Symphony No. 62 (Haydn)

The Symphony in D major Hoboken directory I: 62 Joseph Haydn composed in 1780 during his tenure as Kapellmeister to Prince Nikolaus Esterházy, where Haydn fell back for the first set on a 1777 composed overture.

General

The first set consists of the processed Overture Hoboken directory Ia: 7, Haydn wrote to an unknown piece and had already used in the few years before composed Symphony No. 53 as one of the possible final movements. Another special feature is that the second sentence is also in the tonic D major, as he is otherwise normally held in the dominant or Subdominanttonart. Both have at the Symphony No. 62 in part, to ( unpopulated) speculation about a pastiche out ". In addition to the first set is also showing signs of Allegretto Haydn's former strong preoccupation with the opera.

Wolfgang Amadeus Mozart wrote the beginnings of the first sets of Symphonies No. 47, No. 62 and No. 75, possibly with the intention of they perform at one of his concerts.

About the Music

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

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 the Symphony No. 62. - 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

D major, 4/4-time ( alla breve ), 167 cycles

The Allegro is a variant of the overture Hoboken directory Ia: dar 7, 1777 Haydn had composed and verwendetet also in the Symphony No. 53 (see above, in the Symphony No. 63 Haydn also used as an overture head set). The sentence begins as a contrast theme (first theme) descending D major - triad in Forte and a piano in response remote (partly interrupted by breaks) quaver movement. The five-bar theme is repeated. The subsequent forte passage implies first the remote quaver movement with enrichment of staccato away and then brings more energetic motifs / figures consecutively: triple chord strumming, four times the tone repetition as well as a double whammy motif with accents, at the end occurs similarly also with lots of silence quaver movement ( as at the end the first theme ) again. The second theme ( from bar 36) in the dominant A major has sanglich - predominant character, the antecedent is first presented by the strings, then repeated with flute participation. The trailer consists of a double whammy motif as well as a closing cadence with trills. In the final group with lots of silence quaver movement of the end of the first theme occurs again, which is now in several repetitions increases (in the beginning of breaks interspersed, then the tremolo and Forte ). The exposition ends with Dreiklangsmelodik and chords, to A.

The implementation first processes over long distances, a new, quiet design from ascending triad in half notes ( interpretable as the inverse of the input triad ) and a double whammy figure. The subject is in four-bar sequenced steps performed by different keys (A- flat major, F # major, B minor, G major, E major, C sharp major ), the beginning of each phrase is emphasized in Forte. In C-sharp major, the music comes from bar 97 to a halt and eventually stops altogether ( general pause ). Abruptly then sets a contrasting sequence of the head from the first issue ( forte) with one of the remote quaver movement ( piano), which leads from F sharp minor to reprise entry in the tonic D major.

The course of the recapitulation corresponds largely to the exposure. Development and recapitulation are repeated as well as the exposure.

Second movement: Allegretto

D major, 6/8-measure, 105 cycles

The set begins with an unusually minimalist, " droning " figure of damped second violin ascending triads, then place in the first, the cellos, which also muted violins 1 short inserts from secondary - Provision. In this " enigmatic " beginning of a sentence, the listener can perceive the triad figure, first as an accompaniment, but it becomes clear later in that it is an important motivic block: " it stands out more determinant, pervades in many variants in the upper voices the entire set and gaining real thematic quality. " - the four-bar " broken fracture of the opening bars, as it were, only implies a harmonious framework " is repeated interchange of upper and lower voices, followed by the four-bar consequent phrase of the theme, in which the first violin of the Sekundschritten a melodic fragment forms. According to Peter Brown, the set is reminiscent of a Barcarolle, in which the Venetian Gondoleri 've forgotten the tune.

The reconciliation to the dominant A major ( from bar 13), the flute takes on the accompanying figure, while the melody line now Viola and then developed in 2nd violin, with chromaticism in the bass on. The orchestration and the rhythm is gradually denser and more complex: In bar 22 oboes and bassoons contact, and in measure 28, the horns ( the whole orchestra now in Forte ). The passage from bar 28 ( " second theme " ) stands out because of its dynamic contrasts: Haydn repeated four times varies a motif in which a stressed on the first strong beat with an accent, ascending chord figure (derived from the previous triad movement ) in Flute and 1 Violin with a likewise stressed on the first strong beat, falling line is connected in the decrescendo. ( Furthermore, the kinetic energy increases Haydn, even sixteenths by inserting the first time. ) This is " a very theatrical, operatic effect, has the Haydn so demonstratively never used in his symphonies again." Howard Chandler Robbins Landon has the special feature of this particular use of the decrescendo back and suspected because of the sharp dynamic contrasts of the Allegretto that the sentence has a reference to the theater / opera. The final group in the piano to " evaporate back into the etheric " which contains elements from the previous passage ( abbreviated chord figure down and semiquavers ).

At the beginning of the implementation of the horns mimic the figure of the end of the final group. Then there is a change to F major, where the motif of the " second theme " turn sounds four times. Using a variant of the passage with the chromatic melody line and the chord movement Haydn changes to the dominant A major, which announces the recapitulation entry.

In the recapitulation ( from bar 64) Haydn adds to the first theme, " a graceful counter melody " to continue the winds are concomitantly involved. The " rhyhtmisch complex Passage" before the second theme is expanded, the actual second "theme" is missing, however, except for the ascending chord figure, which opens into a fermata on the dominant seventh chord. The final group is extended by a coda ( with material of the bottom group )

" The stylistic and psychological center of this symphony is the second set (...). The character of this sentence is almost unique for Haydn: ethereal, delicate, a wonderful dream or a beautiful reverie. "

Third set: Menuet. Allegretto

D major, 3/4-time, with Trio 56 cycles

The gallant Minuet is decorated throughout in Forte and contains an emerging, powerful triad theme. At the beginning of the second part dominates uniform, stepped quaver movement. The record away. Much of the popular inspired minuets other symphonies of Haydn and more reminiscent of the salon as to a Ballroom

The trio is in G major and is scored for bassoon and strings, with bassoon and first violin are voting leader. The numerous syncope remember the trio of Symphony No. 92

Fourth movement: Allegro

D major, 4/4-time, 174 cycles

As with the Allegretto of the start of the block is designed unusual: Haydn begins the Allegro strings piano with " a gesture of metric and harmonic uncertainty ," which sounds as if they are " already coming from somewhere ." The three-bar gesture initially increases in half-notes of Fis as diminished chord up and then down as sixteenth-note figure and lead angle in half notes. The gesture is repeated a step deeper by e of. It is tonally not set ( hint of E minor, D minor and G minor ). Such structures used Haydn later partly also careful to another sentence beginnings. Only in clock 7 sets the whole orchestra in the tonic with the shortened to two bars motif ( without the derivative action ) and uses it to create a stable, alternating between D and A structure on. By the initial downward ranking to achieve the tonic in clock 7 appears as if it were only a third of a falling sequence.

The Tutti - block ends as a sequence of chords, and the sixteenth of phrase that recalls a similar passage from the first movement in Wolfgang Amadeus Mozart's Symphony in C major, K. 425. The clock in 20 subsequent, contrasting string passage in the piano is kept sanglicher, it falls by its derivative (reminiscent of the beginning of a sentence ) and the Vorschlagsfloksel on. From bar 29 is the first theme as a variant repeats ( in the piano passage with voice leading the 2nd violin and imitation by the 1st violin), Forte - part of the theme takes over the bass in measure 41, the voice leading among syncopated accompaniment. Several, strung together with owning accents lead to the second theme ( from bar 55, the dominant A- flat major ). Similar to the previous piano string passage, it is highly contrasting, here by the playful character, the thrifty Bebegleitung and the Lombard rhythm. The exposition ends as Forte block, the first, then processes the Lombard rhythm in the bass in the upper voices.

The development begins as an extended version of the string passage from bar 20, followed by the detailed processing of the Lombard rhythm of the second theme in the Forte. This passage is full of the " dark, enigmatic Espressivo and with a few breaks of almost stunning effect. " In the end, the implementation of elements come from the first issue ( half note with sixteenth-note figure down) to do so.

The starting after a relatively long pause general recapitulation is compressed in the piano passage from the first issue, and in the contrasting piano string passage (after the first Forte block) by imitative enrichment, the complex from the first topic is not repeated. Exposure and development and recapitulation are repeated.