Symphony No. 8 (Haydn)

The Symphony in G major Hoboken directory I: 8 Joseph Haydn composed probably in 1761, during his tenure as Vice - Kapellmeister to Prince Paul II Anton Esterházy de Galantha. She wears the leg imitate " Le soir " ( The evening ).

General

Joseph Haydn wrote the Symphony No. 8 in G major " Le Soir " ( The evening ) probably together with Symphonies No. 7 " Le midi" ( Noon ) and No. 6 " Le Matin " ("The Morning ") in the. 1761 It is the only coherent cycle within his symphonies; he became known as " The times of the day ." More about the history of these symphonies see in the Symphony No. 6

About the Music

Instrumentation: flute, two oboes, bassoon, two horns in G, two solo violins, two violins Ripieno, viola, cello solo, cello Ripieno, double bass solo, double bass Ripieno. In addition to the listed separately solo instruments takes over in the first set even the horn of a brief solo passage. The role of the harpsichord is assessed differently in the literature.

Performance time: approximately 20-25 minutes (depending on adherence to the prescribed repetitions)

When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century (see below) and can be used for a symphony from 1761 with some restrictions. - Note that this Besschreibung and structure of sentences is to be understood as a suggestion. Depending on your view, other accruals and interpretations are possible.

Heinrich Eduard Jacob describes the symphony as follows:

" First, the lively main theme, which herbeisummt like a swarm of mosquitoes (...) buzzes and with his fellow- subjects from instrument to instrument. Andante in C Major mention the wind, only the bassoon still speaks in; the world is deep purple, the day is over, the violins sing their evening song. But can it end without a thunderstorm? Sudden raid, real Haydn, a great Presto: La Tempesta. First, the violins undermined in sixteenth figures, the sultriness; Quarter notes, eighth separated by pauses ( ... ) indicate the first gusts of wind. Now sprinkle the flutes of a blue and white zigzag of lightning over the countryside, and now is the tutti strings there: in fortissimo demisemiquavers chase the air mass behind each other, decreasing, again progressively until the storm has abated and night falls at peace. "

First movement: Allegro molto

G Major, 247 bars, 3/8-time

The violins begin piano with the dancing eight-bar and periodically structured first theme (main theme). After a short Forte throw the whole orchestra in unison, which is answered by a solo figure of flute and violins, the violins repeat the subject as a variant, now also with accompaniment of other instruments. After another five-bar motif ( from bar 23), which is also repeated, followed by a Forte section of the entire orchestra with descending chords and runs. This results from the tonic G major to A major. After a short general pause as a turning point, the main theme is a variant of a dominant D major, in which stand out next to the strings oboe and bassoon. After a longer section with rapid runs in the tools dialog closes in 85 clock the final group with their unison motif at which recalls the motif from bar 23.

The implementation allows the motifs to the main theme and its variation in the different solo instruments occur. The tutti section of clock 122-142 is held at Forte chromatic downward movement of the strings in tremolo. A bill reprise the main theme in C major uses in clock 143 before the actual recapitulation followed in measure 173 by solos of oboes, horns and bassoon. Surprisingly, now but a unison passage follows in Forte, as fallacy like fermata suddenly ends on it. Until clock 214, the solo flute plays a variation of the main theme in E flat major, then modulates back to Haydn G major. The following section to the beginning of the end section in measure 231 is also characterized by runs on a change from tonic ( G major ) and dominant ( D major ). Exposure and development and recapitulation are repeated.

Overall, this set has a lively gigue - like character and therefore is more like a final set of other early classical symphonies. Compared to the other movements of this symphony (also the Symphonies Nos. 6 and 7 ) occur relatively few solos here.

After Ludwig Finscher the Allegro molto is a treatise on the air " The n'aimais pas le tabac beaucoup " from Christoph Willibald Gluck 's comic opera " Le diable à quatre " from the year 1759. This allusion is expected from the court society, the Vienna with the was familiar musical life, have been understood at first.

Second movement: Andante

C major, 129 bars, 2/4-cycle Special cast towards Concerto grosso in this sentence: In addition to bassoon and cello, two solo violins, otherwise no wind. Solo cello and solo bassoon are often performed in parallel, thus a special tone is produced. It is suggested the following structure for the sentence:

First section ( " exposure " ):

• A section (bars 1-23): four-bar theme in dotted rhythm played by the two solo violins; the subject is then absorbed by the solo cello, Fort spin drying from bar 11 in the tutti, end in measure 23 with a fermata on a D major seventh chord;
• B section (bars 24-48 ): four-bar theme, also with a dotted rhythm, played by the solo cello; Fort spin -drying the entire orchestra; Tutti, including with ascending G major scale in unison and a long -held three-line G (cycle 36-38) the first solo violin, end in pianissimo in measure 48 on G.

Second section ( " implementation " ):

• A'- part (cycle 49-63 ): theme of the A section with bassoon and cello in the dominant G major, then from the two solo violins in the tonic C major, then modulation to G minor;
• 'B' section (bars 64-91 ): Fragment of the theme from the B - part in the violins and cello with modulations and Fort spin drying, then the ascending scale in unison, fallacy in measure 83 in A minor ( Tonikaparallele ); in unison with dotted rhythm (which is also, for example, in measure 5 appeared as a short phrase ) modulation back to C major;

Chapter Three ( " Reprise" ):

• A section (bars 92-107 ) similar to that in the first section, but now end with a fermata on a G major seventh chord;
• B section (bars 108-129 ): similar to the first section, fades away in pianissimo with a salient Big C of the bassoon.

Exposure and development and recapitulation are repeated. Depending on your view and rating of the sections you can also see a three-part song form in the sentence.

Third movement: Menuetto

G major with Trio 84 cycles, 3/4-time

The Minuet with its evenly continuous quarter movement is in two parts with the voting leading upper voice (flute, oboe, violin ) and the border bass voice. At the beginning of the second part the theme is continued in the tutti with some chromaticism, the wind plays alone one derived from the theme motif that is repeated in a minor key. Then the issue is taken up again. The last four bars can be seen as a coda.

In the trio ( C major ) as in the other symphonies enters the cycle of double bass (or violone ) out solo. Here, the " portly instrument on a scale of more than one and a half octaves climb to the heights" must.

Fourth sentence: La Tempesta. Presto

G Major, 141 bars, 3/8-time. As in the Andante here with two solo violins.

In this set, a storm / thunderstorm (Italian: la tempesta ) are shown. In the shimmering piano of the first solo violin ( tremolo to D) fall silent quarter of the tutti violins ( interpretable as rain drops); the figure is repeated with the second solo violin and solo cello, before the flute with a flash - in large intervals down jumping Staccatoachtel - initiates the storm. The following design from one quarter and four falling or rising thirty-second notes, played by the solo instruments up to full orchestra and backed by a tremolo, can be thought of as a storm. From cycle 45 to 50 there is again a " raindrop section" before the final group finished with the " storm" the first part of the sentence.

In the development section first followed by other " raindrop ", then a wild storm, in which the 1st and 2nd violins each other's throwing back " wind gusts ", then a crescendo section with ascending tremolo ending in a dominant seventh, before the raindrop to Reprise reconciled in clock 92. Exposure and development and recapitulation are repeated.

References, notes

Web links, notes

• Recordings and information about the Symphony No. 8 by Joseph Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony No.. 8 G major " Le Soir ". Ernst Eulenburg Ltd.. No. 515, London / Mainz undated ( pocket score ).
• Thread the Symphony No. 8 by Joseph Haydn
• Joseph Haydn: Symphony no. 8 G major " Le Soir ". Philharmonia Band # 708, Vienna without year. Series: HC Robbins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn. ( Pocket score )
• Symphony No. 8 by Joseph Haydn: notes and audio files in the International Music Score Library Project.