Symphony No. 5 (Haydn)

The Symphony in A major Hoboken directory I: 5 Joseph Haydn composed around 1760/61 during his period of employment with Count Morzin. Contrary to the usual form of the work begins with the slow movement. In sentence 2 and 3, the horns have demanding solo passages. The final movement is exceptionally short.

General

The symphony Hoboken directory I: 5 Joseph Haydn composed by 1761/61 during his period of employment with Count Morzin.

The block sequence is slow - fast - dance movement ( Minuet ) - fast depends on that of the late Baroque church sonata and is under Haydn's symphonies at No. 11, No. 18, No. 21, No. 22, No. 34 and No. 49 represented. In contrast to the four-movement church sonata is the third no slow movement, but a Minuet ( Symphony No. 18 is only three movements ), and the typical for the fast movements of the church sonatas approaches to polyphony or to the joint missing the corresponding movements of the symphony No.. 5 in accordance to the church sonata, however, all records are kept in the same key in these symphonies.

The horns play the Adagio and the trio of the minuet as a soloist and challenging passages in some high position. The Symphonies Nos. 5 and 11 are highlighted under Haydn's earliest symphonies:

"The two symphonies 5 and 11 differ from those of the Italian type fundamentally: they seem far more personal, conflictual and emotionally deep lote Direction (...). Even the opening two sets, Adagio ma non troppo ( Symphony 5) and Adagio cantabile ( Symphony 11 ) will be overwritten and thus the first truly slow movements of Haydn's symphonic work, the middle movements of the other early symphonies exceed noticeably emotional expression. "

" The fact that some of his early symphonies - such as the No. 5 and No. 11 - seem more elaborate than others, could have its cause in the fact that Haydn symphonies for this may have had more time to compose. "

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 15 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 1760/61 work. - Note that this breakdown of rates is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

First movement: Adagio, ma non troppo

A major, 2/4-cycle, 82 cycles

Haydn symphony begins with a six-bar theme in the strings, which is characterized by trills and dotted rhythms. Reply to this " simple, clearly structured, song-like melody " the solo horns with its three-bar, demanding to be played signal-like figure, then strings and horns - initiated by the head motif of the subject - start a dialogue. After extended to four bars Horn solo begins in measure 20 in the dominant E major a new motif, again with trills and dotted rhythms, and with Forte - piano contrast. Final section from bar 26 engages the issues head of the block start up again, just as the Forte - piano contrast.

In the beginning, the middle part ( " implementation ", measure 31 to 53) play the violins mixed motives of the topic. A minor turbidity from bar 42 then stresses the Forte - piano contrasts that now appear by owning particularly rugged (eg clock 44: ais - derivative on F sharp major - chord ).

In the recapitulation, the horns are the same even when it comes to vocal leader, and the first horn solo is extended. The further course is changed from the exposure: a dialogue on the subjects head in the violins ( from bar 65) follows a forte - piano motif further, and at the end of the sentence occurs, the horn solo from the beginning again on. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Due to the rather serious mood and the solo figures for the horns, the Adagio is similar to the slow opening movement of Symphony No. 21 of 1764, which is in A major, also. There, however, the oboes take over the solo parts (for more see the similarities Presto).

Second movement: Allegro

A major, 3/4-time, 134 cycles

The main theme of this energetic set with " relentlessly forward driving music " represents the whole orchestra, first of all in unison. It opens with an octave leap up and " subsequent triad crashes sharpest conciseness " with characterizing sixteenth - opener. A twist in unison staccato quavers completed the eight-bar theme. However, the thematic material ( octave jump and kick ) also characterizes the further course of the movement: As follows from measure 9 of the subjects head in the bass over Sykopen and running figures in the violins. From bar 19 of the subjects head occurs in the first violin, backed by tremolo surfaces that dominate at measure 22. The topic header is similar to the beginning of a symphony in A major by Leopold Hofmann.

The following piano passage with contrasting phrases just for the two violins, which is initiated by the Oktavsprungmotiv, established the dominant E major. Following a dialogue between low and high strings ( the lower strings while grab one of the last phrases on ) is the final section, a, again with tremolo, an energetic unison figure in eighths (similar clock 8) and the octave jump.

The development begins with the processing of the subjects head ( octave leap ) in the first violin, backed by scale runs upward and the octave jump ( now down) the second violin. From bar 62, the violins play in the transition to the Oktavmotiv with tremolo, until finally the bass takes over the vocal line. In bar 70, Haydn achieved by change of key F sharp minor, in the now present the strings a short piano passage with a new, free continuing spun melody of the first violin. The dialogue between low and high strings similar to clock 74 exposure leads to the recapitulation.

This is similar to the exposure structured, but the beginning is remarkably changed: To a pedal point on A play first violin and bass to a quarter note added to the main theme. Both parts of sentences (exposition and development and recapitulation ) are repeated.

" The highlight of this symphony is undoubtedly the 2nd set: a forward- storming, fiery Allego whose dramatic breath reminds a bit of Mozart. Unusually zurklüftete the main theme with its sharp 16th upbeats, which is initially preceded in unison by baroque Concertoart. "

"The two standing second allegro movements of these symphonies are absolutely unprecedented in its impetuous vehemence and succinct, concise shaping in the early Haydn's symphonic. (...) As expected not much different with this unusual set, the recapitulation begins not " correct", but performs the theme in the basses, which are canonically imitated at a distance of a quarter of the first violins, leading to a significant strengthening of the effect leads. "

Third movement: Minuet

A major, 3/4-time, with Trio 52 cycles

The main idea of the minuet is its question-answer turn with forte - piano - in contrasts. In the following, energetic eight-bar rhythm is interspersed with triplets. At the beginning of the second part the relaxation is enhanced by the triple rhythm of triplets in the 1st violin alternates with the "normal" two - rhythm of eighth notes ( two eighth notes per quarter ) in the other strings. When revisiting the main idea of " energetic " section is reduced to six cycles.

In the trio ( also A - flat major ), which " strikes a bucolic tone " to change horns and oboes with solo passages that accompany the strings. The horns start with a four-stroke engine, the ascending triad turn leads to the two-lined A, after which the oboes respond with an enriched through triplets four-stroke. At the beginning of the second part the oboes result in a further four-stroke continues its melody to the horns again resume their four-strokes from the beginning of a sentence. The rest of the trio play both instruments in dialogue or jointly.

Fourth sentence: Presto

A major, 4/4-time ( alla breve ), 59 cycles

The main theme will be carried out by the two violins piano and consists of a falling line of the 1st violin that works on the accompanying vote against the second violin. After a short Forte of the entire orchestra of this topic is varied repeats, followed by a re- Forte - block with runs and tremolo in the dominant E major. The final section takes up the main theme: falling line in first oboe and first violin, plus a dissenting vote in second oboe and second violin, accompanied by the low strings. Similarly structured is the beginning of Schlussatzes Symphony No. 21, which is also in A major and a similar set of sequence has (starting with an Adagio ).

The middle part starts from the dominant E major from the extended to six bars variant of the main theme, then the falling line is repeated again dissolved into tremolo of the violins. The recapitulation is then reached again early in cycle 44. This is verkürtzt opposite of exposure: On the main topic of the passage according to Forte clock 16 and the modified final group with a running figure unscrewing itself already follows. Both parts of sentences (exposition and development and recapitulation ) are repeated.

" [ Presto ] also differs in character from the divertimento last dance, as he usually in the early symphonies at this point mostly met. This extremely scarce, only 59 cycles comprehensive Presto 's a real little symphony "Finale ", a guide to the future, as Robbins Landon calls it: so, only broader and richer developed, the language of the future great finales of Haydn is loud ( ... ). "

References, notes

Web links, notes

• Recordings and information about the Symphony No. 5 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• [ Wolfgang Marggraf: Haydn's earliest symphonies ( 1759-1761 ). The symphonies of "Sonata da chiesa " type. http://www.haydn-sinfonien.de/text/chapter2.2.html, call January 30, 2013 ]
• Joseph Haydn: Symphony no. 5 A major.. Philharmonia Volume No. 705, Vienna 1965 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 5 by Joseph Haydn: notes and audio files in the International Music Score Library Project.