Symphony No. 83 (Haydn)
The Symphony No. 83 in G minor Joseph Haydn composed in 1785 for a Paris concert series. The work bears the not coming from Haydn nickname " La Poule " ( " The Chicken ").
General
The Symphony No. 83 belongs together with the Symphonies No. 82-87 to the " Paris Symphonies ". It's commissioned works for the Paris " Le Concert de la Loge Olympique. " To see history in the Symphony No. 82
The title " La Poule " (French for " the chicken " ) refers to the " clucking " second theme in the first movement. He is not from Haydn and is not originated in Paris. He appears for the first time in the Haydn directory of the Zurich New Year of 1831 sheets. It has become common only since the 1870s.
The symphony has, especially in the first two sentences to several striking contrasts, for example, the ratio of first and second theme in the Allegro spiritoso or the sudden change in tone in the Andante. These contrasts are sometimes interpreted in terms of irony, with Haydn's irony may also refers to his own earlier symphonies, these were partially known to the Parisian public.
Although only about three quarters of the Allegro spiritoso are in G minor, the key of the symphony is usually given as " minor" and not with " major" (similar in some other minor symphonies of Haydn, eg No. 34).
About the Music
Instrumentation: flute, two oboes, two bassoons, two horns in G, two violins, viola, cello, double bass and harpsichord if necessary. A special feature is that three different cello parts are available in the first sentence: In addition to the bass voice doubling Cello is in the score, a ' cello obligato " listed as a separate line; where here the voice of clock 97-105 shares ( " divisi ").
Performance time: approximately 20-25 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. 83. - 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 spiritoso
G Minor / G Major, 4/4-time, 193 cycles
The set opens with an energetic and dramatic theme in fortissimo, which on an ascending four-note motif with accents (motif 1) and a falling movement in dotted rhythm ( motif 2 ) is based. Both motifs, which together form a four-stroke engines are repeatedly changed something in the second repetition with Fort spin drying of the dotted rhythm ( tone repetition ). The subject then sets at once, but now goes seamlessly into the transition section. Here initially dominate the two motifs of the theme (partly overlaid ) before the new motif 3 ( broken triad up from eighth notes and sixteenth notes and eighth notes down) from bar 33 in B flat major Tonikaparallelen occurs. The voting leading violins screw with the subject in the summit and then to announce the second theme in a descent of more than two octaves.
This ( from bar 45, B- flat major ) consists of a proposal figure of the 1st violin (motif 4), accompanied only by the staccato quaver movement of the second violin. Its easy-to - cheerful character and the sparse cast it contrasts strongly with seriously held the first topic. From bar 52 is followed by a repetition, now accompanied by the oboe, the tone F makes five measures long in dotted rhythm. This " cackling " figure, which gave its name to the symphony, one can imagine derived from motif 2.
Right then abruptly starts from clock 59 forte the final group in the next Triolenläufen in unison of the dotted rhythm of motif 2 over a border, downhill walking bass movement in quarters (, interpreted as a reversal of motif 1 motif 5) is found again. The exposition ends in measure 68
The implementation ( clock 69-129 ) processed elements from the first and second theme, which are modulated and sequenced, and occur in different voices. From bar 83 occurs again the motif 6 to that is derivable from Motif 3, is used as a continuous " vote against " the Scene 1 and is excreted in motif 3 from clock 109. From Motif 3 play the flute and first violin at measure 113 only to be unscrewing the head, accompanied by an against vote -like, chromatically ascending in minims line ( at motif 1 reminiscent ) and underlain by an organ point like A in the bass. Then the music stops at the moment of dramatic tension unexpectedly with almost two clocks general pause. Piano set the strings with a hesitant - chromatic passage and new build with the underlying tones of sun motif 1, the voltage scratch. The voltage discharges at the beginning of the recapitulation in measure 130
The recapitulation is similar to the exposure structured, but shortens the reconciliation section: The processing passage of Motive 1 and 2 analogue clock 21 ff missing, but the tone changes with use of motif 3 (bar 146) to G major. In the second theme, the flute takes over the " clucking " movement, which thus sounds a bit softer. The final group ( stroke 171 et seq ) is extended codaartig: In addition to the elements of the exposure which they now no longer threatening first theme and the " Gackerbewegung " further appearances. Also noteworthy is the fallacy with fermata on a dominant seventh chord in measure 181 exposure and development and recapitulation are repeated.
The occurring in the set of dotted rhythm may be intended as a hint to the French opera overture, the " clucking " consort of the second theme is reminiscent of a harpsichord piece in G Minor by the French composer Jean -Philippe Rameau, which is entitled " La Poule ".
Second movement: Andante
E-flat major, 3/4-time, 105 cycles
The first theme ( main theme ), with the strings open the movement, consists of three motives: ( 1) a knock motif of five times the tone repetition, beginning with grundierendem bass, (2 ) after a fifth upwards a falling line with trill, (3) a slightly chromatic, singable line with final trill. Scene 1 and 2 occur in the first exchange on ( position 1 to 5), while motif 3, the total eight-bar thematic unit closes (cycle 6-8 ). After a short throw of the woodwinds the topic in an ornate with small against ( derived from motif 3) variant is repeated and continued ( bar 1 to bar 16 ).
Then lead singable, chromatic lines ( from motif 3 derivable ) in the dialogue between the two violins in C minor for double dominants in F major, which acts as an announcement to the next, " operatic " section in B major. This is characterized by strong contrasts in timbre: The surprising, gesticulating in unison throw the whole orchestra in the form of a unison scale down over two octaves is caught by knocking Tonrepetitionsmotiv of the main theme, played by second violin and viola. The expected use themes then goes out but while the knock motif continually piano continues to run ( a total of 22 repetitions ). The resulting sound carpet of tone repetition changes in clock 28 by fortissimo tremolo abruptly his character and leads cascades ornamental motif on a proposal, which continues the previous one, down border line. Depending on the position of the section from bar 34 with its proposal further and Tonrepetitionsmotiv and the chromatically ascending line can be considered as the second theme (B- flat major, strings only). The final section (bars 41 ff ) is characterized by a Royal sang motif of oboes.
The implementation (measure 44-72 ) begins as Fort spin drying of the main thread, including the minor turbidity, the " operatic " in the from clock 53 Section umschwengt: Starting from gesticulating objection here as C Major - scale up and down, develops through clock -wise addition Join a sound a little scary Tonrepetitions carpet that leads to a tremolo sound space in the Forte (cycle 53 to 60 ). The strings then put her singing dialogue continues according to clock 17 ff. Imitative section of the clock 61 to 72 is held with staggered use of the knock motif and vote against -like runs up.
The recapitulation ( from bar 73) is compared with the exposure varies: The main theme is accompanied with votes against -like runs up into the flute ( similar to those of the end of execution), the singable dialogue of violins is missing as well as the final group, instead of one, there are three of the gesticulating in unison scale runs ( B- flat major, B- flat major with seventh, E-flat major ). The movement ends pianissimo with a staggered use of motif 1 and 2 over a pedal point on it. Exposure and development and recapitulation are repeated.
Third movement: Minuet. Allegretto
G Major, 3/4-time, with Trio 66 cycles
The minuet begins upbeat and forte with a song-like - pastoral theme, first with a falling, then rising in unison line. The second part of the minuet with 34 cycles significantly longer than the first ( eight bars ). He initially processed by management like the elements of the first part, followed by " a kind of sham Reprise": the melody of the theme is indeed unchanged by the pedal point on D in the bass and horn (and not on the root G), however, the listener initially not the impression harmoniously to be back in the tonic G major. The Minuet concludes with a brief coda (bars 35-42 ) that the upbeat head motif isolated from the beginning of a sentence.
The trio is made up easier than the minuet. It is also in G major and is divided into three eight-bar sections. Flute and violin playing piano a ländler -like melody in continuous staccato eighth chains, which is partially decorated with suggestions.
Fourth sentence: Vivace
G Major, 12/8-Takt, 99 measures
In Vivace, a block with Clean Sweep character and " between Gigue and Chasse oscillating " into the background thematic work. Instead, dominated by a " perpetuum mobile -like motion train in which almost only his rhythm remains of the already not high profile issue, and a superb reinforcement of sound that replaces the thematic work, especially in the concentrated entirely on harmonic mean of implementation. "
The four-bar main theme is first presented piano by the strings, then repeated as a variant with voting leading flute. From Tutti - use in stroke 8 then dominate by running eighth chains, hammering repetitions, Akkordmelodik and short solos for flute and oboe (eg Tutti echo for a " bird call " the flute ( bar 11 ff ) ). A final group can be distinguished from clock 31-34.
The " implementation " (measure 35-55 ) begins with the initial motive unscrewing itself from the main topic and then goes into a Forte - block, which is characterized by eighth chains, pounding repeated notes, accents and numerous key changes.
The recapitulation (bars 55 ff) is similar to the exposure, but the main theme of the flute is right at the beginning with used. The movement ends with a coda (bars 83 ff ): The rapid movement of the music is hesitant hesitantly by several pauses and by general pauses. After a final appearance from the main theme of the movement concludes with stormy eighth chains in Forte. Exposure and development and recapitulation are repeated.