Symphony No. 45 (Haydn)

The Symphony in F sharp minor Hoboken directory I: 45 Joseph Haydn composed in 1772 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. It bears the title not derived from Haydn "Farewell Symphony".

General

The Symphony No. 45 Haydn composed in 1772 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The plant has some of the typical of Haydn's former creative phase characteristics of the " experimentation " on:

• It is the only symphony Haydn Symphony in the unusual key of F sharp minor;
• Differentiated dynamics;
• Differentiated by rhythmic syncopation;
• Dissonances;
• Unusually long and " monotonous ", second sentence;
• Unusual conclusion of the symphony with an Adagio, in which the instruments gradually stop playing.

In addition to the Symphony No. 44 in E minor 46 B major is considered a " sister plant " or to No. 45 in particular point. The title "Farewell Symphony " is missing in the autograph. He apparently was in Paris, when in April 1784, the work at the last concert of the " Concert spiritual " as " nouvelle symphony, analogue à la ciconstance " was performed. The Hamburg-based publisher Johann Christoph Westphal offered in 1786, the " so-called Farewell Symphony ", and in 1794 the music dealer Johann Traeg in Vienna several new music, including the " Farewell Symphony", also known as a " farewell ".

After the work was largely forgotten, Felix Mendelssohn Bartholdy led the symphony as the last piece on a concert at the Gewandhaus in Leipzig on 22 February 1838. The musicians put out at the end of their candles and left the stage (for the delivery see below). Shortly thereafter, he wrote in a letter to his sister from the very successful performance: " It is a melancholy piece of curios. "

The symphony was formerly partially classified in the Sturm und Drang period. However, Ludwig Finscher rejects the classification in this context from:

"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. "

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 25-35 minutes (depending on adherence to the prescribed repetitions).

When used herein the terms of sonata form is taken into account 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

F sharp minor, 3/4-time, 209 cycles

The set begins with the strong, dark main theme. Main block ( motif 1 ) of the periodically structured theme is the falling staccato triad figure in the scope of the tenth, followed by a " cushion " up with triple tone repetition. The first violin vocal leader, the 2nd violin accompanied in troubled syncope, the other strings as throbbing eighth - tone repetition and the wind in sustained chords. The final phrase of the theme (measure 13-16 ) is held in the tremolo. The theme is repeated starting after a general pause as a variant piano, but changes in the second four-stroke abrupt forte and then flows seamlessly into the next section with motif 2 over that by its octave leap upward and the gradual formation of a falling triad figure (similar motif 1 ) notice. From clock 38-43 occurs motif 1 as a variant in A Minor, followed by the " resolution box " with motif 2 Schlusgruppe includes two new designs: Scene 3 with ascending quarter movement and motif 4 with dissonant Provision and down continuous Akkordmelodik (with similar Images 1 and 2).

The implementation can be divided into two parts: the first part represents the shortened end of the exposure with altered harmonies point (eg, at the beginning: Modulation of A- flat major to F-sharp major ). After the general break with fermata in measure 107, the second part begins: A new, The vocal theme with Provision sets in Piano Strings in D major. The first theme is repeated an octave lower with a further spin -drying, which is something reminiscent of motif 2. The second repetition with oboes participation then runs as a rising " question" in the piano. One could see in this passage the late catching up of the second theme, but the harmony assignment is ( D major in terms of F-sharp minor ) unusual for a typical second issue. The passage is in the literature varies accordingly discussed and understood.

After another pause, the General recapitulation begins in measure 142 with the main theme. It is similar to the exposure structured, but somewhat expanded and even more than the exposure to strong interval jumps, accents and dissonances marked. Exposure and development and recapitulation are repeated.

Walter Lessing draws attention to the special position of the sentence: "In the freedom of the formal design, in the boldness of the emotional content of this sentence is only because in Haydn's oeuvre. Never again Haydn wrote similar to "extreme" music. " Ludwig Finscher says that the set of " extreme drama and most violent urge to move " is characterized and refers to the " very clear structure, usually in four-stroke groups, and the articulation of the main turning points, according to the main clause and before the final group, in general pauses. (...) Haydn rarely has written such a sinister recapitulation. After inconsequential interlude of the new issue, they seem all the more depressing. "

Scene 1 Haydn quoted later in the implementation of the first set of the Symphonies No. 60 and No. 86

Second movement: Adagio

A major, 3/8-time, 190 cycles

The Adagio contrasts in character strongly to the preceding sentence. His almost monotone or " shy - disturbed " atmosphere comes about through:

• Little dynamics: with the exception of an accent (measure 118) exclusively piano to pianissimo;
• Play it down to a few splashes of color only the strings, the violins with dampers ( damping of the violins also occurs in several other slow movements of Haydn's Symphony this time );
• Little melodic themes / motifs;
• "Hard Drive " on Sept and Nonakkorden, such as clock 164-175; Standstill by several pauses ( clock 57, 109, 163) and held on the clock chords (measure 118/119 );
• Use of chromaticism in the motives, eg from bar 34 or from bar 58;
• Exchange of major and minor for the same motive: from bar 135;
• The "length" of about 12 minutes maintaining the required replicates.

Furthermore, the frequent use of proposals is striking.

The first theme (main theme or motif 1, cycle 1 - 8) with periodic structure is characterized by proposals, syncope and small runs in the vote leading violins. After the repetition of the theme, come from bar 17, two small motifs with appoggiatura figures: the first ascending, descending the second ( the second is only the first violin vocal leader, while the second violin moves to the accompaniment). In bar 29 short step to the oboes, where Haydn changes echoey between E major and E minor, then perform one violin in a chromatically -seekers to sweeping movement, culminating in measure 46 on E major. The following quaver movement accesses the echo -like alternation of major and minor keys and finally loses itself in a pause (cycle 57). After further chromaticism with voice leading in Viola / Bass the final group that the proposal figure from the beginning of the sentence and the ascending motif from bar 17 follows (now with participation of oboes) repeated as a variant.

The implementation ( clock 77-126 ) first processes the " ascending motif", followed by another chromatic section similar to the passage from bar 58 and after the fermata on Gis (measure 109) takes up the proposal figure from the beginning of a sentence. After ausgehaltenem seventh chord on E ( clock 118/119 ) the return of the first violin to the recapitulation follows.

The recapitulation ( from bar 127) begins with the main theme of, now with splashes of color of the horn (similar to the start of the trio ) and goes with the omission on ascending and descending on the same motives to the passage with the oboes throw. Again, the change of major and minor is pronounced again. What is striking is the extent of the after the fermata in measure 163 (corresponding to the fermata in measure 57) incipient, slow section with initially minimal movement. Walter Lessing writes:

" What differentiation Haydn achieved harmony in this set shows very vividly the tremendous tension, back modulated in the Haydn shortly before the end of B minor to A major. It is as if the music stops as dreamily lost, until finally with a cadence the home key of A Major is fixed again (...). "

The final group is kept as in the exhibition. Exposure and development and recapitulation are repeated.

" An idyllic counterpart to the first set, the first bars of the Adagio in A Major seem to be created ( ... ). But the sentence is thinned repeatedly and gets over dissonant harmonies to a halt. Was the first sentence of the manifestation of the inevitable, the second movement is a of the hesitant, insecure, basically not to himself Find ends. "

Third movement: Menuetto. Allegretto

F-sharp major, 3/4-time, with Trio 76 cycles

The violins begin the minuet dance in the unusual key of F sharp major for which the horns have to be specially retuned ( in the second set, the horns were tuned in A). With use of the entire orchestra in measure 3, however, the cheerful character falters, as viola, cello and double bass play the harmonious foreign D (instead of Dis). With the numerous syncope and the Provision Menuet draws on elements of the second set. It is also noteworthy that the final bars bring the first and second portions of a falling figure in the violins in pianissimo, on A, ie, the third of the tonic F sharp major, end. Thus the final acts and unsafe behavior.

The trio is also in F sharp major and begins in sonorous solo horns. The second part contains a new, downgoing figure and several reinforced by Forte, dissonant suspensions before from bar 71 once the initial motif is played pianissimo. The horn motif Haydn also has the fourth movement of Divertimento Hoboken Directory II: used 23.

" ( The Trio) will be opened by the two horns with a six-bar motto -like reputation of the manuscript with the comment " is provided Incipit Lamentatione ". So this is apparently a quote from the same collection of liturgical lamentations for Holy Week, had quoted from the Haydn early as the second movement of Symphony 26 a section. The quote is heard again at the end of the trio, but here presented by the entire orchestra. What is the purpose of that unusual framing of a trio by a liturgical quotation, remains enigmatic; after all, but it could be a whole understood as referring to the tragic character of the work. Because that is hidden behind a meaning, appears safe and is probably made by the strange fact that this quote with a point in the second set ( T.127 ff ) corresponds. "

Fourth sentence: Presto - Adagio

Presto: F-sharp minor, 4/4-time ( Alla breve ); 150 cycles; Adagio: A major and F-sharp major, 3/8-time, 107 cycles

The Presto, which has been called in 1784 " a noisy piece without character " a contemporary French critic, begins with the upbeat opening theme (main theme). This has periodic structure and consists of a piano " question " the strings, answered by the whole orchestra in unison and Forte. The theme is repeated as a variant. The Forte block from bar 17 engages first to the unison figure and then brings a new eighth motif, which is sequenced as a virtuoso run- down figure in offset application. After five cycles with staccato chords follows more virtuosic quaver movement. Final section from bar 45 includes bariolageartige tone repetition of the first violin on A, rapid scale runs and terminates the exposure with a motif of alternating chords, of dominant and tonic.

The implementation (measure 57-97 ) first accesses to the main theme in A major, then remains at the eighth - phrase from the end of the " question " of the main theme and processed from bar 80, the dominant-tonic motif from the final group. Here Haydn changes to C-sharp major, B major, A major and D major; the section then gradually slopes down to C sharp major.

The recapitulation at measure 98 is constructed similarly to the exposure, but the final group varies and ends instead of closing chord strumming on the unison - Cis.

After a general break with fermata, the Adagio begins. The first section (A major) is the exposure of the first theme (bars 151-156 ), reconciliation ( clock 156-168 ), second theme (bar 168) and final group ( clock 175 ff.) The exposition ends at bar 180/181 forte unison the final group motif. The short implementation brings material of both topics ( clock 182-191 ). The reprise at measure 192 is missing the second theme, but the final section is extended codaartig. The first section runs like the Presto in C sharp major, which leads over as dominant to F sharp major of the second section. This ( clock 218 ff ) brings again first theme, second theme with extension ( clock 227 ff ) and final group (measure 253 to the end ).

As for the breaking off of the instruments playing, the following picture emerges (sometimes after a solo insert):

The violins end in pianissimo and with dampers the sentence.

Interpretation of the Adagio

It is often reported for this Adagio that the musicians had the instructions to leave the orchestra in the above order. This hypothesis is based on the following narration:

There was a regulation, the auftrug the musicians of the chapel, without their wives and children to appear in the Castle Esterházy once there began the summer season. Throughout the summer, the musicians had thus lost contact with their families; the exception of only two singers, violinist Tomasini and Haydn. The reason given was that there was no place for so many people. When the musicians complained because they run two households, and being homesick, paid the prince without hesitation an allowance. The main thing seemed to him that the women and children of his people not to see. However, the music summer of 1772 retired to the length, and the musicians assailed Haydn, to engage with the prince for her. The performance provides Heinrich Eduard Jacob this way:

" After no more than 100 cycles all instruments made ​​on the dominant of F sharp sudden halt: unexpectedly began four violins to play a topic that had not been heard to drag and fall apart. Something unheard of happened on the podium of the second Hornblower: he and the first oboist stood in the middle of playing on, packed up the instruments and left the podium. Eleven cycles continue taking the previously unemployed bassoonist his instrument, but only briefly, in unison with the second fiddle to blow the top of the first motif; then it clears out the light and goes off also. After seven bars him the first horn player and the second oboe follow. Now solve the cello that has so far been common ways with the bass fiddle, away from her: in a twist - unexpectedly sets Cis as a landmark - is the bass violin on and walks away. Always narrow-chested, the music, getting thinner. Haydn conducted at the piano, as if he do not notice anything. A few clocks Adagio in A Major. However, while they sounded, gradually disappear, the cellist, the third and fourth violinist and violist.

It's almost dark in the orchestra. Still only burn at a desk two candles: Sitting here Luigi Tomasini and a second violinist, which fell to the last word. Quiet, muffled by mutes, heard the antiphonal singing their violins in thirds and sixths is devouring and then ersterbend as the slightest touch. Now the last lights are off, got the last violinist and disappeared like shadows on the wall: a breath of autumn blows loneliness in the auditorium over. As Haydn gone out of it on tiptoe, the prince enters approach and puts her hand on his shoulder gently, "My dear Haydn! I understand. The musicians yearn for home ... Well then! Tomorrow we pack a ... "

In the ante- chapel waited in anxious anticipation of their master. He succeeded the loving prank? But since it was already among them, more than words betrayed his view them the happy outcome of the case. With hugs they took him away. "

As part of this widespread tradition Uwe Schweikert looks in the first sentence a musical battle between the princes (first issue ) and the musicians with the " pleading " topic in the implementation.

According to the "Wiener Papers " of July 19, 1787 clarinet should have left as a last resort the orchestra. A clarinet is, however, not provided in the orchestra.

Johann Matthias Untersperger composed in 1796 as a counterpart to the "Farewell Symphony" an " arrival Symphony".

James Webster sees the whole work as a description of welfare of eszterhazyschen orchestra members: For example. was the dejection of the musicians who want desperately home, clearly illustrated in the first movement, the unusual key of F sharp major symbolizes the almost unattainable distant home.

Wolfgang Marggraf discusses the likely Haydn's pupil Ignaz Pleyel declining narrative, suffered after Prince Nicholas from occasional depression. Haydn had composed a new symphony for sunny intervals at which the Prince, however, was uninterested. Haydn was then fall into deep dismay and asked the next day for his dismissal. " This final sentence - probably the most unusual of the symphonic literature in general - decided a symphony of unparalleled intensity in the representation of deeper conflicts; he is not a musical joke, but a umwitterter of grief and tragedy swan song of a shocking dramatic event, perhaps best understood as an echo of a major disaster averted. "

The instruction to leave the courts is not the autograph, but only in the most copies, of which only a temporary stands near the origin of the work. Some authors doubt that just in Esterhaza with its strict hierarchical structure and etiquette such a spectacle should have been possible. Maybe the finale is " easy to keep for another experimental finales of years 1771/72, without any symbolic or allegorical background " also?

An overview of the further development theories provides Anthony van Hoboken none of them was (like the above ) sufficiently vouched:

• Economic reasons are said to have caused the prince to disband its chapel.
• Haydn did with the match being abandoned individual players who were rebellious to tease him.
• Haydn had written a counterpart to this symphony where the two violins make the beginning and the other musicians appear gradually.

References, notes

Web links, notes, literature

• Recordings and information about the 45th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Wolfgang Marggraf: The Symphonies of Joseph Haydn. - Symphony No. 45 in F sharp minor ( Farewell Symphony ) call May 22, 2011 (as the text: 2009)
• Thread the Symphony No. 45 by Joseph Haydn.
• Joseph Haydn: Symphony no. 45 f - sharp minor. Philharmonia Volume No. 745, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn.
• Joseph Haydn: Symphony No.. 45 f - sharp minor ( Farewell ). Ernst Eulenburg -Verlag No. 486, London undated, 79 pp. ( pocket score ).
• Symphony No. 45 by Joseph Haydn: notes and audio files in the International Music Score Library Project.