Symphony No. 71 (Haydn)

The Symphony in B flat major, Hoboken directory I: 71 Joseph Haydn composed probably around 1778/79 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 71 Haydn composed probably around 1778/79 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The autograph of the Symphony is lost, but the work is delivered in a non- authentic manuscript of 1780.

The symphony is in conjunction with the Symphonies Nos. 62, 63, 70, 74 and 75 appeared in the Berlin publisher Hummel 1781 " oeuvre XVIII ". Perhaps Haydn wrote at least some of these symphonies at the urging Hummels or of its own marketing interests to achieve the usual for such a series of six symphonies. As with several other works, the more "light" character of the Symphony No. is thus brought 71 part (then next to Haydn's high workload in the Opera area) in respect that Haydn tried to equate with " marketable " works of the tastes of the audience, whose reactions he, in contrast to that of Esterháza could not estimate.

The work will be judged differently in the literature. Howard Chandler Robbins Landon praises in particular the first sentence as "free of superficial " and lifts it out of the environment of the real time resulting symphonies. Michael Walter, however, writes the first sentence:

" In No. 71 Haydn lined up linearly musical impulses to each other, which are obtained by a Fort spin -drying the material motive. The linear- time profile of the subject and the sequence of the subject material logically derived from the beginning are totally congruent, nothing disturbs this one-dimensional curve which is easily detectable, but also so poor in musical impulses that an activation of the listening behavior as was typical of Haydn's symphonies of the early and mid- seventies, can be no question. "

About the Music

Instrumentation: flute, two oboes, bassoon, two horns, 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. 71. - 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: Adagio - Allegro con brio

Adagio: B- You, 4/4-time, clock 1-7

The seven-bar introduction is played by strings and bassoon. It consists of the three times, contrasting sequence of a Forte Unisonomotivs and a piano trill figure, both motifs with dotted rhythms. The brief introduction fades as fermata on the dominant F major.

" The short slow introduction is masterly contrasting subjects " Majesty " ( dashed line in the figures and Forte ) and" sensibility " ( getrillerte owning the piano ) next to each other - at the same melodic figure. Their musical content is subtly repeated in the course of the opening theme of the Allegro con brio. "

" [ In 1780 ] symphonies incurred initiation appears more differentiated and more diverse, often dynamic and melodic contrasts in a small space next to each other as particularly impressive in Symphony 71, the slow introduction with a length of only seven bars the shortest of all. "

Allegro con brio: B- flat major, 3/4-time, clock 8-232

The first theme (bars 8-20 ) is presented by bassoon and strings (ie in the same instrumentation as the Adagio ). It consists of three phrases: Phrase 1 with sanglicher piano strings phrase, phrase 2 in unison with aufttaktigem double strike and staccato figure upwards ( the double whammy can be derived depending on your view of the trill figure in the introduction; Antony Hodgson points out the similarity of this motif to the beginning Symphony No. 51 back ), Phrase 3 as a piano final turn with a variant of phrase 2 and closing cadence formula. The " far- spun main theme ," the " [ is ] marked by the contrast between the graceful melodies and rhythmic power of a recited in unison motif ( ... ) " is repeated as a variant with phrase 2 and 3, where the breaks of Phrase 2 by characteristic Owning are filled.

Energetic Forte block from bar 29 engages the upbeat " double whammy design" of Phrase 2 and changes under Synkopenbegleitung to the dominant F major. The second theme is an introductory, " mysterious" piano passage upstream, in which the instruments intermittently treated with evenly - knocking neighborhood movement ( as a continuation of the previous F major - chord strumming, originally from the staccato figure of Phrase 2 ), a " build brooding " atmosphere. This " hesitant " gesture also determines the second theme ( from bar 61) which addresses the knocking tone repetition with his imitations between the violins and finally brings some surprising harmonic turns. The final exposure, energetic Forte block from bar 76 is characterized by its uniform quaver movement of the strings with some large interval jumps and the trill figure in dotted rhythm (reminiscent of the Adagio ).

The implementation starts from F minor with the " trill " motif from the closing section of the exposition, alternating with a throw of the solo oboe. This oboe motif is then repeated short as staccato variation in the strings. Afterwards, the music is playing firmly in tone repetition on D, until only the first violin in the piano 's left. In bar 121 then uses the first theme in the tonic B- flat major, with the theme through subtle variations in Phrase 1 and the involvement of brass initially acts veiled. It is here to Haydn's last extended "false recapitulation " in a symphony in the tonic ( later " false revivals " in the implementation are not in the tonic ). Then the double whammy motif is processed (similar to Forte in the first block of the exposure) with minor cloudiness, followed by the continuous eighth notes corresponding to the second Forte block of exposure, partly turn, with larger interval jumps and dynamic contrasts.

The recapitulation is compared to the exposure greatly reduced in the first half: from the first issue only one phrase is placed, then the music goes directly into the " brooding " Passage over. The second subject is broad and varied in instrumentation. The further course ( energetic Forte block with quaver movement in some large interval leaps and trills ) is similarly structured exposure. Exposure and development and recapitulation are repeated.

Second movement: Adagio

F Major, 2/4-cycle, 137 cycles

The theme of the variation movement consists of two -repeated sections that are each composed of two five-bar phrases ( instead of the usual four-bar phrases). The strings provide the subject with its dotted rhythms and the doubly - knocking before tone repetition ( the violins play with damper ), at the end of the second section to enter the wind in expressive - chromatic tone.

• In Variation 1 (cycle 21 to 40 ) the subject is dissolved in continuous figurations of the first violin.
• In Variation 2 (cycle 41 to 60 ) solo flute and solo bassoon are voting leader. The second violin accompanied as a continuous thirty-second movement, the other strings accompany pizzicato.
• In Variation 3 (cycle 61 to 80 ) oboes and violins indicate the subject, while bassoon, viola and bass accompany continuous triplets.
• Then the topic as the beginning of a sentence repeated (cycle 81-102 ) is modified with final twist that breaks on the six-four chord of the dominant.
• The final Haydn was designed as detailed coda (bars 103-137 ), in which the blower initially auftreifen the issues head on a string accompaniment and then continued to spin more Topics elements freely (eg the accent motif of the 1st violin of the re- passing Zweiunddreißigstelbewegung the second violin ( clock 109-116 ), the three times repeated cliché that subjects end (measure 129 to 131 ) or as a final twist, the double - tapping tone repetition with their opening ).

Third movement: Menuetto

B flat major, 3/4-time, with Trio 59 cycles

In the first part of the minuet the border Forte - turn with auftaktiger triplet, dual tone repetition and double strike contrasts with the light colored chromatic piano response that is processed intensively in the second part.

The trio is also in B flat major and has, unusually, an odd, seven-bar section on education (similar to the Allegro con brio with five-bar phrases). Two solo violins bear in unison - accompanied by the strings pizzicato - their ländler -like melody, which by double tone repetition (reminiscent of the Adagio and the main part of the minuet ), grinder -like proposal phrases as well as " a salient turning figure" is marked.

Fourth sentence: Vivace

B flat major, 4/4-time, 163 cycles

The first theme with its melodious, on ascending and descending movement piano is presented by the violins accompanied by the bass. It has with its Fünftaktigkeit an odd number of cycles on (contrary to the usual straight bar number, similar to the Allegro con brio and Trio). The theme is repeated by the full orchestra forte with slightly varied final turn. The subsequent question and answer - figure consists of the exchange of a rhythmic motif of the entire orchestra and an oboe throw. The rhythmic figure of the " answer" is then briefly picked up the bass before Haydn changes with tremolo to the dominant F major. In F Major now follows again the first topic presented as a variant of violins and viola. The subsequent, energetic Forte block contains rapid phrases and a motif with staccato octave jump ( " octave jump motif ").

In the second topic ( from bar 42, F major ), the solo oboe and the bassoon are voting leader. They play a catchy, folk staccato theme with upbeat, which consists of two four-strokes. The short final section repeats the second half of subjects in the whole orchestra and ends the exposure always softer than chords, in F major.

The implementation begin the strings pianissimo in the harmonious distant mediant D flat major ( not as usual in the final exposure dominant or another related to the tonic key ). In an early copy of the voting leading violins are here with "per licentiam " ( in a Viennese copy: "con permissione ", ie, with permission) respectively. Perhaps Haydn wanted to ask so jokingly apologize for the then unusual harmonic twist. Albert Christoph Dies reported on his visit on May 23, 1805 by Haydn's answer to the question whether Haydn a system of rules followed to get the applause of the audience:

" That's what I 've never thought in the fire of composition; I wrote what seemed to me good and corrected it afterwards according to the laws of harmony. Other tricks I've never done before. A couple of times I did not take the liberty, namely the ear, but to insult the ordinary rules of textbooks, and signed the job. Con licenza "

The theme is then repeated again in E flat minor, then changes Haydn in the mysterious piano with " itself haltingly forward groping going" G Minor, from where a passage intensive processing of the " octave jump motif " starts.

The recapitulation at measure 96 is compared to the exposure part varies: The first theme is not repeated, the passage before the second appearance of the first theme is extended for a detailed organ point on F. From the second appearance of the first theme of the course corresponds largely to the exposure. The second theme is completely denied by the solo wind instruments, creating a special tone is produced. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 71 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 71 in B flat major. No Philharmonia. 771, Universal Edition, Vienna 1967 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 71 by Joseph Haydn: notes and audio files in the International Music Score Library Project.