Symphony No. 51 (Haydn)

The Symphony in B flat major, Hoboken directory I: 51 by Joseph Haydn composed in 1773 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The symphony has a noticeable unusually difficult horn parts and the two trios in the minuet.

General

The Symphony No. 51, whose autograph is not received, Haydn composed in 1773 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

"The whole symphony carries a variety of interesting details and excellent ideas (...), especially in the first movement, with its striking accumulation dynamic character, his love of sharp contrasts. "

The horn solos for the horns in the second set and in the second trio of the minuet place high demands on the horn players.

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 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 composed around 1773 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: Vivace

B flat major, 3/4-time, 209 cycles

The first theme consists of three parts, the dynamics decreases more and more: First, the whole orchestra forte unison sets with a distinguished, rhythmically incisive character whose closing, energetic dominant-tonic - cadence reminiscent of the end of sentences or parts of sentences. Then the strings play piano a contrasting "soft, gentle Cantilene " falling in line, followed by the " mysterious" deep Terzschritt downstream of the second horn and the strings pianissimo ( " Terzmotiv "). The third does not end on the tonic B, but " open" on the dominant D. The thematic complex is then repeated with the second part is decorated and the Terzmotiv leads seamlessly to the following dramatic block. This is consistently fortissimo and begins in G minor. The section processed first in the vote leading the first violin figure with dotted rhythm from the first part of the topic, while the other instruments with sustained notes (Winds ) and tremolo accompany (other strings). From bar 38 the downward sequencing follows a scale motif in the voting continue leading first violin, while the bass a border counter-movement upwards on the other hand sets.

The second theme ( from bar 53) with calmer character consists of two four-bar phrases. In one phrase only the violins play in the dialogue, with the interval of the third down (from the end of the first theme ) plays an important role. In phrase 2, the remaining strings with a vote. The second theme is repeated and also Phrase 2 is varied as a first tentative, then more vigorous expansion with " extreme eccentricities " ( accents on the unstressed cycle times). In the final section ( from bar 70) Haydn used another special effect: It appears first five bars long with the dominant of F major, the same harmony in repeated notes, as if the music threatens to stop. At the same time the note values ​​are getting longer: from sixteenths to eighths through neighborhoods to ganztaktigen notes. These Haydn clock in a 72 " calando " written (slowing down the tempo and withdrawal of the dynamics). " That provision therefore he underlines the in music, so to speak already fully composed process of Ritardierens. " On descending F major triad of the oboe ends the exposure.

The implementation does not begin as usual with the first theme in the dominant at, but also takes the descending triad at the end of the exposure, which is guided through different keys (D - flat major, G minor, E-flat major ) and instruments. Also, delays appear again, first in the form of descending triads, shortly thereafter as a tone repetition. In bar 108 then sets the first theme in the subdominant an E-flat major, the second part with his " chromatically colored harmonies suddenly something mysterious, puzzling wins" before Haydn from bar 125, the scale motif sequenced down.

The recapitulation beginning has obscured Haydn: The appearance of the second theme as a variant in G minor is interrupted by a chromatic, leading to the tonic B flat major passage. "As if just nothing unusual was going to happen ," begins the second part of the first subject, and the listener is clear that "one is in the middle of the recapitulation. " Now on the Terzmotiv follows the first theme part as a variant with " downright gruff chord strumming ( n ) ", in which the figure with the dotted rhythm dominates up to sechtaktigen Unisonopassage. The rest of the recapitulation (passage with sequenziertem scale motif, second theme, finishing group) have a similar structure of exposure. Exposure and development and recapitulation are repeated.

Second movement: Adagio

E-flat major, 2/4-cycle, 93 cycles

In the Adagio the solo horns and oboes occur over a placid border, bottoming string accompaniment ( violins muted ), the solos for the horns are challenging to play: The starting 1st horn into his eight-bar theme the voice of " sky high " to two-lined ace. Then answer the 2.Horn as a sequence of four ganztaktigen notes in extreme low register to the dominant matic double -B. Now joined by the first oboe to - again, in a high position.

"The immediate juxtaposition of these extreme positions seems so unusual, almost curious that forces itself upon the suspicion that Haydn had here again some humor in mind had. Maybe there should be a special surprise for Prince Nikolaus be? Did Haydn might put his horn players to the test? Or was it simply the pleasure once to dare such an experiment? Whatever may have been the occasion: the musicians in Haydn's chapel, who were able to play such games, must have been excellent rounder already. "

In the subsequent passage of the strings with triplets in the violins the final group that the triplets as knocking tone repetition forte continues (initially effective only in the horn ) with characteristic dissonances and echo -like repetition in the piano. Follows

The development begins with new solos only for the first oboe, then repeating for both horns. A " long, sinnierende Passage" with continuous triplet of violins leads to the recapitulation. Shortly before admission recapitulation Haydn has a movement and volume back participating " calando " ( as in the previous Vivace ) prescribed.

The recapitulation is changed from the exposure: The 2nd horn picks at the end of the first horn solo to the triplet, which is then continued in the change of tone repetition and continuous motion in the 2nd horn and the strings. The deep solo from the 2nd horn follows until bar 78, the horn reached now under the triplet accompaniment in the strings and oboes even the contra -A. With the delay of a clock Triolenpassage and the final group of the movement ends. Both parts of sentences (exposition and development and recapitulation ) are repeated.

Third movement: Menuetto

B flat major, 3/4-time, with Trio 56 cycles

The minuet is characterized by its main motif of four times knocking tone repetition in quarters with attached sixteenth Verzierungsfloksel. Both parts of the minuet are achttaktig. Viola and bass playing in any part of four repetitions of the same two-bar motif in different stages. In a Esterházy votes this collection is encoded as " mystery notation " stated: It is always the same motive listed in the same position, the "right" situation results from the pre- recorded key. At the end of the second part, the 1st horn achieved with the two-lined B again a high voice.

The minuet is preserved in most sources with two trios, however, contains the only source of the Esterházy archives (which is however not authentic ) only the second trio. The presence of two trios of Haydn 's symphonic oeuvre is unique.

Both trios differ in their shape ( Trio 1 from 8 8 bars, Trio 2 of 8 16 bars ) and instrumentation ( 1 Trio for Strings Trio 2 with horns ). As a trio, one of the Lombard rhythm frequently used striking trio 2 ( the rhythmic final turn of Trio 1 used in the first part) - as in the Adagio - the very demanding solos for the horns: The 1st horn rises up to the two-lined B up. This is the highest sound that was ever written up to that point for horn. The second horn needs to measure up to the big F in the wide range of virtuoso triplet two-lined D. In clock

Fourth movement: Allegro

B flat major, 2/4-cycle, 114 cycles

The set is a mix of Rondo and variation rate represents ( "Variation Rondo " chorus with couplets, the chorus is but itself varies ). All parts are constructed in two parts - symmetric 2x8 from bars, each eight-bar is repeated.

• Presentation of the choruses in the strings (B- flat major, piano, bar 1 to 16).
• Variation 1 of the chorus with wind accompaniment (B- flat major, forte, measure 17 to 32)
• Couplet with 1 " slightly tinted painful melody " in first oboe and second violin ( E-flat major, piano, measure 33 to 48).
• Repetition of the chorus with brass accents on participation and unstressed cycle times in the third four-stroke (B- flat major, bar 49 to 64).
• Couplet 2 for participation with brass ( G minor, fortissimo, cycle 65 to 80 ). Antony Hodgson lifts the " omitted - bubbling effect" produced.
• Variation 2 choruses with dominant winds or dialog of brass and strings ( " reduction to a schlager -stick simple core ", B- flat major, clock 81-96 )
• Coda with Bläserfanfare and tremolo ( " splendid tutti fanfare ," bar 97 to 114 in B flat major, predominantly forte, pianissimo at the end of contrast - fortissimo ).

References, notes

Web links, notes

• Recordings and information for the 51st Symphony Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 51 in B flat major. No Philharmonia. 751, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Joseph Haydn: Symphony no. 51 in B flat major. Ernst Eulenburg -Verlag No. 585, London / Zurich ( pocket score ).
• Symphony No. 51 by Joseph Haydn: notes and audio files in the International Music Score Library Project.