Symphony No. 46 (Haydn)
The Symphony in B major, Hoboken directory I: 46 Joseph Haydn composed in 1772 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.
General
The Symphony No. 46 Haydn composed in 1772 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. It is the only symphony of Haydn in the then unusual key of B major. It is ( related keys, unusual design of the final movement ) or contrasts (strong motivsche work in the first movement of No. 46 ) is often viewed as a counterpart or sister plant to the Symphony No. 45 because of similarities.
About the Music
Instrumentation: two oboes, two horns, two violins, viola, cello, double bass. (If the orchestra is available) the harpsichord were to reinforce the bass voice then also without separate listing bassoon and harpsichord used, but probably not at the court of Esterházy. The Haydn Festival Eisenstadt write this: " Haydn sat, most likely, except in London, for its symphonies no key instrument. This view, which differs from previous opinions, is widely recognized today among musicologists. "
Performance time: approximately 20 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: Vivace
B major, 4/4-time, 151 cycles
The movement begins with a signal-like motif in the Forte - unison, consisting of sixth and third upwards downwards ( " signal design", motif A; structurally similar beginning in the first movement of Symphony No. 44). After a pause, the piano response of the strings (Motif B) connects to. The topic is repeatedly varied, the signal motif occurs in a counter-movement, the string response is extended by up and down movement to a total of six bars and without a break in the transition (cycle 12-21 ) ushers. Here Haydn modulated with an ascending motif in the strings (Motif C) and syncopated interjections of the winds from the tonic to the dominant B major F sharp major. At the end, he attacks the string response from the beginning of a sentence ( subject B) again.
In the second, turn motif -like theme (bar 22 ff ) plays the first violin in the beginning the ( shortened ) inversion of the signal motif of the first theme, accompanied only by an against vote -like staccato quaver figure of the second violin, and then answered their " question " even with an analogy, formulated " answer." in forte tutti now follows the Fort spin drying of thought that goes into clock 31 in the circuit group type eighth run with a characteristic half-step (motif D). Unexpectedly, however, then sets at bar 36, a fortissimo outburst of motif C in F sharp minor one, underlain with syncope. From bar 42 of the outbreak with a string buzzing sounds off again, which with its quiet movement in half notes (motif E) is somewhat reminiscent of the signal motif. With further start on motif D can then close ( dominant) exposure with motif C in the "right " key of F sharp major.
In the implementation of the signal motif, motif C and motif E be processed. First, the strings play the signal motif with recessed use in stretto. In bar 70 is a sham, a reprise of the signal motif in the tonic B major, but then from bar follows the 76 motif C in F-sharp minor with syncope in the second violin. As in the exposition, the movement then comes through motif E to rest. After octave leaps of the two violins this swap their role: from 99 clock plays the second violin motif E, the first violin accompanying the eighth figure.
The recapitulation sets in measure 105 with the signal motif on a H. It has several enforcement, like elements, such as the signal motif is stretto in the repetition of the first theme again and opens directly into the passage with motif D, followed by the fortissimo outburst with motif C in B minor. The second theme is missing. Exposure and development and recapitulation are repeated.
Second movement: Poco Adagio
B Minor, 6/8-measure, 66 bars, violins with dampers
As in other slow movements of Haydn's Symphony this time, the violins play with damper. The strings begin the sentence with a plaintive melody, which is in taktweisem change with continued spinning staccato semiquavers (first issue ). In the third variant, the sixteenth-note figure is elongated and ends in a radiant, rising subject in D major - Tutti ( second issue ), under which continues the sixteenth motion and then emerges dominant again in unison to the conclusion in D major ( Tonikaparallele ) to lead. After two cycles with wider terms, plaintively - sanglicher legato movement follows a hocket passage that goes back into the action movement, now in energetic forte unison. The semiquaver movement runs then until the end of exposure, at the end as staccato movement in the bass.
The middle part ( implementation ) begins as a variant of the first theme and then spins this as a continuous modulating ausholende legato movement, underlain by the contrasting movement from the hocket passage. The recapitulation (bars 39 ff ) varies the second theme, which is now the second violin with sequenced downward movement is voiced leader, and also the circuit group -like action figure is enlarged compared to the exposure. The sentence fades away in pianissimo.
Third set: Menuet. Allegretto
B major, 3/4-time, with Trio 54 cycles
The minuet is characterized by the alternation of ganztaktigen notes and eighth chains with " sigh -like " Sekundschritten in stepped motion. In the first part ( forte) mark the ganztaktigen notes alternating with the rising eighth chains the ( ascending ) B major - triad, viola and bass accompany in uniform neighborhoods. The final turn leads to the dominant F-sharp major. The second part is spinning from F sharp major continuing the material as ausholende legato movement of the first violin. After six cycles Haydn returns to the piano where the strings take up the opening theme - now, however, with the eighth chains downwards instead of upwards - and lead back to the tonic H ( " ersterbendes drop "). This phrase is then repeated by the whole orchestra forte. The character of the minuet is judged differently: Antony Hodgson called the minuet as " warm", " handsome " and " incredibly sad ", by Howard Chandler Robbins Landon, the set is graceful and graceful, while according to Walter Lessing the minuet " old-fashioned comfort breathes ( ... ). "
For the accompaniment of the bass in the minuet, the remote motion on the last two quarters is characteristic for the ganztaktigen notes of the upper voices, which recurs in a trio with his atmospheric tone in B minor: Both violins play a slow, solemn melody, the sound around the D circles, accompanied by the already existing in the minuet bass figure. The first part of the trio is repeated not note exactly, but with the change that the melody is ( now Viola parallel to the 2nd violin) divided between the two leading vote violins. This is done by a characteristic dissonance is created by adding each kicking a new sound or leaving them. In the second section, the fan still come to the oboes in thirds to pick up the worn main melody while bassoon and viola enhance the remote bass movement.
Fourth sentence: Presto e Scherzando
B major, 2/2-Takt ( Alla breve ), 214 cycles
The set begins with his dance theme that is first played by the violins, piano, from bar 8 occur in the down- shifted variant, bass and brass concomitantly added. The theme is then taken up again, but ends on energetic unison half -circuit -like on the dominant Fis. Well Haydn sets instead of the regularly expected second theme in F sharp major with a further variant of the main theme in F sharp minor one (similar to Vivace ) and then sequenced at the Forte with the Tonrepetitions motif from Topic to C-sharp major, where the head of theme is emphasized again in the vote leading oboe.
Then ( bar 49 ff ), first grab the violins (without other accompaniment, piano ), and then the bass ( with tutti forte) the " sequence " motif again. At the end of exposure Haydn takes the instruments gradually, until finally only the first violin, which hangs in their repetitions, is left, and the orchestra finally struck dumb ( two measures general pause ).
The implementation is limited initially to the processing of the head from the main topic: After the aborted launch of the theme to display it is repeated in a different form, but now only by the strings until then from bar 83 again only the violins are left. Here also falling in line falling on half notes as a voting member passing, 35 ff was the first time already during the sequence group of stroke occurred and is now newly spun out. The recapitulation (bars 104 ff ) is the main theme directly into the sequence of passage. After a ten -measure pedal point on the FIS and a new general pause the action breaks off abruptly.
To clock 181 Now there is a section in the 3/4-time, the " istesso pace the minuet L' " is overwritten with and a section of the second part of the minuet is (from its " Reprise" ). Then the head is taken up again by the main theme in the original tempo, but the movement will hang right back into repetitions of the main subject, and how the end of the exposition ultimately is only the first violin left, and then the orchestra again struck dumb ( two measures general pause ).
As in the Echo then sets pianissimo over a pedal point on zehntaktigen H again the theme, this time with a closing phrase. Two powerful chords ( dominant - tonic) fortissimo finish the sentence.
The insertion of the minuet may be interpreted as a counterpart to the final Adagio of Symphony No. 45, but Haydn's specific intent is not known. Perhaps it is unusual for the two final movements of symphonies No. 45 and 46 to " an ironic conclusion of the symphonic experiments to 1772 ."