Symphony No. 63 (Haydn)

The Symphony No. 63 in C major " La Roxelane " is the work of Joseph Haydn, which was partly of a composed for purposes other material assembled by the composer.

• 3.1 First movement: Vivace
• 3.2 Second sentence: " La Roxelane ". Allegretto o piu tosto Allegro
• 3.3 Third movement: Menuetto
• 3.4 Fourth proposition: Presto

Formation

The exact origin of the symphony is probably no longer be reconstructed. It is often assumed that Haydn at the beginning of 1777 a Entr'acte to Favart drama " Soliman II, or The Three Sultan Ninen " with Minuet and Prestissimo a present for a long time Symphony fragment ( whose sentences 1 and 2 are not known) added and to a sequence of variations composed, which is on the heroine of the drama, Roxelane, based. After Haydn had his new opera The world premiere in summer 1777 on the moon, he (possibly out of time ) from the overture and the three sets referred to the spectacle of music, a symphony together. The overture was to merely provided with an extended deadline.

Overture, Minuet and Finale were instrumented with trumpets and timpani. But in order to make the Work for small orchestra more accessible and thus sell better, Haydn took this from the first and the last sentence out, made further changes in the first set and composed a new minuet in a lighter style. This was the first version in the oldest voices. Well in the sense that the original finale "light" to a stronger set for the minuet was, he wrote a new finale. This was Haydn's final version and the one that was finally handed down. The symphony was soon spread throughout Europe. In particular, the second set was a great success and was played in different piano versions.

Jacob de Ruiter doubt a development of this symphony in the context of incidental music to Favart piece, as in the whole plant no "Turkish" found music. It is unlikely that in 1780 " a composer of music for a piece of writing, playing in a seraglio at Constantinople Opel, would dispense with the use of the then perceived as typically Turkish instruments and sounds. " Anthony van Hoboken and Harry Newstone also refer that the theme of the second movement is an old French tune. According to Peter Brown, the evidence is still pending.

Jacob de Ruiter believes that with " Roxelane " overwritten sentence is not an incidental music, but only the slow movement of a traditional symphony in several versions. Furthermore, he writes: " Lessing, who in the " Hamburg Dramaturgy " detail Favart comedy as well as their presentation discusses Roxelane characterized as " a feminine thing, volatile, thoughtless, wild, funny to insolence, funny to the tunnel, much physiognomy, little beauty, " but they Outsmart at the end of the comedy to a higher, high moral level. If Haydn's La Roxelane actually refers to the female protagonist of Favart comedy, then he has less musical sensualizes the brazen side of her character, but rather that played Naive and jackal gorgeous. " The genesis of this work is thus similar to the Symphony No. 60, as " chance music " was composed to Regnards comedy " Il Distratto ". The second set was popular in the 18th century as a piano version and was backed by a text for solo tenor.

There the work is discussed in the published versions of Harry Newstone here, where the reconstruction of the first version dates back to the new Haydn Complete Edition by Howard Chandler Robbins Landon. The first version is, therefore, may have been never played in this sequence of movements of Haydn's time, but it is by Newstone represents the starting point of this symphony and can therefore be considered as original version. The second version is Haydn's final version.

Howard Chandler Robbins Landon rated the lighter, second version, especially the third and fourth sentences, as compared to the first version of superficial and disappointing and looks in the working as an orientation to Haydn's " quick success " among the audience. Similarly, even Antony Hodgson and Peter Brown speak.

First version

Instrumentation: Flute ( this only in the second set ), two oboes, two bassoons, two horns, two trumpets in C, timpani, two violins, viola, cello, double bass. Then (if the respective orchestra present) a harpsichord To reinforce the bass voice was also without special notation used (probably not in the orchestra of the Esterházy Palace ).

Performance time: approximately 20-25 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. 63. - 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

C major, 3/4-time, 179 cycles

The violins played in quite deep situation on the memorable - ceremonial first theme forte, backed by Achtelrepetitionen in the bass. The theme is piano by the woodwinds with voice leading in the oboe ( this one octave higher than before the violins) and thus repeated in quite a different tone. The final phrase of the theme is then spun out in dialogue with an upbeat stressed motif in the strings. After the movement ebbed away in pianissimo, the whole orchestra is returned to the topic a fortissimo ( bar 29 ff.) Legal abruptly it goes into the second theme (bar 43 ff ) over. This is sechstaktig, is expected to be in the dominant G major and is characterized by its chromatic -wound uniform quaver movement of the first violin. After a forte section in unison with tremolo -like sixteenth notes and a " signal motif" with dotted rhythm closes in clock 65 to the final group. This brings a melodic, two-bar motif in the oboes, backed by syncope of the violins, and a final twist. The exposition is repeated.

The implementation ( 78-145 clock without drums and trumpets ) processed elements of both main themes. It begins as a tremolo on it surface in pianissimo, which grows in crescendo to fortissimo. Subsequently, the harmony changes with the appearance of the first theme in the woodwinds to D minor. About the downstream sequenced "dialogue" from beginning of block between woodwind and strings the first theme in F major is with full orchestra and use moving syncope reached (sham Reprise). Then different types of clays (eg, G minor, A minor, E major ) cut short and the action shifts to the second theme in A minor. After a further spin -drying with the quaver figure of the theme 138 G major as the dominant to the recapitulation (bars 145 ff ) has established itself as stroke, acts with the first theme in C major.

The recapitulation is similarly structured exposure, but missing the second theme. Furthermore, the 'signal motif ' occurs first in non- dotted shape ( clock 159 ff.) Also, development and recapitulation are repeated.

Second sentence: " La Roxelane ". Allegretto o piu tosto Allegro

Initially silent exchange of C minor and C major, 2/4-cycle, 139 bars, Strings with damper, Tromp ducks and timpani.

The set can be structured as follows ( double set of variations ):

• Presentation of first issue: C minor, clock 1-20, only strings, piano, consisting of two repeated parts.
• Presentation of the second theme: C, 21-36 clock consisting of two repeated parts. Oboes double the violins, piano. The two song-like, " earwig -like " themes are similar and can be considered as minor and Durvariante the same melody depending on your view. Basis of the topics is probably an old French melody (see above).
• First variation of the first theme: C minor, clock 37-56, consisting of two repeated parts. Piano, Flute doubles the first violin.
• First variation of the second theme: C, 57-72 clock consisting of two repeated parts. Piano (strings only ) and forte ( with horns ).
• Second variation of the first theme: C minor, clock 73-98, consisting of two repeated parts, strings only, mostly piano.
• Second variation of the second theme: C major, clock 98 ff First topic of oboes and bassoon played, after eight bars the full band at Forte, violins ( now without damper ) with mumbling semiquaver movement, clock 107-118 is repeated almost verbatim from clock 119 to the end.

Third movement: Menuetto. Allegretto

C major, 3/4-time, with Trio 58 cycles

The minuet begins with two upbeat phrases (the first forte in ascending order, the second echoey piano descending). The ascending phrase is repeated varies, the descending then reduced down to their fifth. This fifth down is taken up at the beginning of the second part piano, then the initial motive screwed up three times forte, again followed by a passage with the fifths.

The trio is also in C major and is based on a simple dominant-tonic character that occurs in different, harmonically different variants. Remarkably, the end of the trio is in pianissimo: Sudden change to A-flat major on -flat major to C minor.

Fourth sentence: Prestissimo

C major, 4/4-time ( alla breve ), 235 cycles

The set begins with three motifs / modules: motif A ( ascending C major - triad, full orchestra, in unison ), motif B ( ascending series of six neighborhoods that fill a sixth, only strings, unison), "motif" C ( to the other motifs contrasting, singable, eight-bar movement of the violins, piano ). Motif B and C are repeated, the latter. Than variant with syncope Then (cycle 28) contact the violins piano one with a passage in the dominant G major, which begins with the " start " of motif B and motif similar to C passes into a singable melody line, but now with a slight chromaticism enriched. From bar 40 forte followed by a continuation from start motif B, initially. In the upper voices, and finally in Bass The final section (bars 66 ff ) first brings a pendulum-like movement piano (motif D) and includes exposure from fortissimo with Akkordmelodik in G major.

In the detailed implementation ( clock 86-158 ) occur all previous motifs A to D in different timbres and harmonies, so Haydn changes eg after D minor, A minor, E minor and F major.

The recapitulation (bars 158 ff ) is similar to the exposure structured, but the starting motif occurs in B clock 174 down instead of up on. Exposure and development and recapitulation are repeated.

Second version

Instrumentation: flute, two oboes, bassoon, two horns, two violins, viola, cello, double bass, harpsichord, if necessary (see above).

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

First movement: Vivace

Very similar to the first version, but: trumpets, timpani and a bassoon fall away, the flute also comes in the outer movements to it; slight changes in the instrumentation and in the dynamics.

Second sentence: " La Roxelane ". Allegretto o piu tosto Allegro

As in the first version, slight changes in the instrumentation.

Third movement: Menuetto

C major, 3/4-time, with Trio 58 cycles.

The Minuet simple structure is characterized by its upbeat triplet and subsequent triple tone repetition. In the second part of Haydn uses an echo effect up to the pianissimo.

The trio is also in C major. In addition to the first oboe playing the main melody, the bassoon stands out as a running eighth accompaniment, while the strings pizzicato strokes fade into the background.

Fourth sentence: Presto

C major, 2/4-cycle, 206 cycles

The strings begin with the first theme in piano ( vocal lead in the first violin, others accompany eighth - Staccatoketten ), two motifs with triple tone repetition ( motif A also in dotted rhythm motif B with sixteenth- turn ) are characteristic. The final of the eight-bar thematic unit, which contains motif A, is played by the whole orchestra forte. They first ends on the dominant of G major, "closed" in the repetition of the thematic unit on the tonic of C major.

The transition to the second theme (bar 17 ff ) is the beginning of a class derived from motif B semiquaver movement, then from a Staccatofigur with alternation of forte and piano, and finally from a to unscrewing chain of motif A, the change to the double dominant of D major. Three-quarters blows to D, which slow down the movement, announce the second theme (bars 34-53 ) that is structurally similar to the first theme ( echoes of motif A and B, the leading vote first violin is again first " sparingly " only by oboe and second violin accompanied ). Abruptly, followed by a fortissimo outburst from the full orchestra begins in harmony distant Eb major and degrades its voltage across five bars for the dominant G major. A second E-flat major - Outbreak (violins an octave lower ) now leads up to seven cycles back to G major, where the final group with an ascending chord motif used (cycle 81). The subject appears first in the violins, then in the bass.

In the implementation ( clock 82-137 ) A and B are achieved in part with the processing of motives the keys Eb major, F major, E major and G minor; also appear more elements of exposure again ( eg the chains of staccato quavers ). From bar 98 creates a two-part action by a dissenting vote is set to A motif.

The recapitulation begins in measure 138 with the first issue as at the beginning of a sentence. In particular, the transition to the second theme is changed from the exposure and contains the dissenting votes to motif A from measure 147 (similar as before from bar 98) still elements of implementation. After the second theme of the first " outbreak " begins on an F Major - seventh chord (measure 181 ), the second in A flat major (bar 187 ), both build on their voltage to the tonic C major. The exposition is repeated, development and recapitulation are not.

Walter Lessing ( 1989) referred to the sentence as " lively, witty Presto in the influenced of the Opera, lighter style of the late 1770s. "

References, notes

Web links, notes

• Recordings and information on the 63rd Symphony Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Anton Gabmayer: Info text to Joseph Haydn's Symphony No. 63 accompanying information about the concert on 6 June 2009 at the Haydn Festival Eisenstadt, http://www.haydn107.com/index.php?id=32, as of August 2009
• Thread the Symphony No. 63 by Joseph Haydn
• Joseph Haydn: Symphony No.. 63 C Major. Ernst Eulenburg -Verlag No. 557, London undated, 79 pp. ( pocket score ).
• Joseph Haydn: Symphony no. 63 C Major. Philharmonia Volume No. 763, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn.
• Symphony No. 63 by Joseph Haydn: notes and audio files in the International Music Score Library Project.