Symphony No. 84 (Haydn)
The Symphony No. 84 in E flat major Joseph Haydn composed in 1786 for a Paris concert series.
General
The Symphony No. 84 belongs together with the Symphonies No. 82-87 to the so-called " Paris Symphonies ". It's commissioned works for the Paris " Le Concert de la Loge Olympique. " To see history in the Symphony No. 82
In the Symphony No. 84, as well as in some other symphonies that time established itself increasingly prominent role in the woodwinds (flute, oboe, bassoon) in relation to earlier symphonies, especially in the slow movements (eg, at No. 83, No. 87, No. 90, No. 92).
About the Music
Instrumentation: flute, two oboes, two bassoons, two horns, two violins, viola, cello, double bass.
Performance time: approximately 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. 84. - 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: Largo - Allegro
Largo: E flat major, 3/4-time, clock 1-20
Haydn Symphony opens with a solemn and serious introduction. At the beginning there are four distinctive forte chord strumming on it, which are interrupted by piano interludes: the first two times through singable lines in the upper voices, followed by chromatic movement in the bass. The following passage in the woodwinds (cycle 10 to 13) is a special timbre and already indicated the special treatment of the brass section in the further course of the symphony on. After a short turbidity in C minor stabilized on further forte - piano - change the dominant B flat major, where the introduction concluded by a fermata.
Allegro: E flat major, 4/4-time ( alla breve ), 21-267 clock
The Allegro begins with an eight-bar, dance theme, which is characterized by its double strokes in the third and fourth clock. The melody is presented by the strings, answered by a five-bar " afterthought " of the entire orchestra in the fortepiano. Both together can be defined as the main topic or thematic unit (cycle 21-32 ). The theme is then repeated with flute, where the consequent in the energetic transition seamlessly merging ( from bar 46). Here is a motif first with descending eighth line and proposals conspicuous ( from bar 46) is sequenced twice down to continue a motif Tonrepetitions (cycle 59-61 ) and an ascending under by running eighth notes of the violins line in the bass ( with accents on the first beat of the clock, clock 62-69 ).
The second theme (bar 74-80 ) acts as a shortened version of the first: the oboes and bassoons play solo the subject head, to which the triad turn the postscript the subject joins ( from bar 29 ). The theme is then ( clock 81) abruptly to a minor eruption in Forte about the increases to fortissimo in harmony distant G flat major. In piano Haydn returns to the dominant B major. After a syncopated passage (bars 101-103 ) follows the final group with triads, which terminates the exposure.
The implementation ( clock 111-201 ) attacks beginning on the head from the main theme in B flat piano, then abruptly changes with the subjects head in the tutti to G major. Then the section will vary according to clock 81 et seq: The minor outbreak increases in fortissimo again in harmony away from the tonic areas: After A flat major Haydn achieved in the following on the outbreak piano passage in D flat major with a short cantabile figure in the first violin ( from bar 136) and the syncope - section C major. Here is a short general pause the main theme in F major one ( from bar 148). The design of the Forte - postscript of the theme is spun out then varied. Continuous staccato strings of violins lead again to a passage of strong harmonic changes and dynamic contrasts ( from bar 179). About the syncopated passage ( from bar 192) Haydn comes to the recapitulation.
The recapitulation ( from bar 202) begins with the main theme, the flute is immediately involved in the vocal line. The reconciliation in the syncope passage is instead the proposal motif from clock 46, otherwise the process is similar structurally to the exposure. Exposure and development and recapitulation are repeated.
Second movement: Andante
B flat major, 6/8-measure, 83 cycles
- The theme of the variation movement is first presented by the strings piano (bars 1-16). The eight-bar main melody is periodically structured, upbeat and characterized by their smooth, steady motion with accents. The bass begins with the topic header offset to the upper voice. The subject consists of two parts (bars 1-8 and 9-16 ), the second part is repeated. In the second part of the melody between the upper and lower part is divided, each set against a vote -like accompaniment to the melody is ( similar structure also in the other variations).
- The variation 1 (cycle 17-28 ) contrasted by the use of the entire orchestra in Forte and by switching to B-flat minor.
- The variation 2 (cycle 29-44 ) is held only for strings in the piano and plays around the theme with figurations.
- The variation 3 (cycle 45-60 ) is similar to ( topic is encircled by figurations ), however, involved the whole orchestra, with upper and lower voices (ie flute, oboes and violins on the one hand, bassoon, cello and double bass on the other) form groups.
- After a fallacy in G minor is in the coda of a passage in which the woodwinds prominent soloist. The instruments are successively with the issues head on ( flute, oboes, bassoons ), accompanied by the strings pizzicato. The movement ends with the four-bar main building block of the topic.
Third set: Menuet. Allegretto
E-flat major, 3/4-time, with Trio 54 cycles
The first part of the minuet, in which " the boundaries between rural heartedness and courtly nobility " " effortlessly blur ", is consistently in the Forte. The bassoons, horns and strings start in the low register with the four-bar thematic unit consisting of a start motif (kick-off with the Lombard rhythm and double tapping tone repetition ) and one is in Sekundschritten descending line. From bar 5 the whole orchestra takes up the theme.
The second part first processed in an eight-bar piano passage the motives of the first part. After revisiting the main theme ( from bar 19) Haydn is still a codaartigen conclusion also with material from the main topic.
The Trio ( E-flat ) consists of two eight-bar parts. In the first part of the solo bassoon and strings, a descending melodic line in quarter notes play twice with accent on the last beat of the measure. The second part is initially marked on the second beat by interjections of the orchestra ( with characterizing double whammy of the flute). Furthermore, since stress the violins, the third beat as in the first part, the strong beat is obscured (usually the first beat is stressed 3/4-time ). The final four-stroke engine has a descending in uniform pianissimo line.
Fourth sentence: Vivace
E-flat major, 2/4-cycle, 292 cycles
The song-like main theme with upbeat, ascending E flat major - chord and accent will be presented by the bassoons and piano strings. Similarly, a three-part rondo theme, comes after the eight-bar, periodically structured thematic unity also an eight-bar progression spin drying of the topic (only for strings, also piano) with a sequence of Sekundschritten up in their final turn. Instead of re- apprehension of the issue, however, is now the orchestra as Forte a block, the initially cited the upbeat head to the main theme, then goes into a long passage with continuous, partially chromatic tremolo lines of violins. In the bass while also occur Sekundschritte on ( clock 36-43 ), which can be derived from the previous Sekundschritten. The Forte block is terminated by a variant of the subjects head.
An introduction to the dominant B flat major via an intermittent breaks of F Major - seventh chord in the strings, which leads darkly mysterious to the cadential pianissimo. Here Haydn E flat minor touches briefly and then switches over to the variant of the F major topics head to B - flat major. Falling Sekundschritten lead to " noisy " circuit group with runs in the violins and a unison staccato motif conspicuous (cycle 84 and 88).
The development begins (as in the first set ) with the main theme in the dominant. The final phrase of the theme is then taken up in imitation, in a minor key. From bar 106 leads a chromatic tremolo line of violins to the appearance of the subjects head, who commutes between F minor and C major and ends on a fermata (measure 119). The subject then appears again, now in the piano strings in the subdominant A-flat major. The motif accent is thereby extended with participation of the oboe ( from bar 127). In bar 137, a longer Forte block begins. This repeated after a further variant of the subjects head in G major and a syncopated passage sections of the exposition: The tremolo line ( from bar 149 similar from bar 21 ), the variant of the subjects head ( from bar 165 similar from cycle 48), the interrupted by pauses seventh chord ( now B- flat major as the base ) and the gloomy passage pianissimo cadence, but which is extended over that of the exposure of eight section 16 bars. A sound long fully formulated B flat major - seventh chord, which decays on a fermata, announces the recapitulation.
The recapitulation ( from bar 200) is changed from the exposure: After the topic corresponding to the beginning of a sentence, the Fort spin drying of the theme is taken up again, but with continued expansion of the ascending line in seconds ( with violin solo ) different. The Forte block with the chromatic tremolo line is shortened, it takes a syncopated passage ( from bar 239, similar from bar 144) and the motif start from the theme (bar 247 ff ) on. After another pause as a resting point (cycle 256) the upbeat themes head down again to the " start " and opens into the turn " noisy " circuit group ( initially with the subjects head in the bass ), but this is against the exposure greatly changed and expanded. Exposure and development and recapitulation are repeated once.