Symphony No. 66 (Haydn)

The Symphony in B flat major, Hoboken directory I: 66 Joseph Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 66 Haydn composed probably around 1774/75 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

The Symphonies Nos. 66, 67 and 68 were printed in 1779 by the publisher Hummel in the order No. 67-66-68 as " Opus 15". Ernst Ludwig Gerber commends the Symphony No. 66 in the discussion of this print in his " Dictionary of Musicians " ( 1812-1814 ):

" Op. 15) Berlin b. Hummel, 1779 (...). These are already out of Haydn's most beautiful Blüthenzeit. (...) No. 2 full glory and fire is also to Lyon razor (...). "

The Symphony No. 66 is partially but experienced (among other symphonies from this period ) in the literature as (compared to the composed in previous symphonies ) and designated hardly inspired, what on the one hand, with Haydn's responsibility for the grown operatic court is associated, on the other hand, the fact that Haydn wanted the " populares " correspond taste. So, for example, writes Walter Lessing:

" Once again we have a symphony of flawless fracture before us, confident in the mastery of symphonic means complacent in the musical language, and yet we will not without regret of so idiosyncratic, experimental " Sturm und Drang " - works of the early 1770s remember the face of a certain coolness and conventional smoothness that makes now in Haydn's symphonies noticeable. "

About the Music

Instrumentation: 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 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. 66. - 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 con brio

B flat major, 4/4-time, 154 cycles

The first topic is the first half of a descending triad (beat forte, rest piano) and an emerging double whammy figure. This sequence, the " quite a Allerweltsgedanken " represents, Haydn has repeatedly elsewhere used as a variant: at the beginning of the overture Hoboken directory Ia: 7, Symphony No. 62, and one of the versions from the last movement of the Symphony No. 53 the uniform quaver movement of the 1st violin in the second half contains characteristic triple tone repetition. The theme is repeated with stronger winds involvement, in the second half changes Haydn but the fortissimo and brings the material in the strings in unison and speeds up to sixteenths. The movement continues until measure 25 in the dominant F major is reached. With a descending F major - chord (reminiscent of the opening triad ) is introduced, initially connects to an interplay between the violins and short runs, knocking objections of the other instruments at three times, upbeat tone repetition. The propulsive movement of the violins is then partly a tremolo sound surface further from bar 39 in a minor turbidity.

The second theme ( from bar 43) in F major for strings and piano accompanying bassoon is held and has sang character. The final group repeated the second theme as a variant in the whole orchestra and Forte.

The performance begins piano in F major with the double whammy motif of the first theme, then brings the complete issues head fortissimo in the subdominant E flat major and then processes the upbeat, triple tone repetition, alternating upper and Untersitmmen in minor. After the appearance of the second theme in G minor, the music ebbs with the Tonrepetitionsmotiv more and more and eventually comes pianissimo to the note a near standstill. The a ( dominant than the previous D minor from ) becomes the leading tone of the tonic B- flat major, begins the recapitulation with the clock in 103.

In the recapitulation, the first theme half is extended with the dual shock design and consistently held forte, the rest of the passage to the second issue with the running figures in the violins but shortened. In the second topic, the first bassoon is now involved in the vocal line. The rest of the recapitulation corresponds largely to the exposure. Exposure and development and recapitulation are repeated.

Second movement: Adagio

F Major, 3/4-time, 89 cycles

The upbeat, perdiodisch of two four-strokes structured theme (bar 1-8 ) is presented by the piano strings, the violins play damped. Each four-stroke consists of two separated by a pause phrases, the first with double strike, the second with dotted rhythm in the opening. Then follow as variants of the first thematic Viertakter of C major with uniform semiquavers, then, the limit of two clocks themes head, now with octave jump down.

With the fan operation from bar 17 a crescendo passage, which increases in oscillating movement of the 1st violin from pianissimo to fortissimo diminished seventh chord in and fade out in accents with dotted rhythm begins again. Longer staccato strings of violins led to the cadence figure with pizzicato on the open G string and trills. Ludwig Finscher writes on this passage:

" The art of arranging the balance of opposites (...) is particularly beautiful in I: 66 in the harmonic and dynamic enhancement to the diminished seventh chord fortissimo followed by " sputtering " and the subsequent relaxation in the characteristic style of the second theme, which then a graceful little joke ( the pizzicato on the open G string, T. 34) is placed. "

The short -circuit group in turn to the main theme reminiscent opener in dotted rhythm ends the exposure.

In carrying out the first issue of F major from continues with minor opacities. The second half of the development is in dramatic fortissimo with staccato passages in the bass, chords, interrupted by pauses in the violins and sun shades to the wind.

In the recapitulation, the Varianate the thematic Viertakters is initially omitted from the main theme. It is otherwise largely of exposure. Exposure and development and recapitulation are repeated.

Third movement: Menuetto

B flat major, 3/4-time, with Trio 52 cycles

The theme of the minuet is characterized by its opener in dotted rhythm, the triple- tapping tone repetition and the double strike ( the figures remind some of the previous sets), the final figure contains a triplet. The central part of the opening motif processed initially, with the dotted rhythm to become independent unison. About the triplet upbeat music ebbs pianissimo tone repetition with the first violin before reprise like the beginning part is taken up again ( similar passage in the first set before the start of the recapitulation ). When revisiting the initial part in bar 27 Haydn has built a rhythmic peculiarity, by the beginning of dotted eighths with sixteenths as " slowing down " ( with dotted quarter -eighth ) is connected ahead.

As a trio, the leading vote 1 oboe, 1 bassoon and both violins playing part in the dialogue, partly along a ländler like melody.

Fourth sentence: Scherzando e presto

B flat major, 2/4-cycle, 242 cycles

The set is similar to a rondo structure, the thematic material of the couplets is derived from the chorus.

• Presentation of the " playful " choruses ( bars 1 to 28), which is modeled after ABA (A and BA are repeated ). The first period of the refrain (A- part, " main theme ") consists of two five-bar phrases ( instead of the otherwise commonly used four-bar phrases) It contains (as well as the previous sets) a characteristic double whammy motif. The B section brings the upbeat double whammy subject in staggered use of violins. In this small Quint- canon already indicated to the subsequent tendency to polyphony.
• This is already in broad Couplet 1 ( bar 29 to 65), which is mostly held forte.
• From bar 66 the ritornello is repeated as a variant with sixteenth-note embellishments and participation of the bassoon in the vocal line.
• The couplet 2 ( clock 95-148 ) initially remains in two stuck pauses and then brings the A part of the chorus in the subdominant E flat major, from the B- part polyphonic work continues with the double whammy motif. About a pedal point on F Haydn leads back to the tonic B- flat major.
• The third appearance of the ritornello, from bar 149 is also the oboe part in the vocal line. Then the music comes to a halt again, then gets on a throwing of the subjects head between the bassoons, violins and oboes finally Tutti new momentum, but the decreases again after a few cycles.
• The last appearance of the chorus as a triumphant " fortissimo apotheosis " finished the sentence. "With their footsteps around in fortissimo, the raw hoquetusartigen guide and the neighing laughter at the end, is (...) [ this performance ] hardly be described as subtle; it could hardly be argued here that the art of the entertainment triumphs.

" The melodic and rhythmic cutting of this topic, the persistence with which it occurs again and again in ingenious processing, to the varied instrumentation and some lovely wind solos just before the end - all that forms into a spezfifisch " haydn between "Final type, which we always perfect designed, nor will encounter in some later symphonies. Especially in this rousing, rollicking Rondo concluding sentences will not incorporate the least of fame and popularity of symphonic composer Haydn. "

" On virtuoso playful way here the dialectic of extreme material concentration and great imagination abundance is driven to an extreme. "

References, notes

Web links, notes

• Recordings and information on the 66th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 66 in B flat major. No Philharmonia. 766, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 66 by Joseph Haydn: notes and audio files in the International Music Score Library Project.