Symphony No. 61 (Haydn)

The Symphony in D major Hoboken directory I: 61 Joseph Haydn composed in 1776 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The autograph score of the symphony is dated from 1776, Haydn was employed at the time as Kapellmeister to Prince Nikolaus Esterházy.

About the Music

Instrumentation: flute, two oboes, two horns, two bassoons, timpani, two violins, viola, cello, double bass. On the participation of the harpsichord exist in the literature different opinions.

In April 1776, the flutist Zacharias Hirsch was inducted into the royal chapel, probably is due to the use of the flute together, the Haydn before the last time of composed around 1768 Symphony No. 41 prescribed.

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 1776 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: Vivace

D major, 4/4-time, 201 cycles

The first theme consists of four components: Forte chord blow the whole orchestra ( Scene 1), third - rhythmic figure of the 1st violin with change of legato and staccato ( motif 2 ), rhythmic figure in the violins and viola, also with exchange of Legato and staccato (motif 3) and ( after repetition of motif 2 and 3) final twist in staccato quavers with participation from bass (motif 4). The theme is repeated with the participation of the fan. The period beginning in measure 17 Forte block of the entire orchestra starts by taking the chord strumming (motif 1) and the rhythmic motif 2 and then established with motif 3 as a contrast variation with change of piano and forte ( with hammering tone repetition in horns and timpani) the dominant A major. A second block Forte with renewed variant of motif 1 and 2 swings in measure 37 surprising after a minor.

The second theme is designed in detail, with the " charming orchestration " of the accompanying notice: First play oboe and bassoon as tone repetition, supported by bottoming chords in the strings pizzicato, only a simple accompaniment figure as formulated four-bar cadence ( A Major, D Major, e major, A- flat major ). This harmony sequence is repeated for the first time, where now the solo flute fills the harmonies with wider terms, even eighth notes and accompany the other woodwinds in sunbathing tones. Subsequently, the section is played by the strings a second time, with the first violin takes over the flute part. The eighth movement is then spun out a long time with various small items Final section from bar 71 engages the tone repetition from the beginning of the second theme (or from the first Forte block ) to (initially in the oboe, then the horn) and sets a chromatically ascending line (initially in the strings, then with flute) to do so.

The broad-based implementation allows Haydn surprising start as ganztaktige general pause. Then, the flute with her ​​character from the second theme, followed by the abrupt change to forte with the first theme in the subdominant G major. Its final turn with the second downward becomes independent to a long string passage, where the music through a " perdendosi " (Italian = losing itself ) is in B minor to a halt almost. With renewed vigor forte start the first topic with motif 1 and 2 in E Minor, Haydn then sequenced motif 2 down and then processed are several other motifs from the exposure ( subject to the conclusion of Forte block after the second theme, the final group design and for one clock the eighth movement of the second theme). With the chromatically ascending line from the bottom group motif Haydn announces the recapitulation.

In the recapitulation ( from bar 135) the wind now play from the beginning when forte presented first theme with the theme but is not repeated, and the Forte block 2 is omitted. In the second theme, the 2nd horn accompanied with deep tone repetition, as in the tone repetition of the final group. The rest of the recapitulation is similar to the exposure structured. The exposition is repeated, development and recapitulation not.

"How in the temporally adjacent Symphony No. 66 carries the header (...) operatic trains: one could easily imagine him as an overture of a comic opera. "

Peter Brown emphasizes the orchestration of the sentence and says that the 19th century was less inclined to Haydn the nickname thread to give " Papa " had it known this sentence.

Second movement: Adagio

A major, 3/4-time, 136 cycles

The strings introduce the eight-bar, periodically structured first topic that is held as well as the rest of the sentence very sanglich. The violins play (as in the slow movements of Haydn's symphonies that time usual) with damper. The fan used in bar 9 with his flute solo leads in bar 13 to a further melodious, four-bar motif which is mainly reserved for the strings. The second violin accompanied evenly then running semiquavers that determine large parts of the remaining block. The design, with the Haydn to the dominant changes in E major, is repeated twice and spun out in the second repetition. After an accent passage follows in measure 36, the extended second theme, which consists of three motifs (cycle 36 to 44 ). The special, reminiscent of Franz Schubert romantic acting timbre is concluded next to the fan participation through the chord changes and the major-minor contrast. The theme is repeated, and repeated with the final phrase of the topic ( Scene 3) ends the exposure.

At the beginning of the implementation of changes Haydn from the dominant E major to the subdominant in D major, leaves here hinted the first theme, touches with elements of the second theme in F sharp minor, finally arriving back to E major, which prepares dominatrix shows the entrance of the recapitulation.

The recapitulation at measure 85 is similar to the exposure structured. The first theme is spun out in the trailer with detached semiquaver movement differently, the flute solo is missing. The exposition is repeated, development and recapitulation not.

The " cantilenas - Adagio (...) of elegant beauty " is highlighted by different authors.

" The Adagio is the earliest example of a major thematic type in the late Haydn's slow movements: the ". " Chorale-like melody in triple time " magnificent

Third set: Menuet. Allegretto

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

The strong theme of rustic and harmonious relatively simply structured minuet is characterized by its prelude, the structure of triad figures and the tone repetition. The first part is consistently at Forte, just mainly the second part, which in the dominant A major initially connects the upbeat Tonrepetitionsmotiv with continuous quaver movement. Using a variant of the opening motive in the oboe, which is repeated by the other wind instruments, Haydn returns to the tonic D major, where in bar 32 of the first part is taken up again reprise -like. Surprisingly, and separated by two general pauses Haydn but still a coda added: First, the strings repeat questioning the Piano the final turn of the first part, then bassoon and strings screw as quaver movement upwards, and a new final cadence of Tutti from simple tonic-dominant - chords completed the minuet.

The trio is also in D major. The first oboe playing together with two violins, a country- like melody with wider terms, predominantly uniformly quaver movement, accompanied only by the cello and double bass. The fermata in the second half provides the oboist an opportunity for an impromptu mini- cadenza.

Fourth sentence: Prestissimo

D major, 6/8-measure, 228 cycles

The Prestissimo, a "real funny and entertaining set " " Dance with bukolischem character ", " dahinwirbelnde whose movement is reminiscent of a tarantella " is constructed as a rondo:

• Presentation of the three-part, catchy rondo theme ( chorus, bars 1 to 24), each with eight-bar sections according to the pattern ABA (A and BA are repeated ). In the A- part of the oboes give " Hornpipe " - subject somewhat ironic, kuckucksrufähnliche objections as an afterthought to each phrase.
• The Couplet 1 begins in dramatic D minor - Forte of the entire orchestra with energetic - pounding octave leaps and changes at the end of his first, repeated part to F major. The second part is not repeated at the beginning of a shift from longer staccato eighth chains of violins and thumping Tonrepetitions interjections of the entire orchestra. In the second half the thumping repeated notes dominate, supported by chords, the strings that change on different keys (D - flat major, G minor, E major ) to A major. The transition to the chorus in D major Haydn was designed with an original passage: Based on the previous Forte block, only the first violin pianissimo remains. It plays a chromatically over two octaves falling figure, remains hanging after each octave on the note A, and then bolted after reaching the low point upward again for the entry of
• Choruses (bars 77-100 ) in D major, passes through without repetition.
• The couplet 2 is in the subdominant G major and is due to the parallel voice leading of flute, bassoon and first violins in ( at a distance of two octaves). This pastoral action, tonal combination used in Haydn 's later symphonies more often. As the chorus is also couplet 2 of three eight-bar sections, each repeated: Section A, followed by the variant A ' as well as the made ​​of contrasting elements, Section C ( energetic unison figure in E minor and piano response of the strings, terminating in B minor ). This is followed - as in the second part of couplet 1 - contrasts of short tutti interjections and longer passages of the first violin ( now as a remote motion instead of staccato ). With the line figure of the 1st violin of the end of the couplet 1 Haydn reached again the tonic and thus the chorus.
• The refrain ( from bar 181) runs back through without repeats and goes from bar 200 in a coda that as an effective Schlusstreigerung ( Stretto ) is designed with thumping repeated notes.

References, notes

Web links, notes

• Recordings and information for the 61st Symphony Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 61 in D major. No Philharmonia. 761, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 61 by Joseph Haydn: notes and audio files in the International Music Score Library Project.