Symphony No. 73 (Haydn)

The Symphony in D major Hoboken directory I: 73 Joseph Haydn composed probably in 1781 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. The contemporary title " La chasse " ( hunting) refers to the final movement, took over from a Haydn composed in the same period opera. The slow movement of the symphony is based on Haydn's song "Against Love".

General

The Symphony No. 73 Haydn composed probably in 1781 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

The nickname " La chasse " ( hunting) is shown on the first edition of the Symphony from 1782 to the publisher Christoph Torricella in Vienna. He was then still often handed down and was probably also known Haydn. The title refers to the last sentence, the Haydn composed the overture of his 1780 opera " La Fedelta premiata " taken over ( the rewarded loyalty ).

In a contemporary catalog ( " Kees catalog" ) the set of the opera comes first and the Allegro at last. Perhaps Haydn had the set position initially intended in this order and then changed later.

In a review for the issue of Torricella in the magazine of the music of 1783 states:

" This symphony is their master just as worthy as the latest Op. 18 lib. 1, 2, 3, and needs of our fame far. At the hearing, the same equal verrieht the beginning and the herliche processing of the result in all the head of the great author, who seems to be inexhaustible in new ideas. Since, in this as well as in all his symphonies difficulties and unexpected transitions occur that require experienced and real players, and are not thrown in at random, without observing the sketches exactly, or to know; so there is no lover or other unsichrer player may dare it, but know them only accurate to not going to survive with shame. Would that Heydn, this great symphony era crown with mehrern such wonderful work, and thereby bring all bad symphony writers to silence or to better handle their volatile essays, by no one but they themselves have fun. "

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns, two violins, viola, cello, double bass; in the fourth set two trumpets and timpani are also occupied. 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. 73. - 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

Adagio: D, 3/4-time, clock 1-26

Haydn opens the symphony as a simple cadence ( tonic D major - G major subdominant - dominant in A major - tonic), which is designed as a detailed tapestry of sound of the wind in beating staccato chords with bottoming string accompaniment. After more than ten bars introduces a new motif in dotted rhythm first violin in the alternation of high and low position ( distance of two octaves) to Accent Passage with gradually ascending motif, before the Adagio with the knocking tone repetition decays in unison. This final figure anticipates the Tonrepetitions prelude to the main theme of the following Allegro.

Allegro: D, 4/4-time, clock 27-151

The Allegro starts with the periodically structured main theme. The theme is of a motif with Tonrepetitions opener of three -eighths ( as at the end of the Adagio, is reminiscent of the beginning of the Allegro of the Symphony No. 96), and a sixteenth-note figure constructed. The Tonrepetitions opener runs through the whole another set. The theme is first piano only presented by the violins, then repeated by the full orchestra forte. The subject does not begin in the tonic D major, but in the subdominant G major and closes at the end of the first half in D Major. The second half leads from the Tonikaparallelen B minor of the dominant A major.

The themes repeat throughout the orchestra comes in the second half on topics in the following section, which is characterized by its continuous semiquaver figuration in the violins. From bar 47, a new subject is introduced in a staggered sequence of instruments. The design falls beside his dotted rhythm on by the turn pounding opener of three Tonrepetitionsachteln. Similarly as in the Adagio, a motif accent joins. Before the violins begin again with brilliantly virtuoso runs and figurations to the final section, bar 59 formed by his quiet half notes, pianissimo and distant harmonies a striking, stark contrast to the surrounding " noisy " events. The remote harmonies have the consequence that the orchestra in measure 60 begins in B flat major and back again must modulate to the dominant. The exposure ( not here but upbeat ) ends with the repeated Tonrepetitionsmotiv in unison of the strings.

In carrying out the intensive processing of the main theme is done: First, the subject of the topic is conducted through different keys and placed between the instruments in use staggered. From bar 80 Haydn focused on the Tonrepetitions opener, beginning with " effective ( n ) breaks as a means of voltage increase " in oboes and violins, then in polyphonic passage in the entire orchestra. With the motif accent and the Tonrepetitionsmotiv from the end of exposure, the events without interruption leads into the recapitulation.

" Haydn has such a unidirectionally - targeted and thematically focused implementation hardly ever written. It is the first great example of a superior form of relationship that is developed exclusively from thematic work on a single subject and is rich yet differentiated in itself. "

The recapitulation ( from bar 107) begins fortissimo with the main theme throughout the orchestra and goes without repetition of themes in the passage with the continuous semiquavers over, which is slightly extended in relation to exposure. The rest of the recapitulation is largely structured like the exposure. However, the strong contrast of the exposure cycle 59 is now extended to three clocks ( clock 137 to 139 ), and the second pass with the passing runs is varied. Exposure and development and recapitulation are repeated.

" Very dense thematic work impressed (...) the entire first movement of Symphony 73 Here are the first four notes of the theme, a simple three beat motif, in the implementation - and also already in the exposure - almost ubiquitous, and in the recapitulation is their processing again extremely compressed and focused. "

Second movement: Andante

G Major, 2/4-cycle, 114 cycles

The set is based on the composed around the same time of Haydn song "Against Love" ( on a text by Gottfried August Bürger ). It is unclear whether Haydn first wrote the song or the symphonic movement, the former is more likely.

The record has been created rondo -like, with the couplets are derived from the refrain:

• Presentation of the song-like, simple theme ( chorus, bars 1 to 24). The section is structured in three parts: In the first section (bars 1-10 ) represent the strings piano in front of the four-bar main thematic unit which is characterized by its double - tapping tone repetition and the dotted rhythm. It is again divided into two two-bar modules. The theme is repeated, beginning the second violin with continuous triplets accompanied (likely to occur in the further course of the movement several times ). The second section ( bars 11 to 17) continuation of the subject starting from the second block further, the second violin now accompanied throughout with triplets. In the third section (bars 17 to 24 ) occur the first time the wind with it. The section is characterized by ascending triplets scales staccato played in the change from upper voices and lower voices.
• After repeating the first 24 bars of the couplet is 1 in G minor with the topic, then replaced with triplet figures in the first violin by various flat keys and finally brings up the subject in B flat major ( only piano in 2nd Violin and viola, then forte with accompaniment of the entire orchestra ). The subjects head further changes in the strings through different keys, up to 50 clock the music stops on the dominant seventh chord fortissimo.
• The first repetition of the refrain (bars 61-74, G major ) is compared with the beginning of a sentence varies slightly. In the first two parts of the subject, the blowers are now involved.
• Even the couplet 2 (cycle 74-95 ) begins as the couplet 1 in G minor, but then leads pianissimo to other keys (such as A - flat major / A minor ) and then brings up the subject in the use of the offset strings.
• The second repetition of the refrain (bars 74-114 ) leaves out the second section of the topic. At the very end enters the dotted rhythm of the subject again to pianissimo.

Third movement: Menuetto. Allegretto

D major, 3/4-time, with Trio 74 cycles

The minuet has similarities to the string quartet Opus 33 No. 6. The four-bar thematic main block consists of bottoming tones in the bass and chromatic guided upwards Provision with rhythmic structure of 1 1 2 clock units. Depending on the position can be seen to accent motif of the introduction in the motif similarity. In the final turn of the whole orchestra takes the derivative with accent intermittently down.

The middle part is a short piano continues the thematic material, then goes into a serious unison passage with minor turbidity and sounds as pedal point on the dominant of A. The " Reprise" is from the initial part varied by changing the votes are reversed ( now primed tones in the upper voices, chromatic Provision bass), also is the final twist ausdehnter.

In the trio (also in D major ) play oboe and bassoon a dialogue in which they alternate with voice leading and accompanying movement from remote, even neighborhoods. The strings accompany each on the strong beat with a grounder chord. At the beginning of the second part come out the horns with accompanying Liegeton to then also involved the flute to the voice leading, which is finally taken over by the strings with the energetic repeated accompaniment figure.

Fourth sentence: La Chasse. Presto

D major, 6/8-measure, 252 cycles

The sentence has taken over from the overture of his opera " La fedeltà premiata " Haydn, which was premiered in February 1781 and only added to the reps for exposure. As the Greek hunting goddess Diana at the opera plays an essential role in the Presto contains much Jagdmotivik (eg faster 6/8-measure, triad - horn motifs).

The sentence begins forte throughout the orchestra with a fanfare-like hunting theme that changes from its unison signal into energetic eighth notes with chords, ( " first subject "). Change From bar 20 the violins with piano proposal - eighth figures to the dominant A, which is emphasized in pounding tone repetition of the entire orchestra.

The subsequent signal hunting for oboes and horns (again in the tonic D major ) quotes a traditional hunting call, which was also used by other composers in hunting compositions. In 1780 published " Manuel du Chasseur " ( Hunting Guide) to find the signal as " l' ancienne Vue " (the first views of the deer ).

The strings put on piano with another motif over ausgehaltenem D in the bass, which is repeated with accompaniment of wind instruments. The following Forte section contains another " Hunting Scene " with Tonrepeptition and arpeggiated triad, the passing, energetic eighth chains then drag down to the end of exposure.

The implementation ( clock 81-165 ) brings first piano on the eighth chains of violins new material in the solo oboe ( ascending and descending figure of five notes). From bar 99 the passage is repeated by E from where the oboe motif is varied by adding Kicking flute and bassoon, shortened to three notes with doubling the note values. After the passage with the hunting motif from the closing section of the exposition is followed by a piano passage in the strings with several key changes. The last part of the implementation is characterized by the numerous " driving " the prelude Grinder figures and the pounding in unison tone repetition.

The recapitulation at measure 166 begins with the first theme as in the exposition. The section with the hunting signal " l' ancienne Vue 'for oboes and horns is initially omitted, instead following the first theme, the same string figure on ausgehaltenem D, which was played in the exposure until after the hunting signal. Only after a variant of the last Forte - section of the exposition follows in codaartigen closing first the hunting signal, then do the words from pianissimo ( in the overture as a reconciliation to the stage action ).

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 73 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 73 in D major. No Philharmonia. 773, Universal Edition, Vienna 1967 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 73 by Joseph Haydn: notes and audio files in the International Music Score Library Project.