Symphony No. 57 (Haydn)

The Symphony in D major Hoboken directory I: 57 Joseph Haydn composed in 1774 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The autograph of the Symphony No. 57 is dated from 1774. Haydn was at this time Kapellmeister to Prince Nikolaus Esterházy.

To a published the publisher Le Duc score of the Symphony No. 57, in which lacked the minuet and the second movement of Symphony No. 60 was printed instead of the Adagio, Haydn remarked snidely, " he could hardly conceive how he as a could send botched and distorted piece of work, you want to take it back, because he was ashamed to put such work under his music. "

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 copies there is a ( in Autograph not included ) Timpani Part, the authenticity of which is unclear.

Performance time: approximately 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 transmitted from hence composed only with restrictions on a 1774 work. - 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: Adagio - Allegro

Adario: D, 3/4-time, clock 1-31

In the Adagio is the longest introduction that Haydn had composed up to that point for its symphonies. It starts with a contrasting, four-bar phrase of three separated by pauses staccato quavers with proposal and Forte - Provision of the entire orchestra ( tutti ), followed by an eight-bar piano phrase in the strings with quiet -bound movement. Phrase 1 is repeated phrase 2 is a variant, then goes but as a variant of phrase 1 with dynamic contrasts of forte and piano on. The operatic - rhetorical, ausholende unison figure in measure 25/26 leads to the dominant A major, where the introduction fades as fermata.

Compared with the introductions of the resultant in the same period Symphonies No. 50 and No. 54, the No. 57 is for a significantly longer kept restrained on the other to measure 25. You " is not limited as in those two symphonies only on the role of a festive and pompous opening, but gains a dimension of its own, a novel differentiation in a harmonious way, through rich use of pauses and frequent dynamic contrasts. "

Allegro ( in the autograph without a block name): D Major, 4/4-time, clock 32-231

The Allegro is generally through its almost continuously moving quaver movement, which is reminiscent of a perpetuum mobile and its relatively clear structure separable from each other by clear, repeated motifs identified. Furthermore, the sentence in particular the exposure to falls by its length (similar to the Symphony No. 42).

The first theme ( main theme ) is constructed from three motifs: motif 1 with ausgehaltenem Forte chord and by pauses separate, auftaktiger staccato figure down (reminiscent of Phrase 1 of the Introduction). Motif 1 is two-stroke and forms through varied repetition a four-bar unit. Scene 2 with triple knocking tone repetition in neighborhoods and with upbeat ( also reminiscent of Phrase 1 of the Introduction), however, is eintaktig, but is also assembled by varied repetition of four-bar unit. This four-strokes of motif 2 is repeated, but goes to three bars in " design" 3 above, in which the violins so far in the bass running through eighth pick up movement in the staccato. This 16taktige topic can now complete Haydn piano repeat (cycle 48 to 62 ), but changes in the repetition of subject 2 for Forte.

It immediately follows the second theme for violins and oboes alone in the dominant A major ( from bar 64), which is related to the first: violins and oboes vary Scene 1 of the first theme by the interrupted by pauses Staccatobewegung now flowing and legato is designed. In bar 70 tutti forte is back with a chromatic bass ascending line in whole notes, while the eighth movement continues in the violins. Shortly thereafter, the quaver movement intermittently jumps between upper and lower voices, then dominated several cycles and finally reaches another variant of motif 1 in the double dominant E major on ( decorating the sustained Akkordtons eighth- phrase, remote Staccatofigur now in quarters ). With two ganztaktigen notes of the strings, which act ruhepolartig in the previously continuous quaver movement, Haydn cadences back to A major. From here the strings stripes in ascending dialogue from a quaver movement with derivative action figure ( Scene 4 ) short-term again D, A and E major and then commute to another eighth motif with again three times Tonreletition ( Scene 5) between A and E major. Final section from bar 105 (A major) in Forte repeated response motif question her, the " question " is resolved into triplets. At the end of the continuous quaver movement occurs for the first time on the energetic unison.

The implementation starts with motif 1 in F sharp and then processes the Tonrepetitionsfigur of motif 5 and motif 1 as another variant (Staccato chain now as detached quaver movement with thirds and fourths ) in the dynamically contrasting alternating with unison passages from eighth - Staccatoketten ( as at the end the final group). The unison eighth chains eventually result in clock 160 to motif 2, the fixed running in repeats and on the A Major - seventh announces the recapitulation.

The recapitulation ( from bar 169) is shorter than the exposition: the repetition of the first theme is limited to eight bars, and the passage between the following two appearances of motif 1 (the first in D major, the second in A Major ) is greatly reduced. The remaining sequence corresponds structurally to the exposure. Exposure and development and recapitulation are repeated.

Second movement: Adagio

G Major, 6/8-measure, 68 cycles

The Adagio is constructed as a set of variations with theme and four variations. The theme and variations 1-2 consist of two repeated Sechstaktern. Each variation ends with the pizzicato opening figure of the topic.

• The theme ( bars 1 to 12) is presented by the strings, piano, the violins play (as well as in the other slow movements of Haydn's symphonies that time) with damper. The first part of the theme alternates between three contrasting motifs: (1 ) a brief, interrupted by pauses three-note figure in pizzicato, (2 ) a brief legato phrase, and (3 ) a longer, more singable line of the 1st violin up under " mumbling " Zweiundreißigstel accompaniment of the second violin (bass pizzicato continue the rhythm of motif 1). The second part repeated motif 1 and 2 as a variant, then brings " a three-bar sequenced development " of motif 2, and concludes with motif 1
• Variation 1 ( bars 13 to 24) with the participation of wind and dynamic contrasts, the second part is mostly legato.
• Variation 2 ( measure 25 to 36): theme (played legato) in triplets resolved, Strings dominate.
• Variation 3 ( measure 37 to 51): Theme in ausholende sixteenth and thirty-second movement ( legato ) dissolved strings only.
• Variation 4 (cycle 52-68 ), with the participation of the winds, dynamic contrasts ( forte -piano ) and chromaticism.

" What all of this material in a relatively small space, is taken out variativ, is breathtaking; remains unchanged from the beginning only with the greatest effect, the pizzicato chorus. "

Third set: Menuet. Allegretto

D major, 3/4-time, with Trio 78 cycles

The main topic of lively minuet consists of a simple, interspersed with pauses quarter movement with large intervallic leaps and characteristic proposal figures for the third quarter beat. By emphasizing the clocks emphasis from horn and bass and fill out the second and third quarters of shock in the second violins, the minuet is reminiscent of a waltz in a rustic tone. The second part of the minuet is greatly extended it to him shall be the stress on the first clock time with accents continue ( the default figure is now configured as a mordant ). At the extended final phrase from Haydn clock 42 yet added a coda, which is initiated with the proposal figure as usual on the third quarter beat of the measure. Also the Tutti stressed as before the first quarter impact - but only every other clock and surprisingly enhanced by the proposal form also on the first quarter beat, which creates a special rhythmic effect. The minuet ends as an ascending triad.

Although the trio contrasted by the key of D minor, and the restriction on Strings, repeatedly though initially twice the ascending triad figure from the end of the minuet, so that the opening bars of the trio initially act as a reconciliation and thus whether the " actual" trio until fifth clock with reaching B. major would begin. The throbbing triad figure in the upper and lower voices dominate the other trio alternating with a bound quaver movement. - A similar motif linking minuet and trio is found in the short time before composed Symphony No. 50

Fourth sentence: Prestissimo

D major, 4/4-time, 135 units

The first theme with its rapid repeated notes in triplets and " proposed aufzuckenden like figures " shows similarities with the theme of the harpsichord piece " Kanzon and Cappricio about Henner and Hannergeschrey " by the Viennese court organist Alessandro Poglietti. The rest of the " whirlwind-like ", " Wanton " Prestissimos is like the first sentence determined by a continuous, perpetuum mobile -like pulse, here by eighth note triplets (similar to the final movement of also 1774 composed Symphony No. 56). The triplets occur partly as continuous unison chains, partly in hammering tone repetition and usually with abrupt dynamic changes on ( only at the two single quick succession occurring " peace poles" with ganztaktigen notes in bar 117/118 and 122/123 writes Haydn a " mancando " ( quieter ) ago). The beginning of the second theme ( from bar 21, the dominant A- flat major ) looks a bit sanglicher, but seems also here the " cackle " every now and again.

The implementation leads the cackling triplet motif in strong dynamic change through different keys, including minor turbidity and enrichment with dissonances. In the recapitulation at measure 84, the wind acting on the first topic in the repetition of Gackermotivs by ( noticeable especially the horns with their deep Liegeton ), and shortly before the second issue, there is another short minor burglary. The rest of the course is structured similarly to the exposure. Exposure and development and recapitulation are repeated.

" The technical demands that Haydn is that the strings here are considerable. You can even realize what high level the Esterházy chapel must have had at the time. "

References, notes

Web links, notes

• Recordings and information for the 57th Symphony by Haydn Project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 57 in D major. No Philharmonia. 757, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Joseph Haydn: Symphony no. 57 in D major. Ernst Eulenburg -Verlag No. 571, London / Zurich ( pocket score )
• Symphony No. 57 by Joseph Haydn: notes and audio files in the International Music Score Library Project.