Symphony No. 86 (Haydn)
The symphony Hoboken directory I: 86 in D major Joseph Haydn composed in 1786 It belongs to the series of the "Paris Symphonies ". .
General
The Symphony No. 86 belongs together with the Symphonies Nos. 82 to 85 and 87 to the Paris symphonies so-called. It's commissioned works for the Paris " Le Concert de la Loge Olympique ."
Noteworthy at No. 86 are the slow movement with unusually free sentence structure and almost meditative gesture, while the remaining sets have a pompous - extrovert character. The last sentence shows a particular density of thematic work. Howard Chandler Robbins Landon rated the Symphony No. 86 as one of the best of Haydn's symphonies at all.
About the Music
Instrumentation: flute, two oboes, two bassoons, two horns in D, two trumpets in D, timpani, 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. 86. - 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 - Allegro spiritoso
D major, 3/4-time ( Adagio ) / 4/4-time (Allegro spiritoso ), 213 cycles
Adagio (cycle 1-21): After a simple triad motif in gentle piano from a stroke 2, indicated upbeat motif, initially on piano, from bar 8 then the Forte - to fortissimo tutti moves developed. The three start - eighth occur not more ascending, but as ganztaktige repeated notes on (knocking ). In addition, ascending and descending runs in the strings. After two cycles quiet knock sets in clock 16 Tremolo on an E major Septnonakkord one who leads on to the dominant A major. With the opening motif on the stabilizing base A major initiation with their rugged dynamic and motivic contrasts in the piano sounds and goes without a break into the Allegro over ( attacca connection).
Allegro spiritoso ( 22-213 clock ): For the entire set the pounding repetition of eighth is - Staccato characteristic, whereby an energetic propulsive force is generated.
The first theme is made up of two contrasting parts. The first part ( hereinafter referred to as motif 1 ) consists of a two-bar piano motif that is repeated a whole step lower ( see note example). The motif 1 is differentiated in that in the first cycle, the leading vote first violin first legato ( half note and eighth- phrase ), in the second measure, however, staccato ( ascending triad ). The harmony is unstable: the first clock acts as a derivative to the harmony of the second bar (just measure 3 to cycle 4 of the topic ), there being, however, instead of the fundamental tone in the bass, the third appears (cycle 23: g at E Minor, clock 25: f in D minor ). The second part of the theme is based on the fortissimo presented by the whole orchestra motif 2 with five tones: two upbeat sixteenth down, three-eighths of blows as repeated notes. This motif is repeated vigorously, including the subdominant G major and the dominant of A major. Immediately closes the motif 3 in the rhythm of two sixteenth - eighth ( but now in ascending order), followed by motif 4 from descending semiquaver movement (both motifs are repeated).
With smooth transition ( continued vigorous repetitions at Forte ) is the first theme in measure 37 in the following section, the motif 3 with syncope and a bass movement from quarters and half notes combined. Surprisingly, now gets Scene 1 from the first issue a second appearance ( from bar 54 from B minor to A major ), so that the listener does not know at first whether the sentence monothematic is built (on only one subject -based). After an opening into A major change, however, which begins in measure 64 "real" second theme, which is typically presented in a gentle piano with vocal leading first violin. However, it has no melodious character, but based on a two-bar sigh motif accented and chromaticism.
After the tremolo section at Forte / Fortissimo from bar 74 with initially chromatically ascending melody follows the final group with motif 3 in unison strings ( depending on the view could be the beginning of the final group already set in clock 74).
The development begins with piano motif 1 in B minor and then changes over A minor, G major and E major to the stabilizing C-sharp major. Here, give oboes and flutes against small movement like splashes of color. From bar 104 then resumes the whole orchestra forte and processed motif 2 and motif 3 with several key changes: starting from F sharp minor, for example, B major and C major are achieved. Abruptly it comes to clock 125 for piano performance from the second theme in F sharp minor; the entire musical movement subsides (two ganztaktige owning the piano, clock 130 ff ), but then begins with motif 1 in offset and continuous use Achtelrepetitionen from bar 136 again and rises over octave tremolo on A with Akkordmelodik to forte (bar 144 ff. ). This section can already be seen as a transition to the recapitulation (bars 151 ff.)
The recapitulation begins as the exposure, but with interjections of bassoon and oboe with motif 1 In the second appearance of motif 1 ( clock 177 ff ) next to the bassoon, the flute is involved with a phrase. Otherwise, the recapitulation is largely similar to the exposure structured. Exposure and development and recapitulation are repeated.
Second sentence: Capriccio. largo
G Major, 3/4-time, mention 92 cycles, trumpets and timpani
This unusual movement begins with his four-bar theme ( main theme, motif 1), the one with the remote, quiet -going eighth movement and the restriction on the fundamental harmonics ( G major - D major seventh chord - G Major) a little melodic, more thoughtful makes an impression. The first cycle consists of a single upward-moving, broken G major triad; at the transition from cycle 2 to cycle 3 is a small crescendo with emphasis on the derivative action instead of the D major seventh chord. Characteristic is also the fifth upwards in the violin, which cooperates with the crescendo like a short in breaking into melancholy light beam. The melody line brings thus from far and comprises a total of one twelfth. The main theme is repeated with minor turbidity. This is followed by:
Third set: Menuet. Allegretto
D major, 3/4-time, with Trio 90 cycles
The relatively long and extensive minuet closes with his strong, pompous character in the first set. The first part is made up of three four-bar sections. The main motif consists of an upbeat sixteenth-note figure and a two-to threefold tone repetition. The middle part has detailed character, so that the sentence is more of a " miniature sonata form " as the formerly used Tanzmenuett. It begins with the main subject in the upper voices over a long sustained A of the horns, from bar 21 enters the subject, starting from d- Moll is placed in the cast. On an E Major - seventh chord in bar 26 the music comes to a halt and then decreases back to the dominant A major, before the main theme from the beginning of the sentence in the tonic D major is taken up again. In the coda the action is first again interrupted on a diminished seventh chord before the final turn from the first part ends the minuet.
As a trio, also in D major, play violin and bassoon in the octave offset a vast, ländler like melody. Reply to the beginning of the second part of the oboe and the flute.
Fourth movement: Allegro con spirito
D major, 4/4-time, 180 cycles
The set is largely dominated by a two-bar motif that consists of five-fold repeated note, in the second bar of a falling figure in the first bar ( " almost permanent ( n ) implementation of the tonrepetierenden head motif "). In particular, the dominant note repetition, but also by the dominance of working with designs instead of ( melodic ) Topics include the set of the Allegro to spiritoso. The two-measure main motive is combined in the question-answer principle for the four-bar thematic unit and initially presented only by the strings piano. As a variant, it is then repeated an octave lower, before starting at bar 9, the entire orchestra forte unison and takes up the theme again and then continues upward. From bar 21 the movement is broken up by syncope, while the motif continues in the bass. The harmony commutes from bar 27 between A major and E major, where E is as syncope relatively long (measure 27-32 ) in the bass. About a tremolo passage (bars 35 ff ) ends this section.
The following second issue affects the tone repetition of the first theme, but now down with a characteristic interval jump. It is based as the first theme on a two-bar motif, the melody is first in the 1st violin, 2nd violin to accompany the staccato and pizzicato bass, from bar 44 is followed by a version with oboe and bassoon.
At Forte will operate normally using the entire orchestra as chromatically ascending tremolo line, which is repeated an octave higher at the second attempt. The final group is based on a derived from the main subject Tonwiederholungsmotiv that occurs echo-like or in the dialogue between winds and tutti. The exposition ends on the first run on the A- flat major seventh chord with timpani rolls and fermata, on the second pass it flows seamlessly into the very short implementation. First, an abrupt key change is done with the main motive to B minor. After another pause on H follows the second theme piano in G major, the subject is then modulated in a Fort spin drying, inter alia, to C major, E major, A minor and F-sharp major. After a fortissimo section with offset use from the beginning of the main subject (bars 91-96 ) announces a A Major - arpeggiations the end of the implementation of which is again reached in measure 102 with the A- flat major seventh chord, including pause and drum roll.
The recapitulation (bars 103 ff ) first runs similar to the exposure, but without the return of the theme at Forte as from bar 9 In bar 138 Haydn changes surprisingly abruptly to B - flat major, which a cadence with whole notes of D minor leads back to the tonic D major. The final group is similar to extended exposure, but a coda with a pedal point on D ( clock 163-167 ). The implementation is thus kept quite short, extends the recapitulation for enforcement, like. Development and recapitulation are repeated.
References, notes
Web links, notes
- Recordings and information on Haydn's Symphony No. 86 by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
- Thread the Symphony No. 86 by Joseph Haydn with discussion of various recordings
- Joseph Haydn: Symphony no. 86 in D major Hob I/86. No Philharmonia. 786, Universal Edition, Vienna. Series: Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies ( pocket score ), pp. 207-258.
- Symphony No. 86 by Joseph Haydn: notes and audio files in the International Music Score Library Project.