piano to forte and C minor, C major, A major and D minor. After the "jumping " bass motif and a chromatic bass line carrying ends as a result of runs upwards, alternating between G minor and D major.
The recapitulation (bars 70 ff ) is similar to the exposure structured, however, the section with the rapid runs down ( according to clock 13 et seq ) and the "jumping " bass motif omitted. Exposure and development and recapitulation are repeated.