Symphony No. 65 (Haydn)

The Symphony in A major Hoboken directory I: 65 Joseph Haydn composed probably in 1769 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 65 Haydn composed probably in 1769 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

About the Music

Instrumentation: two oboes, two horns, bassoon, two violins, viola, cello, double bass. On the participation of the harpsichord exist 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 therefore subject to restrictions on the Symphony No. 65 can be transferred. - 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 e con spirito

A major, 4/4-time ( alla breve ), 129 cycles

The first theme is designed as a contrast theme from three separated by pauses chords, the whole orchestra ( tutti ) and a four-bar, melodious piano figure in the strings. The string figure is repeated an octave lower and with bass accompaniment. Similar sentence beginnings with contrasting themes can be found eg at the Symphony No. 44, the reverse structure with initial piano motive eg Symphony No. No. 64 or No. 75

The repetition of the three chord strumming ( without break) leads to the subsequent tutti block in which a rhythmic motif stands out in the eighth chains of viola and bass. This subject is for another set construction of meaning: After the repetition of the head of the string expression from the first issue only in the violins (including once with minor turbidity and light variiertem rhythm ) it leaves Haydn from bar 23 of two violins and viola process. The second theme ( from bar 39) in the dominant E major has similar strings to turn from the first topic sanglich - predominant character. It is repeatedly mixed with solo oboe and two quarter-note beats. The final group contains ascending and descending eighth chains of violins staccato and legato.

The performance begins first Haydn with a " topic neutral thoughts " and then returns after eight bars surprising turn back to the strings from the first theme in the tonic A major. This comes after four cycles in the processing of their issues head on, and in bar 70 is followed by a dramatic fortissimo outburst, in which the rhythmic motif "with a jagged crashing triad motif " links. The transition to the recapitulation is differentiated according: Three unison strokes of Strings end "open" on the dominant seventh chord, then sets the second theme in the subdominant in D major one, but after four cycles of the three chords, the head of the first theme ( without the breaks) interrupted (cycle 87). Clock 88 brings again the head from the second theme, clock 89 then the three chord strumming - now, in the tonic A major as abrupt Reprise beginning. The beginning of the implementation already played strings phrase of the first theme is now omitted - the chord strumming go hence the only part of the first subject in the same Forte block corresponding clock 11 of the exposure over. The rest of the recapitulation corresponds to some small changes mainly of exposure. Development and recapitulation are repeated as well as the exposure.

Second movement: Andante

D major, 3/8-time, 145 cycles

Due to the unexpected, partly as acting disoriented juxtaposition of contrasting motives of the eccentric set is sometimes associated with incidental music. It can be a total of six different designs:

• Scene 1 ( first in bar 1 ): upbeat, singable strings turn in the piano, the prelude, which obscures the tonic D major, contains a triplet. The set also partly just the prelude is processed.
• Motif 2 (first in bar 4): Bläserfanfare in the ( dotted ) march rhythm
• Scene 3 ( first in bar 9 ): long-lasting tone repetition.
• Scene 4 (first in measure 21 ): ascending unison turn of Strings forte.
• Scene 5 (first in bar 36, the dominant A major ): interrupted by pauses phrase from one-eighth and thirty-second notes in a broken triad.
• Scene 6 (first in bar 41 ): quarter note with sixteenth-note " lookup " as a great leap upward interval.

In the sequence of motif 1, 2, and 1 in the piano enters motif 3 with its long-lasting repeated notes, backed by tremolo strings and the rest of the wind accompaniment increases to fortissimo. After 1 motif in the piano, a change of scene 1 completed ( still piano ) and the unison passage of motif 4 in the Forte. The Bläserfanfare of motif 2 directs then to motif 5 in the dominant A major, to the Motiv 6 is followed. Haydn completed the exposure with motif 1, the triplets dominate the final bars.

The second sentence of section starts with the short processing of motif 1 in the dominant. After seven cycles changes Haydn with motif 1 and 2 back to the tonic D major. Instead of tone repetition but now follow the unison passage of motif 4 and motif 5, until bar 80 Scene 3 will be rescheduled, but now with respect to the exposure extended, enriched with the head of motif 1 in the bass and a staccato third in the winds. In the following piano passage with the head of motif 1 forte is on the Bläserfanfare of motif 2, which is interrupted by two new gesture- way ascending scale runs in Streicherunisono. After this gesture, the head of motif 1 is also exposed to the unison passage of motif 4. Another Bläserfanfare then leads to Scene 5 and Scene 6, and as in the first part of the sentence forms a long passage with the triplets start of scene 1 the financial statements. Both phrases are repeated.

Menuetto

A major, 3/4-time, with Trio 60 cycles

The theme of the minuet is through his energetic opener, which together with the following triple tone repetition a signal-like triad, in the double blows and the imitative beginning between violins and viola / bass. From 7 to 10 clock Haydn shifts the strong beat with accents by double blow in the upper voices and accents in the bass so that a 4/4-time arises, after which he will return to "normal" 3/4-time. In the middle section viola and bass take over the vocal line. Here, as when revisiting the initial part of the wind, especially the horns involved.

" The Minuet amazed by his rhythm. A "normal" opening phrase with double strike salient motifs on the respective first clock part is answered in the dominant; However, now the double whammy figuration appears accentuated on every fourth beat ( ... ). The sudden burst in 4/4-time acts shocking in this context; one might be reminded of Brahms, if this later admirer of Haydn would have carried out his rhythmic gimmicks in as undisguised manner. "

Even in the " of" " -inspired atmosphere " Balkan Trio in A minor for strings in the piano used Haydn a rhythmic surprise: Accompanied by proposal chains to tone repetition in the first violin, the other strings initially play a descending and ascending, uniform movement in 3/4-time. From the fourth cycle of the Haydn trios shifts in ascending melody line by groupings of half notes the strong beat so that a hemiola arises.

" [ The trio ] alternates between a furtive conspiratorial ornamental ostinato and a clearly conspiratorial increasing sequence back and forth; latter is applied as hemiola. , in the form of groupings of two notes in the context of a 3/4-Takts, and therefore in " contrary " rhythmic deformation as the minuet "

Fourth sentence: Presto

A major, 12/8-Takt, 84 cycles

The Presto is held with its horn fanfares and the rapid quaver movement in the hunting style. The main theme is the first piano - half of the alternation of rhythmic Tonrepetitions - Hornfanfare and melodic phrase in the violins (bars 1 to 6; " Fanfare 1"), the second half with forte -piano - Contrast contains another Hornfanfare and pauses broken chords of the other instruments (" Fanfare 2 ", reminiscent of the beginning of the first sentence ). The topic is as truncated variant, culminating in a minor key, repeated ( bars 11 to 15).

The rest of the course until the end of the exposition is marked down to a more leisurely unison passage through rapid, dahinjagende eighth chains and pounding eighth - tone repetition of violins or the entire orchestra. The passage from bar 21 is thereby introduced by an upbeat, " driving " Triolenschleifer. The final group coincides with the forte - piano - contrast to their eighth chains and repeated notes.

The development begins with Fanfare 1: first piano in the dominant E major, then minor turbidity and a third time in fortissimo in the subdominant of D major. The rest of the implementation processes the rapid eighth chains in which again the upbeat grinder is installed.

The recapitulation at measure 58 is shorter than the exposure: After Fanfare 1 Fanfare 2 is omitted, the music goes straight to the arcade with the eighth chains and the kick-off grinder (according to clock 21) and corresponds to the final group of structurally exposure. Haydn finished the sentence with a coda, the fanfare in 1 Piano and Fanfare 2 in Forte brings (ie as at the beginning of the sentence ). Development and recapitulation are repeated as well as the exposure.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 65 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 65 A major. No Philharmonia. 765, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 65 by Joseph Haydn: notes and audio files in the International Music Score Library Project.