Symphony No. 6 (Haydn)

The Symphony in D major Hoboken Directory I: 6 Joseph Haydn composed probably in 1761, during his tenure as Vice - Kapellmeister to Prince Paul II Anton Esterházy de Galantha. It bears the nickname " Le Matin " ( The Morning ).

Cycle " time of day "

Joseph Haydn wrote the Symphony No. 6 in D major " Le Matin " ( The Morning ), together with the numbers 7, "Le midi" ( Noon ) and 8 " Le soir " ( The evening ) probably in the year in 1761. It is the single continuous cycle within his symphonies; he became known as " The times of the day ." There may have been in the cycle a fourth plant ( " La nuit" that night), but which was lost.

The titles for these three symphonies seem to be authentic, since that has an existing autograph of the Symphony No. 7 in the title " Le midi" in Haydn's handwriting. All three symphonies appear to be based on a programmatic content, the Haydn but not announced, but which is suggested by the title. The beginning of " Le matin " for example, is reminiscent of a sunrise, during the finals of " Le soir " is a summer storm with the subtitle " La Tempesta ".

On 1 May 1761 appointed signed his contract as Vice - Kapellmeister (later conductor ) of the Esterházy family, the nominally for 48 years - until his death - was. Prince Paul Anton was one of the wealthiest families of the Austro-Hungarian Empire and had an excellent orchestra. The symphonies of the " times of day " cycle are probably the first works that Haydn composed in his new role, possibly at the suggestion of the prince himself

Of the ( most) previous symphonies they differ

• By the incorporation of a minuet as the third movement,
• Advanced instrumentation with flute and bassoon ( bassoon at that time was mostly occupied only for doubling the bass part and not separately listed in the score ),
• The numerous solos for various instruments, which focuses on the works in the vicinity of the Baroque concerto grosso. However, the separation of Concertino / Solo and Ripieno ( Tutti ) is not very pronounced.

Probably Haydn wanted to put his new fellow musicians with the many possibilities their technical prowess, and captivating at the same time offer the prince a sample of his creativity.

Regarding the structure, the movements of the symphony No. 6 are not clear in a scheme to classify. The themes and motifs are hardly processed. So there are intermediate forms on the way from the old suite to new forms such as the sonata form, are used by the alternative, in the following partial terms.

About the Music

Instrumentation: flute, two oboes, bassoon, two horns in D, Violin solo, two violins Ripieno, viola, cello solo, cello Ripieno, double bass solo, double bass Ripieno. The role of the harpsichord is assessed differently in the literature. The following instruments will occur in the course of the symphony as a solo on (sometimes for only a few cycles): flute, oboe, bassoon, horn, violin, viola, cello, double bass.

Performance time: Approx. 20-25 minutes (depending on adherence to the prescribed repetitions)

First movement: Adagio - Allegro

Adagio: D, clock 1-6, 4/4-time

The movement begins with a slow introduction, in which the first violin begins pianissimo in dotted rhythm, during a crescendo the other strings and the winds come to it; the movement then subsides over a pedal point on the dominant A fortissimo with a fermata. The introduction is usually interpreted as a sunrise.

Allegro: D, clock 7-118, 3/4-time

The flute soloist opens the Allegro with the antecedent of a dance theme, the trailer is picked up by the oboe. The design of the antecedent appeared in the course of the movement repeatedly, including the following, quite lively tutti section. A second issue is not clearly identified, but a number of new small elements / motifs are presented, with Haydn established the dominant A- flat major at measure 21 with a descending motif (after a general pause as a turning point ). The motives can possibly be interpreted as bird calls, for example, the short phrases of flute, oboe and bassoon at bar 35 At the end of the first part of the sentence ( " exposure "), which is repeated, the head of the main theme occurs again.

The middle part ( " implementation " ) begins as the first part of the sentence with the main theme, which is played by flute and oboe in the dialog, but now of A major from. Then the tone changes several times with abrupt changes between forte, piano, major and minor (eg " terrace -like " strings tremolo chromatic counter-movement clock 58 ff). The head of the main theme appears briefly in the Tonikaparallelen B minor on ( clock 73 ff ) before a pizzicato passage back to the tonic, and thus to the " Reprise" leads. The horns begin doing with the main theme in measure 85, which turns out to be "too early", as in measure 87, the solo flute as at beginning again completely raised the issue in dialogue with the oboe ( the horns cease abruptly when using the flute). The further course is similar to the first part of the sentence, but slightly shortened. Also midsection and " Reprise" are repeated.

Second movement: Adagio - Andante - Adagio

Adagio: G major, clock 1-13, 4/4-time, only strings with solo violin

The sentence begins pianissimo as hesitant acting line in half notes ( upper parts: ascending, lower voices: in descending order). At Forte then sets the solo violin with a an ascending tremolo, which opens into rich, repeated G major chords. This is probably meant as a parody of a singing lesson: The student ( solo violin pianissimo ) plays at first the ascending G Major - de - scale fis -ga ( in half notes ) and then the "wrong" sound b. This " error " (the sound b would mean a third of G from the key of G minor, the sentence is but in a major key ) is immediately corrected by the teacher ( solo violin forte): He repeats the tremolo the "right" scale de - fis - gah, where the " right" h in nine -fold repeat and the attunement and the remaining strings is particularly underlined. Now, again followed by a rather quiet, hesitant section, however, by the ornaments of the solo violin ( trills, arpeggios ) is loosened. The Adagio ends on a D major seventh chord and subsequent pause.

Andante: G major, clock 14-103, 3/4-time

The central part of the sentence is characterized on the one hand by its slow - border movement of the entire orchestra ( tutti ) at equal quarters, on the other hand, by Solos for Cello and especially the violin ( that was played by the concertmaster ). The solos are made ​​up predominantly of triplets, the violin reach into high positions (A in the three -line octave ).

A processing of thematic material is not recognizable, but this set is characterized by the solos. The Andante is composed of two repeated parts, the first of the tonic G major to the dominant D major, the second again leads back to the tonic ( from bar 73 could be the re- Teten the subject of the sentence beginning in the tonic if necessary by a " recapitulation " talk ).

Adagio: G major, clock 104-112, 3/4-time

The Violins ( Violin solo and 1 violin) play - as the beginning of a sentence - the section of the G Major - scale ( now "right" ), only increasing from d to h, then descending to the root note G, where by the owning the 2nd violin characteristic dissonances ( seconds) arise. The accompaniment in the bass is dissolved in eighths and sixteenths. The sentence fades away in pianissimo.

Third set: Menuet

D major, and Trio 64 measures, 3/4-time

The rustic minuet occur again oboes, bassoon and esp. the flute solo show. Particularly surprising is the instrumentation of the trio in D minor: the first plays the bassoon to accompany a solo double bass (or violone ) and silent Streicherpizzicati a characteristic motif, in the second part it is supported by the solo cello and even a solo viola, later takes over again the bass.

Fourth movement: Allegro

D major, 2/4-cycle, 135 units

The flute re-opened as an ascending scale over one octave, which forms the characteristic element of the sentence. From bar 34 occurs on a falling motif in the dominant A major, which is guided by the individual solo instruments. After a brief rest on a diminished chord follows the final group with their exchange of passages of the solo flute and the whole orchestra.

The second part of the sentence begins in the dominant A major scale with the subject, now sung by the solo violin. This also dominates the rest of the sentence to " Reprise" in measure 84

References, notes

Web links, notes

• Recordings and information for Symphony No. 6 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread to Symphony No. 6 by Joseph Haydn
• Joseph Haydn: Symphony No.. 6 D major " Le Matin ". Ernst Eulenburg Ltd.. No. 536, London / Mainz undated ( pocket score ).
• Joseph Haydn: Symphony No. 6 D major " Le Matin " '. Philharmonia Volume No. 706, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 6 by Joseph Haydn: notes and audio files in the International Music Score Library Project.