Symphony No. 41 (Haydn)

The Symphony in C major, Hoboken directory I: 41 Joseph Haydn composed probably in 1768 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 41 Haydn composed probably in 1768 during his tenure as Kapellmeister to Prince Nikolaus Esterházy I: The autograph is not known, but a copy of the Esterházy Hofkopisten Johann Elssler in which watermarks and handwriting on a genesis to 1768/69 interpret.

The Symphony No. 41 is considered the first representative of a new, advanced type of festive C major - Haydn's symphonies and insofar as meaningful. The comparison of the first movement of Symphony No. 41 with the short previously incurred Symphony No. 38 showed " how much it is Haydn now managed to break free from the somewhat formulaic, conventional treat that adheres to his earlier C Major Symphonies "

  • The set starts at No. 41 with an individual, according to the classical period symmetrically structured theme that contains dynamic contrasts, at No. 38, however, with a fanfare-like triadic theme in outline loose baroque Fort spin -drying type; Horns, trumpets and timpani are used at No. 38 in the sustained Forte.
  • The section between the first and second topic is 41 extended and the harmonious development more elaborated at No.,
  • At No. 41 The second issue is more important, more contrasted and is elaborated differentiated,
  • The detailed implementation with an apparent recapitulation at No. 41,
  • The greater differentiation at No. 41 in the instrumentation (eg Beteilitung the solo oboe on the second theme in the recapitulation, the impressive use of brass and timpani).

About the Music

Instrumentation: Flute ( only in the second set ), 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 the copy of the Hofkopisten Johann Elssler trumpets and timpani are not known. Probably they have been added later by Haydn. You can find the first time in 1771 in a copy in Göttweig and are then assigned in later sources. Perhaps Haydn needed the larger forces for festivities at the castle Kittsee and in Bratislava in the summer of 1770.

Performance time: approximately 20 to 25 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 work composed around 1768. - 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 con spirito

C major, 3/4-time, 202 cycles

The set opened with a festive, periodically structured topic in question-answer - structure. Note the dynamic contrasts between forte chords, and melodious piano phrases as well as the large scope of a tenth. After the presentation of eight-bar theme a forte block with triad fanfare and two virtuoso runs follows up, then, the subject of repeated (bars 1 to 26). The first theme or the main thematic unit thus arises " as a 26 clock umspannender complex is consisting of motivic various sections, which are divided by exciting breaks, with frequent dynamic contrasts and a carefully graded instrumentation, only the use of the full orchestra for the few fanfare-like bars on saving (in dotted triad motifs). Power and grace combine in this original thematic structure (...). "The detailed section to the second theme is mostly used Forte and is characterized by its tremolo sound surfaces as well as the change of harmony with the inclusion of chromaticism. Piano - eighth chains in staccato announce the second theme. This is the dominant G major. It konstrastiert by switching to the piano, the limit of strings and the sanglich - predominant character to the previous, noisy, festive events. Final section from bar 72 engages with tremolo and a triple trumpet fanfare, however, return to the previous magnificent atmosphere.

The implementation does not begin as usual with the first theme in the dominant, but as mysterious ascending diminished chord in unison piano the strings. She then goes into a long passage that continues to spin the second half of the second theme, the remains " harmonic ambiguity " of the diminished chord. When the music seems to fade away in pianissimo, is surprisingly the first theme in the tonic C major as a reprise appearance, but both topics halves remain on seventh chords hang with pauses. Then " breaks as the sharpest contrast a strong modulating tremolo area, which cascades ornamental stops after about 20 cycles, reconciled after which, again dabbed as a strong contrast, in the piano and staccato quaver passages to the recapitulation. " The tremolo passage picks end up on the material of the bottom group back ( including the trumpet fanfare ), and the staccato quaver passages reminiscent of the introduction to the second theme in the exposition.

The recapitulation at measure 133 repeats the first issue after the fanfare-like Forte block does not, but goes straight into the tremolo passage. In the second topic, the first oboe plays the voice leading of the 1st violin an octave higher with, and in the final group, the trumpet fanfare is replaced by a corresponding rhythm of the drum (but offset by one clock ). A brief coda ends the movement. Exposure and development and recapitulation are repeated.

Second sentence: Un Poco Andante

F Major, 2/4-cycle, 89 cycles

The Andante is one of Haydn's first slow movements occur in the horns and the violins are muted ( like it should be common in Haydn's symphonies following ). After Howard Chandler Robbins Landon, Haydn here reached the limit of his " mature style " of the slow movements, since the characteristics of the following creative period are available (up to 1774) (eg, muffled Violins, use of horns, split melody line). As a particularly significant Robbins Landon evaluates the treatment of the winds and the resulting sound atmosphere.

At the beginning put the strings in front of the periodically structured first issue, with the leading vote, parallel violins are muted. The theme is upbeat, contains dotted rhythms and has a border Chara hangover. Immediately thereafter, follows a passage in the dominant C major, in which the first oboe plays a singable, quiet melody ( " second theme "), while accompany the other instruments - the flute solo with broken chord figurations in thirty-second notes. In bar 18, the flute takes over with a Tonrepetitionsmotiv the vocal line, accompanied only by the strings. These then dominate the final group between the first violin and the other strings split melody line. Second violin, viola and bass are kept in staccato quavers, the first violin at first. Sixteenths in, then in thirty-second In addition, the voice of the 1st violin of breaks interspersed. A fully -preserved C major - chord for all instruments including flute figurations ends the exposure.

Similar to the final group, the implementation up to the final bars is kept only for strings. The first violin spins away, the material from the first topic, including a minor turbidity, with the accompaniment of the remaining string is constructed as shown in the second half of the final group. Finally, the main voice goes into long sustained notes, while the accompaniment continues as before. The addition of the fan kick in a C Major - seventh chord with a fermata announces the recapitulation.

The recapitulation at measure 56 is similar in structure to the exposure, but Haydn was placed between the first and second issue an insert with material from the second half of the final group ( split melody line with 1st violin in thirty-second ). Exposure and development and recapitulation are repeated.

Third set: Menuet

C major, 3/4-time, with Trio 58 cycles

The impressive minuet in " gallant, accented style " is characterized by contrasting, two-bar phrases with trills, alternating from the festive tutti strings and piano as well as a four-bar phrase closing with triplets.

The trio is also in C major and consistently in the piano. In the first part of oboes, horns and violins are voting leader and play a dance tune from two-bar blocks. At the beginning of the second part put the strings with vocal leading the first violin melody as four-bar phrases in the dominant G major gone before the first part in C major is repeated.

Fourth sentence: Presto

C major, 2/4-cycle, 143 cycles

The rapid rate, the " actually has no issues and is entirely of constantly striding advance eighth movement," piano begins in the strings. The voting leading second violin plays a descending scale fragment accompany the other strings - the first violin in continuous triplets. These are formative for the whole set, reminiscent of a perpetual motion machine and can give the impression as if a 6/8-measure ago. It is possible that Haydn be influenced in this idea of a Slavic dance. The Presto is reminiscent in type to the last movement of the Symphony No. 56, the dominant tone repetitions at the Symphony No. 57 After the " first theme " begins a block of forte - piano - contrasts introduced by a fanfare with upbeats. The dynamic contrasts are also found in the second "theme" in the dominant at bar 31, which relies on a reduction of the scale of the first theme. More rapid runs and hammering repeated notes end the exposure.

The short implementation sets the scale fragment from the first subject first to g - minor, then D minor and A minor, interrupted by the trio Lenke tablets in Forte. A variant of the fanfare with the kick- turns leads seamlessly to the recapitulation.

The recapitulation at measure 90 is initially substantially similar to the exposure (both violins replace the first topic briefly their roles ), but is the second theme ausgelassen.Wie in the first sentence ends a little coda fortissimo the sentence. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

  • Recordings and information on Haydn's Symphony No. 41 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
  • Joseph Haydn: Symphony no. 41 in C major. No Philharmonia. 741, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
  • Thread the Symphony No. 41 by Joseph Haydn, call May 20, 2013
  • Symphony No. 41 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
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