Symphony No. 79 (Haydn)

The Symphony in F major, Hoboken directory I: 79 Joseph Haydn composed in 1784 during his tenure as Kapellmeister to Prince Nikolaus Esterházy.

Origin of Symphonies No. 79, 80 and 81

Probably composed in 1784 and (as No. 76, 77 and 78), conceived as a " series" for the public market Symphonies Nos. 79, 80 and 81 have an unclear origin and kinky Publication history: Haydn 's symphonies offered in October 1784 the publisher Boyer, but still appeared in 1784 No. 80 and 81 along with the overture to the opera Armida at the Publisher Forster, and in early 1785 they were announced by the publisher Toricella in Vienna, but had to sell it because of financial difficulties to Artaria, in which they appeared in March. In Paris, Le Duc sales end 1785 the issue of Artaria in Commission, and probably also probably around 1785 appeared not authorized editions Hummel and ( only No. 80 and 81, as the third work is a symphony of Karl von Ordonez ) in Guera in Lyon and Paris.

Haydn wrote in the letter dated 25 October 1784 which was possibly addressed to the Paris publisher Nadermann:

" Since your Wohledelgeb. accepted verflossenes year three symphonies of my composition, so I offer myself again three very new, very diligently edited symphonies, clean and correct written to file for 15 ducats to the end of November. "

The low price of 15 ducats for the three symphonies may be related to the fact that the works were previously adopted already by Artaria, Haydn and now even tried to get " some profit " from it after Anthony van Hoboken (1957).

In Haydn's design catalog, he has only the Symphony No. 81 indicated after No. 76, 77 and 78. Anthony van Hoboken (1957 ) suggests overall that No. 81 was completed as the first and # 79 as a last resort.

"(...) III Sinf à 11 with one flute and two bassoons, from D minor, F. and G. Constantly gorgeous, but for experienced orchestra ( ... ). "

" Again, the three works are so different from each other as possible, but at the same time, one has the impression as if Haydn try here how far you can go in adapting to a not very sophisticated taste on the one hand and how far you can on the other hand with its specific symphony - type, can mainly experiment with the sonata movements. It starts very harmless, perhaps alzu harmless with the F- major Symphony I: 79: in sonata form, which is built formally very simple and out of pure conventional, hardly individualized formulas, entertaining, but nothing more, a graceful ornamental Adagio, just before the listeners asleep, is sold by an Allegro, which consists only of a rondo theme with a short coda; a minuet, - this is a common train of three symphonies - cadences of Tanzmenuetts picks, but performs very symphonic; Finally, a rondo whose first couplet in F minor changes to a brief development, while the second couplet is developed in greater detail line ordering. "

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. 79. - 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 spirito

F Major, 4/4-Takte, 155 cycles

The first vocal theme (bar 1-8) in a periodic structure is presented with voice leading of bassoon and piano 1st violin. Clock 1 and 2 (corresponding to 5 and 6 ) are held legato, bars 3 and 4 (corresponding to 7 and 8 ) have a remote, rhythmic figure with sixteenth - rotation phrase, which is characteristic for the further sentence structure: Already in Forte block from measure 9 takes the Drehfloksel as a variant on, partly in unison of the whole orchestra, partly in the upper and lower voices. The rotation is then first phrase combined from 19 clock at four times the tone repetition to a new design, before they dominate its appearance from bar 24 with rhythmic accompaniment from a loosening accents and syncopations.

The second theme ( dominant in C major, from bar 29) begins as a signal- like unison triad down and is of his design from quadruplicate tone repetition (similar clock 19) and Trillerfloksel coined at the end of the theme ( bar 36 /37) but occurs again the Drehfloksel it. After further accents follows from clock 43, a further passage to the Drehfloksel that is repeated in the echo-like piano. The final group ( from bar 52, forte) draws on the figure of three ascending notes from the end of the previous forte passage (measure 46 ) and terminates the exposure with three chords, C major.

The implementation ( from bar 61) repeats the chords of the end of exposure in A- flat major and D minor and then accesses the first theme in B flat major ( subdominant ) on. The Forte block from bar 9 to the Drehfloksel in unison begins in G minor and then goes on A- flat major to D minor, where the second theme appears briefly from clock 82. Abruptly breaking on it, Haydn isolated then the rhythmic Schlussfloksel of the second theme, first in the 1st violin piano, then forte unison of the whole orchestra. This Schlussfloksel Haydn passed over also to the recapitulation.

The recapitulation ( from bar 101) is changed from the exposure and is partly continues processing from the execution: The first topic of the flute with vocal leader, the trailer is decorated in contrasting F minor and then spins the material continues to clock 116, where now the second theme ( in F major ) begins. Then the subject of four times with the tone repetition Drehfloksel ( from bar 19 ) is processed first in hesitant piano, then forte in polyphonic mode. Also, the three -note motif of the final group is now one of the processes undergone ( from bar 133, initially combined with the Drehfloksel in the bass ). After repeating the passage according to clock 43 the regular circuit group finished the sentence. Exposure and development and recapitulation are repeated.

Second movement: Adagio cantabile - Un poco allegro

B flat major, 3/4-time, 106 cycles

In the Adagio cantabile a main theme is presented and then repeated six times virtually unchanged until gradually varied.

• Presentation of the periodically structured theme in the strings. The theme is characterized by its dotted rhythms, multiple breaks and accents in measure 3 and 7. The theme has similarities to the main theme of the second movement of Mozart's Symphony in E flat major, K. 543.
• Variation 1 ( measure 9 to 16): flute with vocal leader, the winds fill the pauses in the first half of subjects.
• Variation 2 (cycle 17 to 25 ): voice leading in flute and strings, first theme in the dominant half of F major ( with seventh) and continuous tone repetition in Viola / Bass highlighted.
• Variation 3 (cycle 26 to 32 ): variation as 2, but winds fill the pauses in the first half of subjects.
• Variation 4 ( measure 33 to 40): Starting forte throughout the orchestra, then figuration of the theme in the first violin.
• Variation 5 (cycle 41 to 48 ): How variation 3, but reversed in the first half of castors topics of horns and violins, second half with figuration of the theme in the flute and first violin.
• Variation 6 (cycle 49 to 56 ): How Variation 5 with gradually other instrumentation ( eg flute in topics clock 4, bassoons topics in measure 5 /6).

The Adagio sounds than declamatory phrase of the first violin. Surprisingly now follows with the tempo changes to " un poco allegro " a new, rondo -like theme in the structure ABA ', where the A- part and B with A' be repeated. The topic reminded by his upbeat and the tone repetition something After the presentation of the rondo theme follows at the beginning of the first movement of Haydn's Symphony No. 39 from bar 85 a short polyphonic piano Fort spin drying the strings, before the issue as at the end of A'- part is again brought forte throughout the orchestra. The end of the block Haydn designed so that the music in the pianissimo at first slows down and seems to cancel before a few powerful chord strumming in Forttissimo complete the sentence abruptly.

The connection of an adagio with a " kehraus like " Allegro attachment is unique in all the symphonies of Haydn.

Third movement: Menuetto. Allegretto

F Major, 3/4-time, with Trio 64 measures

The minuet is characterized by change and combination of uniform and stepped quarter - eighth notes in phrasing from 4 2 taktigen units. The first part begins with an upbeat voice leading in Flute, Oboe 1, 1st violin and bass. Accompany the other instruments, second violin and viola in remote quaver movement. In subsequent cycles partly the quarter, partly the quaver movement is dominant (appear in measures 5-8, the Horns solo show ). The last two-stroke repeats the final phrase of the previous four-stroke engine in the echo-like piano. The middle part begins again as a four- stroke engine with haze after D minor in the first bar. From bar 17 the first oboe initially enter the bassoons, then solo show with a similar passage as before the horns. When revisiting the main part of the distribution of voicing and accompaniment is changed ( now voiced leader: Flute, Oboe 1, Violins, quaver accompaniment in bassoon, viola, bass).

" An expression of bucolic serenity meets the minuet, particularly notice some subtle wind solos in the: . First for two horns, then for the two bassoons, and finally for an oboe "

The dance- folk- trio ( also F -Dur) is characterized by the alternation of a trio of three instruments ( piano) and full orchestra ( forte). In the first part of two four-bar phrases, the " trio " from 1 Oboe, Violin 1 and 2 accompanying violin is (similar to continuous eighths as before in the minuet ). The second part of the initially shortened phrases on two-strokes, and replaced in the trio, the oboe through the flute. When revisiting the main part in the instrumentation gives the flute in the "Trio Passage" short inserts. The theme of the trio has similarities to the final movement of Mozart's Horn Concerto K. 412, and the Allegro portion of the second set with his opening and the tone repetition.

Howard Chandler Robbins Landon raises the set forth: to Charles- Maurice de Talleyrand If -Périgord had the thought of the years before 1789 Select a piece of music that would exclude everything in what was noble, beautiful and typical of that era, it would his election might like on this " miracle of a minuet ."

Fourth sentence: Vivace

F Major, 2/4-cycle, 247 cycles

The sentence is structured as Rondo:

• Presentation of the dance choruses (bars 1 to 29 ), which according to the pattern ABA ' is constructed (A and B -A' ) are repeated in the piano strings. The chorus is characterized by the alternation of two times (usually auftaktiger ) eighth - tone repetition and short, falling lines in sixteenths. The periodically structured A- part ends in the dominant C, which dominates in the B section. The B- part, we completed a " stretched " derivative action before a variant of the A section with partly offset type used by the head motif completes the refrain.
• The Couplet 1 ( bar 30 to 93) is on the pattern AAB (the second A section is only by Hinzufühgung a bassoon voice gradually varied) set up. It contrasts with the chorus by the change to F minor, the use of the entire orchestra in the Forte and the dramatic character including tremolo. The upbeat head motif of the refrain is processed by management -like and occurs partly in polyphonic mode. With the stock prelude motif Haydn redirects it back to the chorus.
• The chorus (bars 94-122, F major ) is now running through without repetition of the sections. The bassoon is composed vocal leader with the 1st violin.
• The dance Couplet 2 ( clock 123-176 ) is in the subdominant B flat major and has the structure aababa. It is consistently in the Forte and is characterized by its lively, continuous movement of the sixteenth parallel violins ( the upbeat tone repetition reminiscent of the chorus ). The transition to the chorus performed with a variant of the head motif of the chorus in the Piano Violin and the opening motif ( also surprisingly short Forte ).
• The chorus (bars 177-205 ) is as previously held with voice leading of bassoon and first violin
• The set includes a coda that picks up the head motif, the prelude again isolated and intense " stalled " brings, finally repeats the first half of the chorus in forte and then again the subject head can migrate through the instruments.

References, notes

Web links, notes

• Recordings and information about the 79th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 79 F major. No Philharmonia. 879, Universal Edition, Vienna 1965 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score )
• Symphony No. 79 by Joseph Haydn: notes and audio files in the International Music Score Library Project.