Symphony No. 77 (Haydn)

The Symphony in B flat major, Hoboken directory I: 77 Joseph Haydn composed probably in 1782 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

General

The Symphony No. 77 Haydn composed probably in 1782 during his tenure as Kapellmeister to Prince Nikolaus Esterházy. It is highlighted within the triad No. 76 to 78 managed by several authors as particularly. To see history in the Symphony No. 76

About the Music

Instrumentation: flute, two oboes, two bassoons, 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. 77. - 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

B flat major, 4/4-Takte ( alla breve ), 217 cycles

The symphony opens with the first theme (bars 1 to 12), " graceful and yet self-assured ", which is presented first piano with voice leading in the violins. It consists of different motives (or phrases):

• Scene 1: voting leading 1st violin: broken B flat major - chord chord downstream from shock, dotted rhythm and treble tone repetition in quarters ( bars 1 to 4), accompanying 2nd violin: continuous quaver movement of broken chords.
• Scene 2: ascending phrase in dotted rhythm, four times the tone repetition in eighths (cycle 5 and 6),
• Scene 3: Change from closing phrase ( beginning with accents ) and pendulum figure in eighths of broken B flat major - chord (bars 7 to 11). The pendulum figure can be interpreted as a variant of the second violin accompaniment from motif 1.

From bar 12 is the theme of the whole orchestra forte repeated ( the pendulum figure unison). The subsequent forte passage brings three new motifs: motif 4 in the rhythm of half note and two districts, and final turn from falling line with accent (reminiscent of motif 3), the accompanying motion in continuous eighth notes reminiscent of the pendulum figure (bars 22 to 28 ). Scene 5 is composed of broken chords in uniform staccato quarters (measure 29 to 34 ). A variant of motif 4 leads from bar 35 to the double dominant C major, while at the end the bass figure in eighths notice ( Scene 6, derived depending on your view of the pendulum figure ).

In the general pause with pause follows in measure 40, the catchy second theme ( dominant F major ), " light and delicate, but with a touch of thoughtfulness ." It has a symmetrical structure of two four-bar halves, the break interruptions cause a breakdown in two-stroke engines. The second theme is derived by the same " basic rhythmic pulse " from the first issue: The first chord of the first theme is omitted, the dotted rhythm increased by doubling the note values ​​and reduces the tone repetition of three to two. The theme is first played by strings and bassoon, then repeated with the flute instead of the bassoon. The final held at the Forte group ( F major ) at bar 56 begins as an ascending F- major triad with the derived from the pendulum figure accompaniment in the second violin. The pendulum figure occurs shortly dominant in appearance, as well as motif 6 in unison.

In the first section the implementation of the head is processed by the first topic intensively: Starting with F Major, Haydn puts the issues head through different keys (for example, D major, E flat major, F minor ), the oboe, the figure moved from one clock to a clock imitate. From bar 90 the action intensifies, as the topic header offset at a distance of half a clock by the voices emigrated including the motif derived from 5 " counterpoint " ( broken chords in ascending staccato quarters ). In bar 103 the music breaks off abruptly in D major, followed by a long pause general. The second section of the implementation then addresses the second issue: First presented by the strings in G major without repetition, it is also subjected to a more coherent processing. This processing is initially shorter than that of the first theme.

The recapitulation at measure 120 begins fortissimo with the first issue that will not be repeated. At Forte - block before the second issue the uniform staccato quarter movement of motif 5 is extended. The second theme is initially played by the strings, in the repetition occur to the solo oboe. The offset -onset bass reminiscent of the polyphony of implementation. In the further course of the second theme of Haydn processed further ( " second passage ") by its three staccato quarters it isolates the figure from the second thematic clock and the movement pianisismo brings to a halt ( clock 177-188 ). A new polyphonic approach leads to fortissimo in measure 197, the structurally reminiscent of motif 4 of measure 22. The passage of the second theme is extended by 15 cycles of exposure to (depending on definition) 45 cycles in the recapitulation. Final section from bar 206 is similar to the exposure. Exposure and development and recapitulation are repeated.

Second movement: Andante sostenuto

F Major, 3/8-time, 135 units

For the sentence in which both violins with mutes, it is proposed (ABA ') is a three-part structure:

Part A ( position 1 to 50): The strings provide with voting leading 1st violin before the vocal, ausholende main theme. It has a symmetrical structure of two four-stroke. Each four-stroke starts with dual tone repetition and dotted rhythm with double strike, the remaining cycles describe an expansive and ascending and descending line. After the repetition of the theme follows an interlude (bars 9 to 16 ), which continues to spin the thematic material. Subsequently, the theme is repeated, now with the participation of the flute to the voice leading ( measure 25 to 31). The repetition of the interlude (strings only ) is then performed as a decorated variant (cycle 32 to 40 ). To conclude the first part of the whole orchestra plays again the theme (bar 41 to 47 ). Two transfer cycles with the topics under head held blower notes lead towards the middle part.

Middle part B (cycle 51-88 ): The middle part begins forte and is characterized by the continuous thirty-second movement, which expires in the doubly beating tone repetition of topics beginning - but here in sixteenths and not in eighths. The relationship is by echo -like repetition of the knock motif in pianissimo and the insertion of the subjects head (measure 59 to 61 ) illustrates. The passage is repeated, but goes to the pianissimo echo the tone repetition in a section on that extends the knock motif and combined with the thirty-second movement. From bar 87 of the subjects head is more consistent processes including short minor turbidity.

Part Three A ( clock 89-153 ): The whole orchestra playing forte the subject with triplet accompaniment in the second violin. In the repetition of the short-term harmonious coloring falls to Des -Dur on ( clock 89-104 ). Then follows the interlude as a variant ( clock 104-112, strings only). The topic is repeated in the second half is the most dominant accompanying triplet ( clock 113 to 120 ). After another polyphonic passage with the issues head the theme is for the last time brought completely, but end up with striking, interrupting pause closing in the phrase. The sentence sounds from pianissimo with the topic header.

" The serenade -like characteristic style of some earlier slow movements appear here matured and deepened in a language of moving expression ( ... ). "

Third movement: Menuetto. allegro

B flat major, 3/4-time, with Trio 44 cycles

The eight-bar main theme of the minuet is from two four-strokes built up symmetrically with repeated Terzfigur at the beginning. The parallel violins have the voice leading, the other instruments accompany in uniform staccato quarters. The melody stands out because of the rhythm, which is caused by the opening and the exchange of remote quaver movement and neighborhoods. The quarter are stressed on the second (usually unstressed ) cycle time with an accent. Overall, the minuet gets by and by the unusually "fast" speed regulation " Allegro" similarities to the scherzo. After consistently forte held the first part of your midsection sets the upbeat Terzfigur piano continues, exchanged after four cycles then back to Forte, where now the remote quaver movement is carried forth. In falling staccato line but it ends unexpectedly and abruptly in deep fortissimo -F. Subsequently, the initial part is taken up again.

" By playing with focal points - once a strong, then again at the weak part of the bar - raises Haydn with an almost playful ease, the laws of " gravity " of 3/4 clock, and performs in the minuet the amused audience the clumsy looking dance a little puppet ago. "

In the trio ( also in B flat major ) play oboes and bassoons a ländler -like, upbeat melody. The melody is with its change of quarters and eighths and the accompaniment in uniform Pizzicato - quarters of the structure of the minuet.

Fourth movement: Allegro spirituoso

B flat major, 2/4-cycle, 195 cycles

The eight-bar main theme with periodic structure is characterized by a prelude and four times the tone repetition. It is repeated until measure 48 by the strings piano with vocal leader 1st violin several times, with the accompaniment gradually smaller and smaller note values ​​will receive: beginning (cycle 1-8 ), it is accompanied mainly from bottoming neighborhoods, in the repetition (cycle 9 to 16 ) occur three eighths appoggiaturas it. After an " interlude " with accents both violins are in the second thematic repetition (cycle 25 to 32 ) to vote leader, the accompaniment has partly continuous quaver movement in addition to the three appoggiaturas quaver on. On the repetition of the interlude, the third thematic repetition follows (cycle 41 to 48 ) with through -eighth - and sixteenth-note motion. In the fourth repetition of themes (bars 49 to 56 ) the whole orchestra is involved in the Forte, the subjects form is figured by rapid semiquaver runs. The virtuosic semiquaver runs determine the change of the upper and lower voices and the subsequent Forte block, which eventually reaches the dominant F major in tremolo.

Instead of a contrasting second theme is piano again the head of the first theme in F major, but changed after four cycles back to Forte and is combined with movement- against -like semiquaver movement, alternating between upper and lower voices. The final group attacks as " epigram " the subjects head over a pedal point on F on.

The implementation uses the structure of the last Forte block the exposure continues as polyphonic passage by the subjects head offset occurring is performed together with the votes against sixteenth -like movement through different harmonies.

Without turning point begins in measure 130 the piano reprise. The topic is about to start in the variant with the semiquavers, followed by the interlude. The next topics repetition is played forte by the full orchestra, with oboes, bassoon, viola and bass are vocal leader, while flute and violins play an opposition movement. The next interlude is reduced in Instrumentation and structure. Contraindications As guarantee is again the subject forte with the ascending semiquavers ( similar to the fourth repeat in the exposition ), then loses itself but in the tremolo. The final group with the pedal point is expanded codaartig, a "second epigram " from the topic header - only in the winds, then the whole orchestra - finished the sentence. Exposure and development and recapitulation are repeated.

Its shape, the rate on characteristics of sonata form as the Rondo. The Sontatenform corresponds to the division into three exposition, development and recapitulation with a thematic processing. At a Rondo recalls the repeated refrain -like reappearance of the main theme.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 77 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 77 in B flat major. No Philharmonia. 777, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 77 by Joseph Haydn: notes and audio files in the International Music Score Library Project.