Symphony No. 85 (Haydn)

The Symphony No. 85 in B flat major Joseph Haydn composed around the year 1785 for a Paris concert series. It contributes to not originating from Haydn nickname " La Reine " ( The Queen ), which refers to the French queen Marie Antoinette.

General

The Symphony No. 85 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. " This plant probably originated in 1785. History to see in the Symphony No. 82

The nickname " La Reine " ( The Queen ) is probably based on the subtitle " La Reine de France" in the first edition of the work by the publisher Imbault. Origin of the title is believed that the French queen Marie Antoinette patroness of the concert series of the "Loge Olympique " was (and still ) or that they should have particularly appreciated the symphony.

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns, two violins, viola, cello, double bass and harpsichord if necessary.

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. 85. - 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: Adagio - Vivace

Adagio: B- flat major, 4/4-time ( alla breve ), clock 1-11

The Introduction, which is held consistently in fortissimo and the participated the whole orchestra, has with the fanfare-like chords and the dotted - border rhythms on typical elements of Baroque French overture. The dotted rhythms are interrupted by pauses, played first in unison, alternating with the chords, then flowing - through- eight Elbe DC Tung and with ascending scale virtuosic runs. With a fermata on the dominant F major movement comes to rest.

Vivace: B- flat major, 3/4-time, clock 12-276

The beginning of the sentence contrasts strongly to the majestic Introduction: The strings play piano one of three four-bar phrases composed, quiet -sang Royal theme. Each phrase is composed of descending bass line under Liegeton the upper voices and answer Direction, closing twist in the upper voices. Add clock 23 forte is the whole orchestra ( tutti ) with a motif of a, the scale running from upstream (reminiscent of the run up to the introduction) and broken chord down (reminiscent of the descending bass line in the opening theme ) is. Both components of this " reconciliation motif " are played in unison and staccato. The theme from the beginning of the sentence is then repeated piano, where the winds give throbbing throw-ins in the pauses between phrases. In bar 42, the Tutti starts again with the reconciliation motif. It is now being spun in rapid tremolo and appears both in the bass and in the upper voices. In bar 60/61 the double dominant C major is reached, which is confirmed with four chords,.

Instead of the expected second subject in the dominant F major is surprisingly fortissimo passage in F minor one, the striking similarities to the first movement of Symphony No. 45 of 1772 has. This was performed in April 1784 in Paris at the last concert in the series " Concert spiritual ". In the first movement of Symphony No. 60 of 1774, Haydn had used this quote. But it is not quite sure whether this is a deliberate quote or a random match at No. 85: In the case of a quote this is fitted to you because it is derived from the descending eighth notes of the main theme as well as the descending chord from the Reconciliation Scene and thus " necessarily at the level of thematic work, surprising as quote" appears or " is ambiguous, as the passage motif does not act as a quotation ." The reconciliation motif leads to a variant of the main theme, in which the first oboe takes over the role of the upper voice. Haydn These changes also to the dominant F major. A chromatic continuation leads us to the lively, " from game characters together law (s) " circuit group ( starting at measure 96, F major ), with a characteristic accent brings in the bass after the proposal - repeated notes tremolo figures. The exposition is repeated.

The development begins with two harmonic progressions Haydn: Starting from the F major of the final group perform four chord strumming abruptly to D major. Immediately thereafter, the subject of the farewell symphony sets starting from an E-flat major. By syncope in the violins it reminds here even more to the beginning of a sentence of the Symphony of 1772. The design is guided by different keys before the passage leads in bar 133 back to E flat major. Now follows - starting from A flat major - the processing of the material from the main theme by sonic dilution up to the eighth episode ( the bass line from the beginning of a sentence ), minor clouding and thematic compression. From bar 181 the accent motif the final group is processed. About the reconciliation theme in D major and chromatic passage, the recapitulation is reached.

The recapitulation ( from bar 212) is shorter than the exposure ( the transition from the first to the second appearance of the main theme is reduced, the motif of the farewell symphony is missing), the final group is somewhat expanded. Development and recapitulation are repeated.

" In this sentence there is not a single note that can not be explained as a derivative or variant of slow in the introduction and the subject of the exposed material. (...) This is music that requires the effort of understanding and precisely by entertains. "

Second sentence: Romance. Allegretto

E-flat major, 4/4-time ( alla breve ), 126 cycles

The going back to the Haydn researchers Carl Ferdinand Pohl considers the main theme of the movement is based on the French folk song " La jeune et gentille Lisette " ( the graceful and young Lisette ), is now rejected as unfounded. The sheet music from the archive of the publishing house Breitkopf & Härtel, to which Pohl appeals is likely to be a subsequent copywriting of the symphony set. The theme is subjected to four variations. The tone of the sentence " is socially - binding almost to the impersonal. "

• The strings provide the upbeat piano main theme before (cycle 1-22). As in other variation sets, the section of the main theme is built according to the structure aba, where the a- part and the ba - part to be repeated. The a- part (the subject in the strict sense ) is achttaktig, the b- part ( a continuation of the theme ) sechstaktig. The b - part will be carried out by the two violins.
• The variation 1 ( E flat major, clock 22-44 ) is characterized by an alternation of piano passages, in which the subject appears largely unchanged ( with accompaniment of flute or horn), and rhythmitisierten forte passages of the entire orchestra. Depending on your view, you can see this contrast between the graceful and pompous a reference to the first set.
• The variation 2 ( E flat minor, clock 44-64 ) is held only for strings in the piano. The first violin plays the beginning of the main melody against a vote -like, ascending accompanying figure. The middle part temporarily changes to G major. To get from the E flat minor at the end of the second section to the Eb major the next variation, Haydn has a reconciliation inserted (cycle 64-72 ).
• In Variation 3 ( 72-94 clock, E-flat ), the strings play the theme largely unchanged, accompanied by votes against eighth -like figurations and agree bird -like proposal interjections of the flute.
• The variation 4 (E Flat Major, clock 94-116 ) with soloistic bassoon disassembles the topic in a continuous, partially chromatic eighth notes.
• Haydn finished the sentence with a short coda, which is based on the subjects head with the pounding opener. The sentence fades away in pianissimo.

In the older literature is partially executed, Haydn had used the main theme in an earlier lyre concert and in the second movement of the Symphony No. 100. In addition to the rhythm at the beginning of the block between the subjects, however, no similarity. The subject of the sentence is also among the Slavic melodies of the Croatian ethnomusicologist Franjo Zaver Kuhav.

Third movement: Menuetto. Allegretto

E-flat major, 3/4-time, with Trio 78 cycles

In the first eight-bar part of the whole orchestra plays in unison forte and mainly the dance- powerful theme that is characterized by its ascending triad, uniform motion and dotted quarter ( Lombard ) proposal rhythms. The second part first processed in a further eight-bar piano string passage, the elements of the subject ( triad and proposal ) before reprise like the first part is repeated. At this turn eight bars Haydn has set a coda that takes up the elements of the subject again. At 14 cycles, the coda is unusually long (as groups generates 8 8 8 14 cycles).

The trio is also in B- flat major. In the first part bassoon and first violin over pizzicato string accompaniment played in front of a Landler melody. At the beginning of the second part " the head motive is gradually reduced to a cadence figure, then the woodwind hook successively to a pedal point of the horns of this figure tight, then the whole sentence falters, and only the return of the ländler, the restored order - wherein the entry after the puzzled general pause of exquisite comedy is "Through the long sustained pedal point on the dominant F and the pizzicato string accompaniment creates " an episode of dark, dreamy reverie ". .

A detailed consideration of the sentence can be found in Scott Foglesong.

Fourth sentence: Presto

B flat major, 2/4-cycle, 220 cycles cycles

The sentence is structurally partly viewed as a mixture of a rondo and sonata -allegro form. A Rondo corresponds to the multiple recurrence of a main theme of the sonata form remember the intermediate parts, the material from the main theme in part by management like process.

• A section (bars 1-24): Presentation of the periodically structured, dance rondo theme in the strings with soloistic bassoon. The topic is like the second set in the scheme aba set up, with the a- part and the ba - part to be repeated. The a- part (the subject in the strict sense ) as well as the b- part ( a continuation of the theme ) achttaktig.
• The B section (bars 25-69 ) who moves from B flat major to the dominant F major, is a loose continuation of the material from the rondo theme is: Between the exchange of forte and piano - passages that sounds upbeat head motif on the topic repeatedly through.
• From cycle 70 to 85, the rondo theme is in the same instrumentation as the beginning of a sentence repeats (A1- part ), but only the elements of a and b.
• In the C - part ( clock 86-163 ), the material from the subject processed stronger enforcement, like as in the B- part: In addition to minor turbidity and to vote like interjections fall on particular rhythmic, sometimes dissonant stoppages. Besides causing energetic staccato quaver figures contrast with the far more light musical events.
• When revisiting the rondo theme (bars 184-189 ) is the repetition of a part, in which involved the whole orchestra, varied and extended to 10 cycles.
• Haydn finished the sentence with an extended coda ( from bar 190), in which the upbeat head motif of the rondo theme plays the main role.

References, notes

Web links, notes

• Recordings and information of Haydn's 85th Symphony by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Wolfgang Marggraf: Symphony 85 in B flat major ( " La Reine "). http://www.haydn-sinfonien.de/text/chapter6.5c.html, August polling 29, 2012.
• Thread the Symphony No. 85 by Joseph Haydn with discussion of various recordings.
• Joseph Haydn: Symphony No.. 85 B flat major. Ernst Eulenburg Ltd. No. 432, London / Zurich ( pocket score ).
• Joseph Haydn: Symphony no. 85 " La Reine " B flat major Hob I/85. No Philharmonia. 785, Universal Edition, Vienna 1963 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 161-203.
• Symphony No. 85 by Joseph Haydn: notes and audio files in the International Music Score Library Project.