Symphony No. 4 (Haydn)

The Symphony in D major Hoboken directory I: 4 Joseph Haydn composed in the period from 1757 to 1760 during his period of employment with Count Morzin.

General

The symphony Hoboken directory I: 4 Joseph Haydn composed for 1757-1760 during his period of employment with Count Morzin. The symphony corresponds to the then frequent ( early classic Italian ) type with three sets, unusually, the final sentence is in the tempo of a minuet.

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.

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 circa 1759 factory. - 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

D major, 4/4-time, 96 cycles

The Presto is held by the then "modern" gallant type in the style of Italian opera overture in a bold character. In relation to the similarly structured first movement of the Symphony No. 1, shows a little more thematic work, in the middle part ( " implementation " ) greater dynamic contrasts ( piano to fortissimo ), and the recapitulation is changed more over the exposure.

The first issue contains as characteristic elements strike a chord as well as ascending and descending, the root note D -skimming scale fragments: first a falling sixteenth scooter, then a rising quaver figure in the Staccato (cycle 1-2 ). In cycle 3, the ascending line continues with chords, in quarters and provided with a trill figure. This is repeated in the echo-like piano with participation of the horns. It is possible that this is a Serbian tune. In the Forte passage from bar 7 several motifs / figures are connected in series (eg, question-answer motif in measure 12/13 and the run down sequenced figure: up in the bass down in the first violin, clock 14 to 17). In bar 10, the scale fragments are previously again occurred from cycle 1. Further follow an aspiring sixteenth-note figure, a Hornfanfare on the dominant A and finally to a unison staccato strings of the second theme.

The second theme ( from bar 23) contrasts with the restrained character, the piano, the key of A minor and the instrumentation for first only two instruments to the previous " stormy " section. The first violin plays an upward sequenced figure, the upward octave leap out and falling scale fragment consists. These play viola or violin 2 a rising vote against ( also a scale fragment, thereby relationship to the first theme ). In bar 27 the bass has just the voice leading. Final section from bar 32 with syncope and unison passages attacks then turn the " stormy " character and has the duplicate sixteenth scooter a reference to the beginning of a sentence - in particular the two final bars of exposure are similar to the opening bars.

The implementation (measure 38-61 ) begins as is common with the first theme in the dominant A major. In bar 43 Haydn changes abruptly shortly back to the tonic D major and then spins the piano trill figure 3 clock offset in the violins continue. A first crescendo leads with tremolo and running figure to fortissimo. Abrupt changes the dynamics with the trill figure back to the piano, where the action is repeated ( a whole step lower). About a variant of the final group motif from clock 32/33 is that happening gradually calmed down, until the movement subsides in pianissimo.

The recapitulation at measure 62 is partially against the exposure changed, especially in the transition to the second theme. The beginning of the Forte Passage (corresponding clock 7) is now additionally by an ascending, fanfare-like D Major - underlined chord in the horn, it lacks the Hornfanfare according to clock 18/19, and the sequenced running figure is replaced by Snykopen. Exposure and development and recapitulation are repeated.

Second movement: Andante

D minor, 2/4-cycle, 82 cycles

The Andante is kept only for strings and three voices created: viola and bass play a continuous border movement at uniform staccato quavers. The second violin plays " in stubborn obstinacy " is also a uniform translational motion in eighths, but in relation to the viola and bass shifted by one-sixteenth and therefore as Syncopation movement. In addition to the role played by the first violin vocal, solemn melody ( Cantilena ) unfolds. The special, " ghostly " atmosphere of the sentence arises because the set of consistently piano (both violins) or pianissimo (viola, bass) is held and also play the violins with mutes. The record contains no repeated parts.

The five-bar main theme in the first violin, which begins on the "carpet" of the accompaniment consists of four pieces: first a sustained Liegeton ( similar beginning, for example, in the Andante of the Symphony No. 10), second line down in Zweiundreißigsteln, 3 a derivative action figure in dotted rhythm and a 4 sixteenth note. In the repetition an octave ( bars 7 to 15), the final twist is extended. The further material of the sentence is largely derived from the figures of the topic: The passage from bar 16 established the Tonikaparallele F major, it contains a quart motif ( bar 16 /17, also with Liegeton and sixteenth note ) and a scale down ( clock 21 / 22). The following are additional small motifs / figures with the elements of the main theme, including a haze after F minor, the " lightening " as falling chain of sixteenth-note triplets to major. At the end of the (not repeated ) first part of the merely asked of breaks sixteenth triplet only remains.

The middle part (cycle 43 to 53 ) starts the main theme as a variant, the Liegeton is changed as a chromatically ascending line. Then the multiple repetition of a motif with pendulum figure and octave leap followed downward.

The recapitulation at measure 54 is compared to the first part changed ( exposure). Thus the elements of the extended to eight bars the main theme by the insertion of a downward sequenced quaver figure are varied, and the subject is not repeated. In the passage to the fourth motif (corresponding to clock 16) Haydn goes surprisingly in cycle 65 from D minor to D major. At the end of the sentence the sixteenth triplets occur grouped.

Anthony Hodgson speaks of a " very original " Andante and rated the syncopated voice of the second violin as "extraordinary ". Robbins Landon considers, however, that the effect of syncope would have been greater if they had been eingestetzt with more moderation. James Webster praised the record as " one of Haydn's earliest " atmospheric " studies. "

Third set: Tempo di Menuetto

D major, 3/8-time, 126 cycles

Haydn has the final movement of this symphony, unusually, held in the tempo of a minuet, but in 3/8-time and not like a minuet common in 3/4-time. After Walter Lessing this is based on a Viennese tradition. The energetic - dance main theme (bar 1-8 ) captures the incipient shock chord and the running figure upwards to the theme of the Presto, with the sixteenth note at the Andante. At the first set still remember the dynamic contrasts: for example, the theme is repeated immediately after his first run in the Forte as a variant of an octave lower pianissimo. On the topic is followed by several motifs that contain the sixteenth note.

The middle part ( " implementation " bar 53 to 76) is based on the throbbing in uniform quaver movement A of viola and bass on a pedal point. " The the piano and pianissimo returning from Forte dynamics, the sudden turn of D major to D minor, the faltering melody of violins and finally the addition of kicking the two horns with a long-held octave on the sound " a " to intensify the organ point - all this betrays a precisely calculated, exciting sound direction in preparation for the recapitulation, which begins in liberating Forte after a short break. "

The recapitulation is structured similar to the exposure, but slightly shortened ( as the subject is, for example, not repeated ), and the passage according to clock 19 is changed. Codaartig can then Haydn from bar 114, the main theme again resound in its initial form and finished the sentence with a broad, fanfare-like unison triad figure. Exposure as well as middle and recapitulation are repeated.

"The sentence combines charming way popular polynuclear melody with the grace of the galant style. "

References, notes

Web links, notes

• Information and recordings of Haydn's Symphony No. 4 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 4 D Major.. Philharmonia Band # 704, Vienna 1965 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 4 of Joseph Haydn: notes and audio files in the International Music Score Library Project.

• Symphony by Joseph Haydn