Symphony No. 40 (Haydn)
The Symphony in F major, Hob I: 40 Joseph Haydn composed in 1763 specifically, the second and fourth movements are highlighted in the literature..
General
Also safe in 1763 Symphonies No. 12 and No. 13, emerged Perhaps Haydn composed the rates of Symphony No. 40 was originally isolated from each other, what differences in the types of paper used and differences in the styles of the sets (the sets 1 and 3 with suggest symphonic style as opposed to sentences 2 and 4).
In particular, the sets 2 and 4 are highlighted in literature reviews ( see below). Anthony Hodgson praises the symphony as a whole as " particularly original work ".
About the Music
Instrumentation: two oboes, two horns, 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, on the participation of the harpsichord in the literature are differing views ( the harpsichord probably not at the court of Esterháza ).
Performance time: approximately 17 minutes (depending comply with 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 the work of 1763. - 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
F Major, 3/4-time, 139 cycles
The strong main theme (bar 1-5) in the vote leading oboes and violins is made of rising sixth F - D in ganztaktigen notes ( bars 1 and 2) that of a figure to the extent of falling sixth (C - E) is answered ( stroke 3 to 5). This response is broken up by a mordant and the rhythm with eighths and sixteenths. Viola and bass accompany with continuous eighth movement, which almost stops the sentence about the whole and contributes significantly to its pulse.
The following passage, which seamlessly joins from measure 5, is characterized by its double impact similar Sechzehntelfloksel: First, is the " double whammy subject " by lining up a falling line (again, to the extent of falling sixth F - A), then it is auftaktiger part of a new motif ( from bar 9), in addition to a " Liegeton " ( dotted quarter ) has a further Mordent. This motif is repeated in the echo-like piano. From bar 15 Haydn replaced with some chromaticism to the dominant C major, in the now as a variant in the vote leading first oboe and first violin will sound the head of the main theme (2nd oboe and strings accompany other eighth- chains). This goes on in a design with triple tone repetition and on - descending motion. After the brief appearance of the double whammy motif and further falling sixteenth chains until then seamlessly propulsive movement comes as a cadence on the dominant G major double pianissimo and with general pause in the short term to rest.
Then, the forward-pressing movement is in C major continued, now even slightly more energetic: initially in staccato and reinforced by chord strumming, then as a motif with large intervallic leaps in the violins. A question-answer motif in the dialog oboes ( with 2nd violin) and the first violin ends the exposure.
The implementation process in particular elements of the main theme and the double whammy Design: Before a variant according to the first eleven bars of the sentence start one. The issue occurs in minor with incipient third down ( instead sixth upwards ), and the " Liegeton " ( dotted quarter from the subject from clock 10/11) is emphasized as an accent. Another appearance of the theme begins in the subdominant B flat major and sequenced the figure from Cycle 3 ( there with mordant, now without) upwards. The third subject entry in G minor leads to the double whammy motif that is interrupted by sharp upbeat note repetitions in dotted rhythm, accompanied by the tremolo of the second violin. Energetic large interval jumps (similar to clock 41) lead to a quieter piano passage, in which the second violin with the double whammy motif is voiced leader.
The recapitulation at measure 89 is much like the exposure structured. However, the section with the triple Tonrepetitionsmotiv from clock 24 is replaced by a falling in the violins dialogue sequence, and the passage with the energetic interval jumps from bar 24 is designed extended. Exposure and development and recapitulation are repeated.
Second movement: Andante più tosto Allegretto
B flat major, 2/4-cycle, 110 cycles
The set is kept only for strings and two voices: the parallel violins have the voice leading, viola and bass accompany with continuous staccato accompaniment in even eighths, having a regular two sixteenths are switched on at the end of cycle. The whole set is consistently in the piano and is based are presented on two motifs / phrases that the first theme (bar 1-7): tone repetition in eighths and sixteenths in upbeat Terzfloskel (parallel to the sixteenth rhythm in the bass ). Already in the first half issues occur both phrases, the second half is dominated by the Terzfloskel. Subsequently, the theme an octave repeated (cycle 8-14).
In the further course of the movement now entering additional motifs / phrases which will you can think up of two basic components: the passage to clock 21 is in the voice leading by tone repetition, upbeat loose third upwards marked in eighths and falling line with sixteenth-note rhythm, from bar 22 changes Haydn with the third - phrase (again, as a third upwards and in eighths ) to the dominant F major, and from cycle 25 develops from an upbeat, falling fifth ( as a variant of Terzfloskel ) only a two-bar, then a four-bar motif with tone repetition and the falling line. Finally, the exposure again dominated the Terzfloksel.
The development begins with the main theme in the dominant F major, then the events from first breaks with a general pause. A new approach brings the topic in the Tonikaparallelen G minor, followed by the corresponding clock Terzfloksel passage 22 and then as in the exposure resulting from the falling fifth evolving four-bar motif.
The recapitulation begins in measure 79 and is compared with the exposure varies. Thus, the main theme has a slightly different shape, and immediately follows the Terzfloskel Passage analog clock 22, which is, however, now interwoven with the developing from the falling fifths motif.
The set is highlighted in reviews often, the role of the harpsichord was judged differently:
" The particular for strings set is maintained consistently in two voices (...). For the filling of harmony harpsichord has to ensure, whose participation is essential here, as in all previous Haydn symphonies. "
" Special attention deserves the second set, in which the violins of a deposed in staccato notes " going " to be accompanied Bass -. A true showpiece in his masterly ironic application of the old baroque basso continuo practice "
"(...) Haydn wrote at first only " Allegretto " - is written for strings alone in a barren two part harmony, " semper staccato e piano ", mainly in short, based on repeated notes, patterns and melodies. (It would be a sin to deface this unique sound by a keyboard instrument continuo. ) Was it meant to allude to " conspiratorial " processes? "
" Haydn sat, except in London, for its symphonies most likely not a keyboard instrument. This view, which differs from previous opinions, is widely recognized today among musicologists. "
Howard Chandler Robbins Landon associated with the set of " Midsummer Night's Dream " - Music by Felix Mendelssohn Bartholdy.
Third set: Menuet
F Major, 3/4-time, with Trio 68 cycles
The wohlproproportionierte, full sounding minuet with " a touch of Alpine melody " is characterized by its smooth movement from remote eighths and quarters, with the continuous quaver movement partially occurs in the transition from the upper and lower voices. The eight-bar theme consists of an ascending, aushohlenden turn with triple tone repetition and a final twist that is repeated echo-like the piano one octave lower. A variant of the ascending issues head turns into a chromatically falling line.
The second part begins with the Tonrepetitionsmotiv, interrupted by a sixteenth scooter. A piano passage with continuous quaver movement leads after only eight bars back to the main topic. The final phrase of the topic is not repeated, but goes as models with triplet equal to the chromatic line falling over.
In the trio ( also in F major ) provides that the wind soloists out: First, the horns are vocal leader, then the oboe, which continue the melody with Triolenanreicherung. At the beginning of the second part are first the oboe, then the horns vocal leader with a variant of the triplet motif, while revisiting the main theme playing together oboes and horns. The strings accompany pianissimo, while the violins double the vocal line of the fan. There is a copy, in which only oboes, bassoon and horns play.
Fourth sentence: Fuga - Allegro
F Major, 4/4-time ( alla breve ), 198 cycles
It is proposed the following structure ( see also the form of joint references below):
- Exposure of the Fugue: At the beginning of the sentence, the second violin before the subject, accompanied by the counterpoint in viola and bass. The theme consists of two different components: a fourth or fifth in ganztaktigen notes down, then a specialization at the second quarter of the clock movement in the staccato. This contrasting pair is sequenced down. The counterpoint is almost a mirror image structures on the topic: On a staccato sequence in quarters and eighths of an octave leap followed up in half notes, which is distributed by a pause the interval to two measures, such as the subject. The subjects used in the upper voice occurred in the clock 15 by the first violin from C (ie a fifth higher than at the beginning of a sentence, " Comes" ), to play the 2nd violin counterpoint (other instruments are silent ). Add clock 29 forte uses the entire orchestra, the bass ( lower part ) of F from the third subject entry. These play first oboe and first violin a vote against one ( as a downward sequenced line), 2 Oboe and Violin 2 a vote against 2 ( adjusts to the one dissenting vote on ), the viola a vote against 3 ( goes to the issue above ).
- Interlude 1 ( from bar 54): play viola and oboe puts the subjects head, the bass motif from the neighborhood theme, the violins alternating the quarter motif and tremolo.
- Subjects used in the first violin in B flat major ( from bar 64, from bar 62 already head motif in the bass ).
- Interlude 2 ( from bar 77) with a falling line in the upper voices.
- Section with processing of the head motive of the subject, plus a variant of the counterpoint ( from bar 84), then subjects use in the first violin in G minor, then up sequencing ( instead of previously down), counterpoint in the other strings.
- Interlude 3 ( from bar 109) with the subjects head, the head of counterpoint and eighth tremolo.
- Section with processing of the head and quarter motif from the theme ( from bar 124), then subjects use in first oboe and first violin in F major, offset from it in 2 Oboe and Violin 2 ( from bar 133).
- Interlude 4 ( from bar 147) similar Interlude 1: play viola and oboe puts the subjects head, the bass motif from the neighborhood theme, the violins alternating the quarter motif and tremolo.
- Subjects use in 1st Violin in F major ( from bar 161 ), then with quaver movement for change pedal point in the bass. Subsequently, the movement of the Violin accumulates in Syknopen while viola and bass play a rhythmically distinctive motif. With a " powerful unison " Haydn completed the sentence.
Examples of literature statements:
" The fugue theme that occurs right at the beginning with one dissenting vote, could almost be the ' Gradus ad Parnassum ' - the canonical counterpoint textbook Johann Joseph be Fux taken, but admirable, it is how Haydn, it goes through minimal artifices, the Baroque fugue form the requirements of a symphony finale adapt. "
"Despite all reverence to the old contrapuntal rules this joint has little to do with what the masters of the Baroque meant by (...). Unmistakable is the "stile antico ", as the one now looked at the contrapuntal writing, imbued with a new, stormy expression will, of " haydnschem " impetus. "
" The finale is the only real gap in Haydn's symphonic oeuvre (...). Even this set includes occasional passages more or less homophonic structure, but the subject ( or at least be down bouncing head motif ) is never left out of sight, so as to give the entire set, in fact, according to a joint from his subject. Although he is full of contrapuntal artifice, particularly in stretto passages just as he maintains a moody, propulsive atmosphere that suits its function as final. "
"In the final movements of symphonies 13, 14 and 40, all perhaps not coincidentally emerged in 1763, meet at least approaches to topics fugischer processing. In Symphony 40, the last sentence is explicitly overwritten " Finale Fuga ". To understand this titling well as an indication of the very intense contrapuntal By forming the sentence, because a veritable fugue is not. The very extensive, consisting of two opposing motives topic is exposed only at the beginning about one dissenting vote in the bass in several voices. In the course of the movement, it always appears in much shortening, without being answered regularly. "