Symphony No. 52 (Haydn)

The Symphony in C minor, Hoboken directory I: 52 Joseph Haydn composed around 1771 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 52, whose autograph is not received, Haydn composed in 1771 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

" [ The Symphony presents ] homophones and contrapuntal drama over [ ... ]; the appreciation of the finale and its distinction from the first movement through the counterpoint builds a bridge to the joint - finals in the arose a year later string quartets op 20 "

" The Symphony No. 52 is an exceptional work whose expressive intensity at times the " Farewell Symphony " equals. "

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. In some later sources a Obligatstimme is provided for the bassoon. Another special feature of the symphony is the constant change between horns in C alto and bass Location: In the first and last movements, both in C minor with longer passages in E flat major, plays the 1st horn with a voting sheet in C ( alto ), the 2nd horn in; play ( with Trio in E flat major ) both horns in C ( bass range ) whereas in the C-major Andante and the Minuet in C minor.

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 1771 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 assai con brio

C minor, 4/4-time, 163 cycles

The sentence is " by rugged opposites [ ... ] coined -skip, rhythmic contrasts and string tremolos ." The first asymmetrically structured, theme with dark and impetuous character consists of a distinguished unison phrase in staccato and a " postscript " voting with leading first violin. The Unison head of the subject is repeated as a variant in the piano and legato (instead of staccato ) and flows seamlessly into the forte passage from bar 14 over. Due to the continuous quaver movement in viola and bass created here a continuously striding advance pulse. The passage is composed of three motifs ( constituents) built: Picture 1 with scale running up and tone repetition ( " scale motif" ), motif 2 with upward intervals in ganztaktigen notes ( " interval design": two fourths and a seventh) and a descending tremolo sound surface fortissimo.

The second theme ( from bar 34, Tonikaparallele E flat major ) is kept only for strings in the piano and contrasted by more quiet character strongly to the previous stormy events. Characteristic are the repeated notes in dotted rhythm and the broken of breaks movement. Unexpectedly stops after five cycles the whole orchestra with another Forte block in, based on a variant of the scale motif. In wider terms gesture the first violin alone leads to a further appearance of the second theme in E flat major turn. Its second half is no longer " broken ", instead it is as " almost recitative-like resolution " in the extended hesitant gesture. The final group consists of an ascending, rhythmic triad motif.

The development begins in contrasting change from the head of the second theme (piano ) and the interval motif ( forte, now as an interval steps down and the seventh starting ). The interval motif is then taken up by the bass. This is followed by performances by the heads of the first theme in F minor ( from bar 82 ) and from the second theme in A flat major ( from bar 92). It include more strong contrasts to: variant of scale motif ( forte), chromatic upward sequencing of the head of the second theme (piano, strings only), scale motif ( forte).

The recapitulation is changed from the exposure: The first topic is not repeated. The transition to the second theme is changed, it lacks scale and interval motif. The second appearance of the second theme is the retarding " recitative " prolonged and the delay effect is more pronounced: the music is getting slower and comes in Panissimo stop before the final group brings the movement in the energetic Forte to an end. The slowdown is a auskomponiertes ritardando, an effect that Haydn used here for the first time in a symphony. Exposure and development and recapitulation are repeated.

Second movement: Andante

C major, 3/8-time, 197 cycles

The first issue of " long-range " Andante gets his move from Legato and Staccato and his rhythm a dance character, but looks after the dramatic first movement almost rather bland. The violins play (as well as in other slow movements of Haydn's symphonies that time) with damper. It is essential for the topic and the whole further set the upbeat Zweiunddreißigstelfigur from measure 3 The theme consists of three parts: the main melody ( bar 1 to 6), the continued leading center part ( clock 6 to 16 ) and the final twist that shortens the main melody picks up.

The transition to the second theme begins as Forte block the whole orchestra in measure 21 and provides the upbeat figure from the first issue out as energetic Unisonobewegung. Note the dynamic contrasts between forte and piano with twice suddenly hereinbrechendem, " fremdartigem " There, the subsequent emphasis on unstressed clock time and the use of chromaticism. Another forte passage that is formed from the opening motif, leads to the second theme.

The second "theme" ( from bar 42, the dominant G major) as the first played by the strings. With its tone repetition and the kick-off figure, it is related to the first theme, contrasting with this barely. In the second issue falls on the use of chromatically falling lines. Final section from bar 70 brings another variant of the material from the first theme.

The implementation goes after the appearance of the first theme in the dominant G major in a longer, moving forte passage about where the opening figure in unison ( as in measure 21 ) with parallel guide in the violins (similar from cycle 38) alternates. The second theme established then piano for a few cycles the Tonikaparallele a minor. Its chromatic line down is now a bit more extensive than in the exposition.

The recapitulation is similar to the exposure created, but the winds are involved with the first theme, the central part of the theme is extended, but skipped the third part. Exposure and development and recapitulation are repeated.

Third movement: Menuetto. Allegretto

C minor, 3/4-time, with Trio 60 cycles

The minuet with his " gloomy oppressive " to " leaden " atmosphere is characterized by the use of chromaticism, unusual intervals ( diminished fourth, minor third, augmented second ), the sigh -like semitone and the change from forte and piano. The set is mainly applied in two voices with guided parallel upper voices on the one hand ( oboes, violins) and lower voices on the other hand (viola, bass). Through the many upbeats the dance character of the minuet fades into the background, the Menuettcharakter is " strange unstable ". Despite the prevalence of piano practicing the minuet " an unpleasant compulsion. "

The trio contrasted by the key of C major, the solo oboe and the overall friendly nature of a minuet. The opening motif is a variant of the beginning of the minuet. The already existing in the minuet half steps with emphasis on the unaccented actually the third quarter of the clock will now embark on vigorous repetition dominant in appearance.

Fourth sentence: Presto

C minor, 4/4-time ( alla breve ), 188 cycles

The first theme will be carried out by the violins and bass piano. It is reminiscent of the beginning of a fugue: The first violin begins, accompanied only by the second violin as a counterpoint. In bar 13 repeat both violins in parallel guiding the theme an octave lower, while the bass plays the previous counterpoint. The second half of subjects is somewhat varied. With its semitones and the syncope recalls the theme of the minuet. Without break and continue in the piano follows from bar 30 the second theme in E flat major with voice leading in the first violin, while the remaining strings accompany ( now with viola). The theme consists of two four-bar halves. Each half is repeated as a decorated variant.

Only in measure 46 is the whole orchestra as a stormy Forte block with continuous eighth chains and tremolo in the violins. This dramatic outbreak continues to the end of exposure, at the end with large interval jumps.

The performance begins with the complete second theme in A flat major and then processed from bar 93 the first theme, including the counterpoint. Surprisingly, Haydn has a pianissimo passage with the first theme in C minor on, adjoined by then, however, more detailed work ( from bar 101 ), which can also be heard as the beginning of the recapitulation. From bar 130 follows the long turbulent Forte - section of the exposition as a variant. It ends on a dissonant chord, where the music breaks into a broad general pause. Only after the second theme in the tonic key is " later". This structure arrangement of the recapitulation Admission is veiled: the set half "is a stunning example of a fused development and recapitulation ."

Also the end of the block codaartige Haydn made ​​unusual: After energetic chords, " which culminate in a shocking, Styles ' clock " to finish the rapid eighth chains from the previous Forte block - now fortissimo - the sentence.

After Walter Lessing met " a peculiar, almost sullen restlessness [ ... ] this final, soon mysteriously oppressive [ ... ], sometimes in violent, startling Forte outbreaks ". Howard Chandler Robbins Landon called the sentence a " grim tour-de -force " and the " grandfather of Ludwig van Beethoven's Symphony No. 5 ." Peter Brown on the other hand feels the outer movements of the Symphony No. 44 as successful.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 52 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 52 in C minor. No Philharmonia. 752, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Joseph Haydn: Symphony no. 52 in C minor. Ernst Eulenburg -Verlag No. 565, London / Zurich ( pocket score )
• 52 Symphony ( Haydn ): notes and audio files in the International Music Score Library Project.