Symphony No. 82 (Haydn)

The symphony Hoboken directory I: 82 in C major Joseph Haydn composed in 1786 It is one of the series of the "Paris Symphonies ". . The nickname " The Bear ", which refers to the last sentence, not from Haydn. Contrary to their number it is chronologically one of the last symphonies of the series.

General information on the " Paris Symphonies " No. 82-87

The Symphonies Nos. 82-87 have been announced in early 1785 by Claude- Francois -Marie Rigoley, a co-founder of the Paris concert series " Concert de la Loge Olympique ," Haydn commissioned in 1784 or. The " Concert de la Loge Olympique " was since 1781 in addition to the " Concert spiritual " the most important Parisian concert series. It was worn by the noble and rich Masonic " de la Parfaite Estime & Société Olympique ", which held its concerts at the Salle des Cent - Suissses in the Tuileries. The orchestra consisted of at least two-thirds of professional musicians who played in blue frock coats and wore swords. The concerts were not public. In 1786, the maximum thickness was 65 people, which is significantly more in Haydn until then principal place of activity at the court of Esterházy.

However, Haydn led the job only in the following two years. After the datings on the autographs No. 82, 84 and 86 originated in 1785 initially No. 83 and 87, in 1786 then from No. 85 only the undated introduction is preserved as graph based on Haydn's letter of 2 August 1787 (see below), however it can be presumed that it was composed in 1785. Haydn sent the autographs to his client to Paris, where they were probably listed immediately.

Although the Loge Olympique had most likely acquired the publishing rights, the publication history of the Paris symphonies is complicated. Michael Walter is following brief overview ( see below for details ):

" The early publication history of the" Paris Symphonies " is not untypical of Haydn's business dealings with publishers. Together with the symphonies he had sold the publication rights to the "Loge Olympique ." This exclusive right was, of course, only for France; so far as he could easily sell the works also at the Viennese publisher Artaria. However, Haydn's insurance, Artaria should be " all alone avails it," as much a lie as the insurance against the London publisher Forster that the symphonies were " not given out of my hand " been. (...) Of course, had to be a composer because of the lack of copyright protection for the end of the 18th century, see to it that he sold his symphonies possible to publishers before they could help themselves to piracy ( or the output of a competitor could simply nachstechen ); insofar as one is allowed to create the modern recycling law and moral standards difficult. "

The symphonies first appeared in 1887 at the publisher Artaria in Vienna, however, Haydn seems to be allowed the "Loge Olympique ' wanted and get them to have (see letters from 2 May 1787). When Haydn was already in negotiations with Artaria, apparently a stranger tried to make a deal with ill-gotten copies by having them just Artaria offered ( letter of 26 April 1787). Extracts from the letters to Artaria:

• April 26, 1787 at Artaria: " ... especially you wan me as a true friend and honest man just frankly confess who seye one, so be bear you my new symphonies, I swear on my honor, the same not to report a Worth thereof; but because such a theft furthermore can make me very unhappy, wobey even you might in future may suffer damage, so it tells your the win, me to confess the Truth, and the dangerous embezzlement me to discover at the time ... ".
• May 2, 1787: "I'm immensely to rejoice over the untruth in regard of my symphonies. I expect every day a letter from Paris: as soon as I have permission, you will be all alone uses it. "
• June 21, 1787: " ... Do you want to have the 3 former symphonies from me, so let's make me to know your opinion ... "
• August 2, 1787: "... I vergasse letzhin the order of the symphonies display, and such must be stung folgenderarth. The symphony ex A. Numero 1, Ex bfa Nro. 2, ex g Nro 3, Ex It Nro 4, D It Nro 5, Ex C No. 6 "

After the directors of the " Concert de la Loge Olympique " had sold their publishing rights apparently, Artaria, however, fulfilled Haydn's request, the symphonies in the order 87, 85, 83, 84, 86 and 82 to print, no, but published it in accordance with the numbering used today ( " first authentic edition ").

In England, the symphonies ( London business partner Artaria ) published in the same order as the publisher Artaria Longman & Broderip at the turn to 1788 after designs by Artaria, but new razor.

Furthermore, Haydn 's symphonies also the publisher Forster offered in April and August 1787 in London and thereby given the symphonies in the order No. 82, 87, 85, 84, 83 and 86. Forster paid, exchanged in the publication ("second authentic edition " ) but # 83 and 85 The publication took place shortly after by Longman & Broderip. " The embarrassment was great. " Longman & Broderip seem to have objected to the competition issue of Forster. So Haydn writes on February 28, 1788 " dearest Mons. Forster! Are you not be angry with me if you have because of my H. Longman Verdrieslichkeiten. "(...) So much you will realize by themselves that who own me 6 new pieces by themselves will have to guinée donate more than 20. " Probably this statement refers to the Paris symphonies that Haydn had sold to Forster, while Longman & Broderip they had lawfully received by Artaria. Haydn was apparently sentenced after his arrival in London in 1791 (see Symphony No. 93) to pay a penalty fee.

The " third authentic edition " was released in 1788 at the Publisher Imbault in Paris, who had probably acquired the publishing rights of the directors of the " Concert de la Loge Olympique ." He published the works in the order No. 83, 87, 85, 82, 86 and 84

Also in 1788, the symphonies at the Parisian publisher Sieber in the order No. 85, 83, 87, 86, 82 and 84 were published. This got the templates from the former concertmaster of the Orchestra of the Loge Olympique ( Joseph Boulogne Chevalier de Saint -Georges ). Perhaps the concertmaster was entrusted with the negotiations between Haydn and the Lodge Olympique, rights to the symphonies could assert and " cede back " these the publisher Sieber.

" 1781 was Haydn's share of the listed Symphonies 17%, in 1782 already 39% 1783 73 % 1784 64.5 % 1785 57% 1786 75% 1787 63%. 1788, the year in which the Paris Symphonies probably first came into the public concert, it was 90 %, in 1789 84% and 1790 80%. Other composers appeared barely on (...). " In the local press Haydn was celebrated and praised. So writes the " Mercure de France" on April 12, 1788 " It has symphonies of Haydn Lord performed at almost every concert. Every day we perceive them better, and as a consequence we admire the more the productions of this great genius, so well understood in each of his pieces, from a single subject so rich and derive such diverse developments, in contrast to the other uncreative composers who constantly moving from one idea to the next without being able to present a single in altered forms, and constantly piling effect on effect with no connection and no flavor in a mechanical way. "

The frequent repetition of Haydn symphonies in the concert series, in which up to then constantly Neuaufführungen were common, meant that the works could be studied more and more accurate and always have been known. This resulted in a further Rückkoplungseffekt on the reps. Here are the beginnings of the stable symphonic game plan.

The part relating to the beginning of the fourth set nickname 'The Bear' ( L' ours ) does not come from Haydn. In 1788, the name " Bear Dance " appeared in an adaptation of Vivace for piano to the publisher Heinrich Philipp Bossler. Ernst Ludwig Gerber grabbed the title in 1812, and in 1831 appeared in the Zurich New Year leaves the title "L' Ours. Bear Dance ", which is still also reprinted in a score edition of 1860/61. Subsequently, the nickname was shortened to "L' Ours ".

" The Paris Symphonies are Haydn's first symphony cycle in which unity and diversity are combined at the level of the organization of the whole opus on a large scale, in principle, just as it is realized earlier in the string quartets: six distinctly different work - individualities on the basis of a proposal drawn up to the last detail personnel and generic style and interconnected by a clear gradation of the claim, the shapes and the emotions, and by subcutaneous relations from work to Werk.Hinzu comes (...) the orientation of the genre style to a public out of which the composer has a rough idea at least. (...) The most striking feature in which the Paris Symphonies go beyond the older works and groups of works is the orchestral treatment (...). Mainly it comes to the woodwinds, which are used with a hitherto unheard-of wealth imagination (...). "

"Whether the " Prariser symphonies " by Haydn were conceived as a cycle, is an open question and probably negative. Because Haydn required for printing the symphonies by Artaria in Vienna in a different order (...) as for the made ​​at Forster pressure in London ( ... ) That Haydn the capabilities of the - large - Orchestra probably knew relatively accurate, showing his use of the orchestra, especially the solo use of the woodwinds, for example in the concertante woodwind solos in the Adagio of Symphony No. 87 "

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns or two trumpets, two violins, viola, cello, double bass, timpani. The trumpets and timpani are missing in the autograph, but are in the copies for Prince Oettingen -Wallerstein.

Performance time: approximately 25 minutes.

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 transmitted from hence composed only with restrictions on a 1786 work. - 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 assai

C major, 3/4-time, 261 cycles

Haydn opens the symphony as ascending fortissimo fanfare ( C Major - triad ) in unison ( bars 1-4 ). Contrasting answer the piano strings with a four-bar, melodious phrase ( measures 5-8 ). This is immediately by another forte unison - section of the entire orchestra with signal- like march -like tone repetition ( "Signal Passage" ) replaced ( clock 8-20 ). Then enter triad motif and signal motif next to each other, the signal motif now but as a simple, four times knocking ( without marching rhythm ), initially with the piano tone repetition in the woodwinds. Haydn then switches to the accompaniment of syncope over a minor and D major to the dominant G major. After a chromatically rich section the previously energetic and flowing musical performance falters, first as a sequence of sigh -like accents, then descending and breaks interrupted the piano in the strings. An upward continuous proposal motif ( which occurred already in the piano phrase in the strings in bar 7 ), however, is bringing new energy and increases up to the Forte before the second theme begins after a break (at the end of this passage occurs just to the signal motif, clock 67 /68).

The second theme (bar 70 ff ) is - like the piano strings phrase from the beginning of the sentence - held sanglich. It contains the proposal from the previous phrase " start " and a dual tone repetition. Flute and violin are first to vote leader, accompanied only by the second violin and sustained, deep sun ​​tones of the bassoon. The final section (bars 84 ff ) is characterized by ascending and descending staccato runs. The exposition ends piano in measure 102

The development begins with the string response from the beginning of a sentence ( measures 5-8 ), which moves to the subdominant F major. After the march-like signal passage ( according to clock 8 ff ) in F major touches Haydn with the triad and signal motif passage (according to clock 21 ff ) different keys ( G minor, A major, D minor, E- major, A minor). The hitherto always ascending - broken triad now occurs also down. After rising to fortissimo, and a brief appearance of the signal motif is the second theme piano in A major, but here without bassoon accompaniment. The theme continues as polyphonic passage, with which the phrase proposal moves through the instruments and is accompanied by a like vote against, chromatically upwards from previous figure. About the breath-like pianissimo passage accent the dominant G major is reached again.

The recapitulation (bars 174 ff ) starts with the C Major - Fanfare and is initially similar to the exposure up. However, the signal motif in the passage of the triad motif (corresponding to clock 21 ff ) has now the march rhythm and the triad motif also occurs downstream. The sigh -like accent passage is missing. The second issue the bassoon instead of the flute with the first violin is the leader voting, while the brass accompany with deep sun ​​shades. After the final group with the staccato passages up and down sets after a slow - chromatic section nor a coda (bars 248 ff ) with the march-like passage a signal.

Second movement: Allegretto

F Major, 2/4-cycle, 217 cycles

The set is constructed as a double variation with a theme in F major and F minor. The first theme is twice, the second time varies. The movement ends in an extended coda.

• Presentation Topic 1 ( F major, clock 1-32): The first part consists of two repeated sections that are played only by the strings piano. In the first eight-bar section that periodically structured, memorable and ( macro) is introduced song-like theme. The second part spins the material issues continued with two - and four-bar building blocks.
• Presentation Topic 2 ( F minor, clock 33-59 ): The second part consists of two repeated subsections. For the first time the wind to come. Theme 2 recalls the beginning of Topic 1
• Theme 1, variation 1 ( F major, clock 60-100 ): Compared to the first part is only the instrumentation changes ( addition kicking the woodwind). The second sub-section is not repeated.
• Theme 2, Variation 1 ( F minor, clock 101-128 ): The issue is resolved in uniform, interrupted by pauses eighth, accompanied by propulsive sixteenth chains in the bass.
• Theme 1, Variation 2 ( F major, clock 129-168 ): Again, the variation of the theme is mainly about instrumentation, while the structure is little changed.
• The extended coda ( F major, clock 168-217 ) draws on the melodic structure of Topic 1, however, suggests forte rustic rural tones (for example, dance Passage clock 184 ff pedal and accompanying syncope ). The movement ends pianissimo with the final phrase of Topic 1

Third movement: Menuetto

C major, 3/4-time, with Trio 78 cycles

The first part of the festive, symphonic minuet consists of the zehntaktigen Forte main thoughts with Vorschlagsfloksel and treble tone repetition, backed by equally border districts in the bass. These main ideas are still followed by a viertaktiger " afterthought " in the piano, in which the solo oboe also plays a run in addition to the triple, knocking tone repetition upwards. The second part of the minuet processes this final twist by sequencing and chromatic enrichment.

The trio is also in C major and is comprised of five Achttaktern. The topic will be " carried out in varying constellations of brass and strings and in a differentiated thematic work and affective very far in C minor and E flat major of its innocently bucolic basic shape. "

Fourth sentence: Vivace

C major, 2/4-cycle, 280 cycles

The Vivace is characterized overall by several short melody reminiscent of signals motifs, as well as the Vivace assai. The set begins with a piano bordunartigen, Diplomatic somewhat negative C ( with proposal ) in the bass, to the uses the 1st violin with her aufttaktigen motif. This motif is the minor third figurative played around (fd) and the ascending major third (ce ) marked. The motif ( main subject ) is repeated twice and provided with a final twist (cycle 1-12). The eight-bar melody popularly - Slavic character. From bar 12 is followed by a brief interlude of players with voice leading in the solo oboe, which specify the cyclic drumbeats on the C drone. Subsequently, the melody is taken up again, now with voice guidance in the flute and the second violin. The accompaniment consists in turn of the drone -C in the bass, but enriched by an out -preserved G in Bassoon, 1st violin and viola, creating a fifth ( C - G) is created. At the end of the topic Haydn replaced with two pauses to the dominant G major. - The combination of drone bass and melody is produced in the upper voices on the subject of the association of a bagpipe or a "bear leader at the county fair ", this eventually led to the leg imitate " The Bear " for the whole symphony.

The transition to the second theme begins forte throughout the orchestra with the re- appearance of the theme in G major, then reach into a passage with runs in which dominates the main subject. The second theme (bar 66 onwards, G major ), a "polka -like swinging melody " as the first upbeat and constructed of two-bar blocks. The voting leading oboes are only accompanied by bassoon and first violin. After eight bars is falling the whole orchestra in a minor key, and after a hesitant succession of upbeats the issue appears again, now with accents and in C major. The final group ( 100 stroke ff ) returns to the dominant G major and ends as a forte in the whole orchestra with chromatic line descending trill and closing phrases exposure.

The development begins with the first theme in F major, in bar 129 moves Haydn the topic down to E flat major. Then a polyphonic passage is done with the main subject and falling against ( clock 140 ff ), in which a passage with pedal point is interconnected to E ( clock 153-159 ). With chords, on G then announces the recapitulation.

The recapitulation (bars 179 ff ) is shorter than the exposure, it lacks the second theme. Instead, the first theme again forte over a pedal point ( sustained fifth CG) pointed out ( clock 222 ff.) After 14 cycles pedal point, the set seems to have ended. However, it still closes a coda to, in the first of the second theme, " later" is, before the sentence ends with a repetition of the polyphonic passage from the implementation and the pedal point from the end of the recapitulation.

References, notes

Web links, notes

• Recordings and information on Haydn's Symphony No. 82 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread the Symphony No. 82 by Joseph Haydn with discussion of various recordings
• Wolfgang Marggraf: The Symphonies of Joseph Haydn. - Symphony No. 82 in C major ( " L'Ours " ) call February 15, 2012 (as the text: 2009)
• Scott Foglesong: Haydn Symphony 82 " L` Ours "(detail analysis of sentences 1 and 3). http://www.scottfoglesong.com/essays/analysis_haydn_82.pdf, call 3. February 2013.
• Joseph Haydn: Symphony No.. 82 C major. Ernst Eulenburg Ltd. No. 488, London / Zurich ( pocket score, undated )
• Joseph Haydn: Symphony no. 82 in C major Hob I/82. No Philharmonia. 782, Universal Edition, Vienna without year. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ).
• Symphony No. 82 by Joseph Haydn: notes and audio files in the International Music Score Library Project.