Symphony No. 70 (Haydn)

The Symphony No. 70 in D major Joseph Haydn composed in 1779 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

Shortly before Christmas 1779, a month after the theater in the Esterházy Palace was burned down, Joseph Haydn completed this symphony. The voice of the First violin bears the date " 779 the 18TE Xbris ( Decembris ) ". The premiere took place probably in the puppet theater, which was not burned down - possibly on the occasion of laying the foundation stone for the new theater.

The Symphony No. 70 is characterized by its strong polyphonic work, particularly in the second and fourth movements. The fourth movement is a ( triple ) Joint dar. In earlier symphonies Haydn used polyphonic hybrid forms in the last sentence, for example, in # 3, # 13, # 40, and later at No. No. 95

Furthermore, the symphony is striking in its major-minor - opposites on, especially in the Andante. This contrast between the serious and "learned " and the minor or " gallant " style was for the music of the 18th century is important. Due to their high musical " content " lifts the work of Haydn's symphonies other this time, the schematic -like similar to " stamps from a vending machine " were composed by HC Robbins Landon and have a certain superficiality, from.

About the Music

Instrumentation: flute, two oboes, bassoon, two horns in D, two trumpets in D, timpani, two violins, viola, cello, double bass. There are different views in the literature on the participation of the harpsichord. Haydn had initially written the work without fanfare, and in this form it was in 1782 and in print. Only later he said after the votes for the two instruments.

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. 70. - Note that this description breakdown of rates is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

First movement: Vivace by brio

D major, 3/4-time, 179 cycles

The overture -like, energetic movement begins fanfares forte unison with the eight-bar main theme in staccato. The main theme is based on the D Major - triad that is initially played once with ( bars 1-2 ) and one without (bars 2-3) break. Though it is clear that the subject begins abtaktig, but the D can (third quarter of clock 2) are also upbeat one clock 3 in the repetition of the triad. The second motive of the theme is an ascending line (" question ", bars 4-6 ), of a falling line ( Scene 3, clock 7-8) is answered.

The first two piano motifs are now repeated by the violins (although shortened by the first input triad as well as with Legato insert), again answered by the energetic closing phrase (motif 3). The reconciliation (cycle 15 ff ) can be interrupted by the first of the break opening triad in a piano passage in the dialogue between first violins and viola / bass occur under by running eighth accompanied the second violin. 23 clock changes abruptly to a forte tutti block with energetic, tremolo -like tone repetition and a derived from motif 2 turn with the accent on the first beat, the first appears in the violins in the other instruments. Three Forte beats and a break announce the second theme.

This ( bar 43 ff ) is expected to be in the dominant A major and is played by the strings piano. The antecedent attacks the previous downhill interval steps ( fourth, third) from the main theme again, with viola and bass used by a quarter beat later than the violins. The trailer gets more predominant character by the solid quarter movement. In bar 51, the triad movement then goes into a Forte - block of the entire orchestra, which emphasizes the root of the dominant A by multiple repetition of accented energetic.

The final section (bars 61 ff ) is in the first part of a six-bar question-answer - Motive ( almost a theme), the piano, the strings play and repeat decorated with suggestions. The second part arises again as to contrasting forte tutti block is where the final four-bar phrase is played first, then dissolved in steady staccato quarters into eighths.

The implementation (measure 83 ff ) begins unexpectedly with a fourfold unison repetition of C. In the actual processing part, the strings play puts the ( interrupted by the break) opening triad, where on each beat of the clock uses an instrument (this is the perceived strong beat loosened on the first beat of the 3/4-Taktes ). Haydn modulated in this passage about D major, E minor, C major, A major and F-sharp major to B minor, where the violent movement finally comes to rest as a fermata. Below is a brief reconciliation section with throbbing, steady tone repetition in the strings, which leads into the recapitulation at measure 120.

The recapitulation is compared to the exposure shortened overall (including absence of the second theme ) and partially modified: From bar 133 provides Haydn a variant of motif 2 of the main theme by the offset used in the instruments out. The final group is slightly extended. Exposure and development and recapitulation are repeated.

Second sentence: Specie d'un Canone in Contrapunto doppio. andante

D minor / D major, 2/4-cycle, 130 clocks, violins with mutes

Possible parsing: Variation sentence (double variation )

• A section (bars 1-30, D minor ): The A-section is in three parts constructed (Scheme aba '): First, the eight-bar theme, which is characterized by dotted rhythms and exchange of staccato and legato presented. A canon in the strict sense, as makes him suspect ("Example of a canon in double counterpoint " ) the set heading, though is not available. However, the main voice ( cantus firmus ) and vote against ( counterpoint) set so that they can be interchanged in the interval of an octave: So the main voice in tact 1-8 in the violins, viola and bass while playing the counterpoint. The topics of the repetition time 9-16 second violin and bass play the lead vocal, the first violin and flute the vote against ( counterpoint). The second section consists of a derived from the previous material six-bar passage (bars 17-22 ), again followed by the third section, the main voice counterpoint, now with accompaniment also of the other woodwinds (cycle 22-30, counterpoint in the middle voice = 2. Violin 2 oboe, bass new to the harmonious stabilization). Second and third section to be repeated.
• B section (bars 31-48, D major ): In contrast to the previous, darkly sinister D Minor now followed by a section with sanglichem theme in D major, which is no longer held in counterpoint. From bar 41 the wind comes to the strings and complement the otherwise rather austere tone ( violins with dampers ). The portion consists of two parts, which are repeated.
• A- part variant 1 ( clock 49-82, D minor ): First, the strings play the first four bars of the main voice counterpoint. Then ( bar 53 ff ) the counterpoint is repeated while the main voice is dissolved in figurations. These figurations now wander by the other instruments, in short stroke 61/62 appeared the head of the main theme in its original form on (1st Oboe ). The second section brings a variant of Sechstakters of clock 17 ff In the subsequent repetition of the subject (third section ) is the lead vocal in the second violin dissolved in a figuration. The second and third portions to be repeated.
• B- part variant 1 ( clock 83-106 ): provides a figurative variation of the B- part dar. consists in turn of two parts, the second part is repeated.
• A- part variant 2 ( clock 107-130 ): " recapitulation " of the A section from the beginning of a sentence, but with chromatic variation in mean six strokes. The sentence fades away in pianissimo.

Third movement: Minuet. Allegretto

D major, 3/4-time, with Trio 62 cycles

As the first sentence also makes the rather rapid Minuet overture - like festive impression. Characteristic of the upbeat main theme are three and two times repeated notes; continue to fall, the piano echoes, and the change to E minor ( subdominant parallel at the end of the first part ) and to the subdominant in G major ( main subject at the beginning of the second part ) on.

The very melodic ( " bittersweet " ) Trio is also in D major and contrasts with its sanglich - soft melody in the oboe and strings ( in contrary motion or in parallel ) in the piano to pianissimo to the minuet.

After the trio of the minuet is repeated as usual. Then Haydn has appended a separate and detached and expressly designated as a coda section that emphasizes the main subject from the minuet again, however, limited to the exchange of tonic and dominant.

Fourth movement: Allegro con brio

D minor, from bar 162 in D major, 4/4-time ( alla breve ), 194 cycles

The first 26 cycles provide an introduction to the subsequent ( triple ) Joint dar. characteristic is a Tonrepetitionsmotiv the first violins in high position ( on the three-line D), which is answered differently: The first two times by a two-bar, closing phrase the rest of the strings in the lower register ( it # 1 in minor and No. 2 in E flat major ) expanded, the third time is the string response to four bars and ends "open" on the dominant A major. The fourth use of the Tonrepetitionsmotiv is played surprisingly forte and by the entire orchestra ( tutti ) in unison, the two-stroke, low strings response leads to G minor. In the fifth variation, the answer is extended to six cycles ( Tonrepetitionsmotiv as at the beginning ) and ends in turn "open " in A Major, where the motion in bar 26 comes with a pause to rest.

From bar 27 is now the joint ( = with three themes in double counterpoint) begins "a 3 Sogetti in Contrapunto doppio ". The strings make a start with the introduction of three "themes" ( motifs):

• Scene 1 (first in clock 27-28 in 2nd violin ) with quadruple tone repetition ( reminiscent of the tone repetition of the introduction) and fifth down, start on first quarter beat of the measure;
• Motif 2 (first in clock 27-29 in 1st violin ) with downward through the clock of sustained note, eighth beat, third upwards and fifth, beginning in the third quarter beat of the measure;
• Scene 3 (first in Violation in clock 37-38 ): down with figure of four tones, then second upwards, beginning on the second quarter beat of the measure.

From bar 44 the entire orchestra begins. The topics are taken up in imitation of the instruments and modulated in a variety of keys. From bar 105 the motion is uniform by predominance of quarter notes, followed by the typical for a joint pedal point on the dominant (here A major), which Haydn back to the tonic D minor reaches ( clock 135 ff.) In another polyphonic section describes the three motifs are then processed again ( to clock 143).

From bar 144 is followed by an interlude that takes up the "dialogue" between high and low strings from the introduction again. Use 1 and 2 correspond to the introduction. A strong, highly dramatic contrast is the third use of the unexpected skidding of Tonwiederholungsmotivs Forte a semitone ( from D to Eb and the Neapolitan sixth chord following, stroke 152/153 ). The response of the strings in the lower register is eight bars long again as the last, six-bar response of the introduction. Also it ends "open" on the dominant A major.

The final section is structured similarly to the introduction, whereby the sentence gets a closed shape. Use 1 and 2 are repeated (both major). Link 5 consists only of the Tonrepetitionsmotiv: The 1st violins play it twice, the response in the lower register is made ​​, however. Instead, the Tonrepetitionsmotiv is answered by yourself: Affirming the Forte and unison.

References, notes

Web links, notes

• Recordings and information about the 70th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 70 by Joseph Haydn
• Joseph Haydn: Symphony no. 70 D major. Philharmonia pocket score No. 770 series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. Philharmonia Universal Edition, Vienna ( without year ).
• Joseph Haydn: Symphony No. 70 in D major. Taschenpartitur No. 559 Ernst Eulenburg Ltd.. , London / Zurich, undated.
• Symphony No. 70 by Joseph Haydn: notes and audio files in the International Music Score Library Project.