Symphony No. 58 (Haydn)

The Symphony in F major, Hoboken directory I: 58 Joseph Haydn composed in 1767 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 58 Haydn composed probably in 1767, during his tenure as Kapellmeister to Prince Nikolaus Esterházy. Compared with the 1767 also composed Symphony No. 35 No. 58 is opposite structure:

" [ The Symphonies No. ] 58 in F Major and 35 in B flat major, one can understand (...) as an almost mirror-image pair of works: the F major symphony moves over from a cozy, in the implementation working with comic contrasts header a harmless Andante to a completely eccentric, the wildest contrasts in a confined space ausspielenden finals; between them is the famous " Menuet alla Zoppa " (...). The B- major symphony goes the opposite way of a highly dramatic already in the exposure head set on a melancholy Andante to a finale that strikes buffa - tones. "

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 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 work in 1767. - 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

F Major, 3/4-time, 145 cycles

The sentence beginning of the simply constructed, divertimento - up menuetthaften Allegro is unusual for a symphony of that time: The first theme is kept in restrained to dance character (as well as much of the rest of the sentence) and piano will be presented only by the strings (not as usual by the whole orchestra in Forte ). The four-bar antecedent based on triads (motif 1), in the six-bar consequent phrase of the bass plays a singable first turn in the scope of the sixth sun down under sounds of violins ( motif 2 ), the subjects imagination is terminated by a short cadenza figure. Immediately afterwards repeated the whole orchestra forte the subject triplets variant, then become independent and lead the triplets in bar 29 to the dominant of C major. Here comes motif 2 again, now in the upper voices ( " second theme "). After four cycles, first abruptly and forte followed by a descending line of the upper voices over the passing trio Lenke tablets in the bass ( Scene 3), then an ascending octave leaps in eighth notes ( Scene 4). The final Party reiterates its three-bar phrase with the trio Lenke tablets alternating between upper and lower voices (motif 5 ), and terminates the exposure with unison trio Lenke tablets in staccato.

The development begins with the antecedent of the first theme in C major, then processed key changes and characteristic, energetic forte tutti interjections of the head of the first theme. Add clock 39 forte is a variant of octave leaps of Motif 4, followed by the three-bar motif 5 and - surprisingly hinleitend with switching to piano and the recapitulation - the " second theme " ( Scene 2).

The recapitulation at measure 96 is similar to the exposure structured. However, the " second theme " is missing in his usual place, for it is his head in the coda from bar 137, which acts like a come to rest of the sentence in the Piano, " later". Exposure and development and recapitulation are repeated.

Second movement: Andante

B flat major, 2/4-cycle, 90 cycles

The singable record is kept only for strings and piano mostly. The violins play mostly parallel over long distances viola and bass, so that the Andante is a mostly two-part system.

The main theme (bars 1-9 ) falls on the first half by its dotted rhythm and the Ornament trill. The second half begins with the dotted rhythm, alternating between upper and lower voices, will continue to triplets (these are reminiscent of the previous Allegro). The topic header is then repeated, but swivels already after a few bars to the dominant F major, in the now dominate the triplets as descending triad arpeggios, tone repetition, ascending scales and staccato figures. The final group repeated their four-bar motif on ascending and descending triad arpeggios in triplets.

The execution brings the topic header initially the dominant, but then proceeds with the issues head back to the tonic B flat and slips from here to Tonikaparallelen G Minor. Then follow variations of the triplet motifs with the triad arpeggios and repeated notes from exposure, mostly held in a minor key. The second half of the development consists of Trio Lenke tablets in the dialogue of the upper and lower voices.

The recapitulation sets in measure 70 with the triplet triads according to clock 14 a ( the first theme is missing) and then follows the course of the exposure. Depending on your view you can also see a two-part structure in the sentence therefore. Exposure and development and recapitulation are repeated.

Third set: Menuet alla Zoppa. Un poco Allegretto

F Major, 3/4-time, with Trio 36 cycles

The Minuet "on limping sort of" away by the " consistently captured, strange rigidly acting dotted rhythm " in the vote leading oboes and violins far from the usual character of the (dance) minuet. The dotted rhythm alternating with " normal" quarters causes unaccustomed, limping shift of the clock priorities that give the impression that constantly alternate 3/4-time with 2/4-cycle.

The minuet is to be found including Trio ( there without horns ) in the baritone Trio in D major, Hoboken directory XI: 52 In the symphony, the contrast between minuet and trio is increased ( high or normal minuet, trio very low position ). It is unclear which version is the original. Possibly, the minuet an allusion to the "Musical Instrumental Calendar " is that, had published in 1748 Haydn's predecessor as Kapellmeister, Gregor Joseph Werner: In the calendar page for August, the fourth sentence is " the limping messenger".

The trio is like the minuet of two eight-bar parts. It contrasts with the key of F minor, the shadowy, sinister sound to me smaller surface energy of motion strongly to the minuet. The somewhat " Slavic " character reminiscent of the trio from the Symphonies No. 28 and No. 29 The first part is kept only for strings, while in the second part of the horns as long of sustained, " threatening " Liegeton accompany the sometimes dissonant with the harmonies in the strings sounds.

Fourth sentence: Presto

F Major, 3/8-time, 171 cycles

The Presto is similar to Haydn's earliest symphonies held by the 3/8-time and - similar to Minuet - with its unusual, eccentric rhythms and also characterized by abrupt dynamic contrasts. The main "theme" ( Scene 1 ) consists of a break interspersed staccato figure on continuous bass movement on F, with the gap on the first clock time is filled into the upper parts of the bass accompaniment with its octave leap. A rhthymische, aspiring figure ( Scene 2) leads to the dominant C major, where piano in measure 25, which in turn with lots of silence, chromatic motif 3 begins. After only four bars Haydn swings in the short term for Forte, but the pace will be enriched by yet triplets followed by two four-bar phrases of piano strings with unusual harmony sequence ( inter alia achievement of a minor). An operatic, energetic aufstrebernde unison gesture ( Scene 4) via motif 2 and a tremolo sound surface with the octave jump - bass figure of motif 1 (" tremolo Passage" ) to the final group, where motif 1 again as a variant occurs (including the echo liable piano repetition.

The implementation process Motif 2 and 3 in the abrupt change of forte and piano, from bar 88 Scene 2 is sequenced down and turns into a variant of the tremolo passage.

In the recapitulation ( from bar 107) the main theme is varied by changing the bass plays an octave higher and the deep, bottoming initial sound skips, but the upper voices play her a staccato tone in the first and third themes clock on the first ( and not, as previously on the second ) cycle time. The rest of the recapitulation is structurally similar to the exposure. Exposure and development and recapitulation are repeated.

" The presto finale is based entirely on an accented motif that is difficult to capture the ear; later, the eccentricity becomes dominant, with abrupt behavior and Neuanfangen, dynamic changes and chromatic harmonies. "

" The idiosyncratic, broken rhythm of the theme over the pounding bass figures, the insertion of small contrasting episodes that frequent dynamic changes, the surprising harmonic turns, with all the shows and Haydn, as he decided here from the template of his führeren 3/8-Finalsätze breaks out (...). "

" The fourth movement trumps the minuet even originality: it establishes the principle of the triplet ( " short-winded "three -eight time, in the manner of a Baroque gigue ) with that of the " limp " ( " after " striking melodic fragments ) together. "

References, notes

Web links, notes

• Recordings and information for the 58th Symphony by Haydn Project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 58 F major. No Philharmonia. 758, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 58 by Joseph Haydn: notes and audio files in the International Music Score Library Project.