Symphony No. 43 (Haydn)

The Symphony in E flat major Hoboken directory I: 43 Joseph Haydn composed by 1770/71 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. It contributes to not originating from Haydn nickname " Mercury ".

General

The Symphony No. 43 Haydn composed around 1770/71 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The nickname " Mercury " first appeared in 1839 on the handwritten list of Haydn's works by Aloys Fuchs. The origin is unknown. Jean Pang believed that the titling could be due to a confusion with the Symphony No. 50, the initial rates was used as the overture to the marionette opera Philemon and Baucis: the first occurring character there is Mercury.

" The name has not even helped the symphony and more popular, because in the neighborhood so great works such as" La Passione "and" Maria Theresia ", the" grief " - and the " Farewell Symphony " ekes the Symphony" Mercury " something in the shadows regardless of so many beautiful details that can be found in her. It embodies a more chamber music type, are less dramatic. "

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.

Performance time: approximately 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 composed around 1770 plant. - 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

E-flat major, 3/4-time, 254 cycles

The Allegro begins with an extended topic ( " first subject " clock 1 to 26), which consists of four numbers separated by periods phrases. All close in each case on the tonic E-flat major. The phrases 1 and 2 are viertaktig and work together as a periodically structured topic. They are constructed of a forte chord beat of tutti and a melodious piano phrase in the strings. The appearance of this contrasting, new material has Haydn delayed by two more, whichever is the longer phrases are appended: First enriched by the [ [ chromaticism }]], six-bar phrase 3, then by the twelve clock cycles ( 6 6 cycles ) again extended phrase 4 for strings that does even without the dynamic contrast of Forte chord shock. Both phrases have a " seeking" gesture. Only in measure 26, the subject area is completed. The stronger Haydn contrast to the next, energetic Forte - block design: The violins begin with rapid tremolo runs, followed shortly thereafter added bass and brass in " foaming (r ) surf of the whole orchestra ." This in protracted, relatively static beginning of sentences is evaluated in different ways in the literature: So criticized Charles Rosen:

" Such a series of weak Tonikaschlüssen is only acceptable as long as it is expected to articulate from the phrase any shape or facilities necessary sequel. The relaxed beauty of this beginning is obvious, but a style that they accepted at the cost of so flaccid match between cadence harmonies and great rhythmic movement can achieve dramatic effect only through the extraordinary. The later Haydn 's dramatic, without exerting himself, in a very natural way and with the most mundane material. In this section, we can see Haydn's rings: not only the forte chords at the beginning of each phrase, the increasing expansion of the phrases in length are trying to enforce a sense of energy growth. More success is still not granted him; the fast rhythm in bar 27 is not convincing because he is not what he wants to be, a rhythmic acceleration, but only an additional excitement in the violins. "

James Webster rejects the criticism of Charles Rosen, however, from:

" The broad theme of the first movement deceived even such a good critic as Charles Rosen (...). Granted, the topic seems somewhat aimlessly circling around the first inversion of the tonic triad, but that's just Haydn's intention. It proceeds to long, pointedly refuses to to do something, so we are becoming restless, more and more feel the need to hear something new. Haydn, it presents us also at the end when the violins with a sudden forte fall down in tremolo sixteenths and the harmonic rhythm increases. This leads to a very powerful cadenza that concludes the first topic and leads to energetic reconciliation. "

The Forte block after the first subject is marked down to a rhythmic question-answer motif with strong intervallic leaps through the tremolo of the violins. The second theme from bar 60 is expected to be in the dominant B flat major and is played by the strings piano. It is a variation of the first theme (or from Phrase 1 and 2 ), with the Forte chord shock and the breaks are missing. The subsequent section to the end of the exposure is in turn held in a flourish - rapid expression: the violins again set in motion a sixteenth, now upwards as staccato runs, followed by a bass motif with " jagged " quaver accompaniment of violins. This bass motif is repeated piano, with the first violin enters its rhythmic accompaniment to a loosening tone repetition in syncope. The " rugged " quaver movement occurs then further Synkopenbegleitung in a dialog of the high and low strings in the foreground and finally dominates even in the strings in unison. A short -coming B- flat major - triad motif ends the exposure.

The implementation starts with material of phrase 1, which moves chromatically - up hesitantly. Surprisingly then contact Phrase 1 and (varies ) Phrase 2 of the first theme in the tonic E-flat major, and the subsequent sixteenth runs in the violins suggest a premature reprise entry. In the other clocks then Haydn changes through different keys, including minor turbidity and leaves the " rugged " figure from the end of exposure, in Strings dialog ( now between the violins) and occur in unison. The music comes to a halt again, unexpectedly then sets Phrase 2 of the first subject first in A-flat major, then in F minor, until the tonic E-flat is achieved as a "real" recapitulation beginning at the third attempt.

The recapitulation at measure 162 is initially somewhat different than the exposure: In the first topic, the horn involved with throbbing accompaniment, and phrase 4 is extended by lining up the final turn of phrase 1. The theme is the same in the rhythmic question and answer - about motive (ie, the tremolo block is omitted). The staccato runs of the 1st violin after the second theme are down (instead of the previously upward ). Thereafter, the structure is similar to the exposure. Exposure and development and recapitulation are repeated.

" Ranging from the lyrical theme in the first movement of a symphony, on the first general pauses and the surprising Forte interjections about the multiple " wrong " reprises in the implementation to real recapitulation with enforcement, like elements, this first movement is full of surprises and unexpected twists. A gem of a person standing on the highest artistic level entertainment (...). "

Second movement: Adagio

A flat major, 2/4-cycle, 120 cycles

The first theme is carried forward only by the strings, piano, the violin, as well as in other slow movements of Haydn's Symphony from this period with damper ( "con sordini " ) play. The upbeat theme is indicated in addition to its repeated notes with differentiated rhythms. It has a periodic structure consisting of two four-bar halves on including an " Annex " of two clocks. After the theme is followed from bar 11 with a Forte accent a change to a chain of tone repetition and Sekundschritten that leads to the dominant E-flat major.

In bar 21 sets of bass, accompanied by the horns, with a moving subject one that is repeated displaced shortly thereafter by the violins ( " second theme "). The three upbeat Tonrepetitionsnoten this subject are combined in the subsequent, longer passage with sighs like Provision. After a brief general pause as a turning point and interrupted by pauses phrase movement in thirty-second clock is in 38 again the second "theme" a now sound filled with wind accompaniment and transitory, carpet -like accompaniment of the second violin in Zweiunddreißgsteln. The thirty-second notes are after the entry of semiquavers in bar 12 the second " up the display " in the sentence. The move comes forte in a pause to rest. The short -circuit group attacks the interrupted by pauses phrase figure and the continuous Zweiunddreißigstelbegleitung again.

The implementation varies initially enriched with dissonances, the final turn in the dotted rhythm of the first theme and then processed in a long passage, the motif sigh. The implementation leads smoothly into the recapitulation at measure 81 on.

In the recapitulation, the first theme is extended to twelve bars and goes straight into the second theme. While tuned in Eb horns were in the exposure of the second appearance of the second theme in a position to play a fairly detailed accompanying figure ( since the second issue appeared in the dominant E-flat major ), her voice is now reduced as it passes through the tonic flat major limited can contribute to the events. Otherwise, the structure is similar to that in the exposure. Exposure and development and recapitulation are repeated.

"The whole sentence is satisfied by a is almost rhapsodic verströmenden expression of sensibility. "

Third movement: Menuetto

E-flat major, 3/4-time, with Trio 58 cycles

The solemn and lively minuet is partly highlighted in the literature as particularly successful. The parallel-guided upper voices ( oboes, 1st horn and violins) play the upbeat main theme with triple tone repetition and secondary - derivative. These also support the parallel run viola and bass to vote like with a continuously progressing quarter movement. A short coda, which is somewhat reminiscent of the beginning of the first set, finished the minuet.

The trio is in C minor and is composed of two parts zehntaktigen. The first four bars of both parts are identical, the remaining six cadence in the first part to B - flat major, the second to E major. In contrast to the minuet with ascending melody, the trio is characterized rather by falling lines.

" In Trio Haydn proves to us that a single four-stroke phrase ( 2 2), even if they can be heard four times in succession, is not boring when they first a cadence on the dominant, then prepared for the tonic. "

Fourth movement: Allegro

E-flat major, 4/4-time ( alla breve ), 202 cycles

The first theme ( main theme ) is presented by the strings piano. It has a quiet, somewhat lyrical character with initially Coming - dynamic, then reservedly hesitant gesture. As at the beginning of the first movement, is the subject of separate phrases by rests. The first two phrases are fünftaktig, Phrase 3 consists of the repetition of the ascending - forward pressing issues head including accents and flows seamlessly into the stormy Forte block from bar 14 on (also herein is a similarity to the first set ). The Forte block is based on a motif of a broken chord figure in quavers and treble tone repetition in fourths, the last quarter is decorated by a trill. After a break in F major, the parallel violins put one in the dominant B flat major piano with great circle - continuous quaver movement, followed shortly by the basses. The lively movement comes in bar 48 in B flat major for peace. Separated by pauses, the strings are now playing a quiet, leading to F major cadence with ganztaktigen notes. The subsequent final group in the Forte, which initiates the first violin with a " breakneck " figure, in turn, has lively - spirited nature.

The implementation starts from the main theme in B- flat major, and then into a long, stormy Forte block which varies the motif Pralltriller and otherwise mainly contains rapid -eighth chains of bass under tremolo of the violins. Piano passes back the great circle - continuous movement violin to the recapitulation.

The recapitulation at measure 105 is similar in structure to the exposure, but the Forte block is shortened with the trill motif. Exposure and development and recapitulation are repeated.

Unexpectedly, he was now more a coda to ( a similar effect used Haydn in the last movement of the Symphony No. 90 ) Starting from the distinguished head of the main theme, the long through a clock general pauses separate " start-ups " in some chromatic delays stay out half and ganztaktigen notes stuck. Only the based on the final run-up group leads the pack as Stretta the end.

References, notes

Web links, notes

• Clips to 43th Symphony Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 43 in E flat major. No Philharmonia. 743, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Thread the Symphony No. 43 by Joseph Haydn, call 29. May 2013.
• Symphony No. 43 by Joseph Haydn: notes and audio files in the International Music Score Library Project.