Symphony No. 89 (Haydn)

The Symphony No. 89 in F major Joseph Haydn composed in 1787.

Origin of Symphonies No. 88 and 89

Against the background of their history, the Symphonies Nos. 88 and 89 can be understood as a contrasting pair of works. General information about the two " sister symphonies " see at No. 88

In contrast to the Symphony No. 88 No. 89 is listed rare and is considered partly as less popular. Probably Haydn composed the work under time pressure (possibly departure of Johann Tost, see at No. 88), since, on two sets of the " lyre concert " Hob VIIh No. 5, which he had composed in 1786 for King Ferdinand of Naples resorted: the Andante was largely unchanged and scored for orchestra, Vivace assai contains an additional minor part in the symphony version. The work will be judged differently in the literature:

" Symphony No. 89 (...) is always a little in the shadow of the more popular non- G -major sister # 88; it takes next to this one - so H.C. Robbins Landon - like a dull fellow. Reserved, cool and of impeccable design concept, they remember the perfectly shaped porcelain figurines that time. If am being told that JOSEPH HAYDN have opened the doors of the salon of the 18th century to admit fresh air, then he had it closed for No. 89 temporarily again. This impression is caused mainly by those musical sections that Haydn reused from other pieces of music. (...) The first movement, however, does not need to be light under a bushel. "

" Rare to hear the Symphony Hob I: 89 in F major, although the first sentence in his lightness of touch of great charm is. The rest are located einacher: a lilting siciliano Andante, a rather sober minuet and a developed from a somewhat simplistic theme rondo finale ".

" Something in the shadow of her sister is the other ( ... ) Symphony No. 89 in F major (...). Overall, it seems rather to be a casual, Haydn used here but 2 sets of his Concerto for 2 lyres, horns and strings ( 1785), again (...). The first movement ( Vivace ) is a perfectly balanced sonata form, with a more abstract first and a personal plauderndem second issue. "

" While the Symphony No. 88 as one of the most beautiful and trefflichst crafted works of Haydn achieved great notoriety in G major, the Symphony No. 89 could never prevail so right. The reason for this may lie in a not so high quality. The Minuet, for example, does not very inspired and dry strange. Also, the final Rondo does not show the richness of colors and surprises as you are used to it by Haydn. (...) The feat of the symphony is unquestionably the first sentence. Even if it the vital force of the Symphony No. 88 is hardly peculiar, so it features an exceptionally loose vitality and superior design. "

"(...) The minuet is only muted popular and of great elegance, and the finale is a rondo; the two outer movements are extremely diverse in the topics -Invoice as in character " (...) [ The trio of the minuet ] " is a rather elegant than more popular Landler, performs the head design and the final design of the theme in succession in the middle part -. a striking uplift that points back to the developed two contrasting motifs main part of the minuet. "

"In the first movement of the Symphony No. 89 F from 1787 ( ... ) confuse development and recapitulation in a very adorable way their roles. ( ...) This function shift affected the overall symmetry of this sentence by no means, but increasingly they are more likely, since Haydn is by regrouping now able to create a mirror symmetry, in which the opening theme appears complete after the second theme and in a charming Neuorchestrierung for violas and bassoons with accompanying horns, flutes and strings. No work could better show what an abyss yawns between academic ex post facto provisions of the sonata form and the living, Haydn's art in reality determining rules of proportion, balance and dynamics. "

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 to 25 minutes.

When used herein the terms of sonata form is taken into account that this model was designed only at the beginning of the 19th century ( see below). - 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

F Major, 4/4-time, 172 cycles

Haydn Symphony opens with an introductory " curtain" of five forte chords, in F major. The following first theme with sanglich - calm character is played by the strings, piano. It shows a periodic structure with antecedent and consequent to four measures each. Subsequently, the entire thematic unit is repeated from "curtain" and melodic theme, now with bassoon and descending vote against the flute and piano Echo recently. From bar 19 is a tutti - block begins as a transition in the Forte, in which the violins intermittently displaced play energetic, falling sixteenth. 28-30 clock is dominated by chromatic syncope, which merge into a dialogical knock and announce with its final twist, the second theme. This ( from bar 43, in the dominant C major ) is viertaktig and has a catchy, song-like melody. Presented first by the first violin on eighth - "carpet" of second violin and viola, oboe repeats the first with the melody ( derived from the topic header ) dissenting vote in the flute. The final section (bars 52 ff ) in the Forte is in turn characterized by energetic semiquaver figures in the violins, with initially a design with dual tone repetition strikes (Final group design ). The exposition is repeated.

The implementation ( from bar 59) first accesses the energetic movement of the sixteenth final group again, then turned to the minor. The further course corresponds structurally largely to the exposure: From bar 63 the strings of Es -Dur translated from one to the first topic. The main motive of the theme ( descending triad ) then travels through the woodwinds before from bar 77 of the Reconciliation section fikgt with the dialog the violins in F minor. This section is compared with the exposure slightly expanded and characterized by a chromatically falling bass line. The Synkopenabschnitt is omitted, followed by knocking motif ( from bar 88 ), and after a minor ( dominant parallel ) flipped second theme ( from bar 93). The final group gets a surprise after the final group design with three general pauses to a halt. In the mysterious piano only guide the strings, the brass head from the first issue to the recapitulation over.

The recapitulation (bars 111 ff ) starts as the beginning of a sentence with the chord Bash " curtain ". The other first topic is the extent (strongly ) modified to pick up as a flute and bassoon, the material in dialogue about one-eighth of the carpet violins. The reconciliation passage with the dialog the violins (bars 122 ff ) is an on -flat major. This is followed by the section with the knock motif ( clock 127 ff ) and the second theme (bar 139 ff), played first by 1 oboe, then the bassoon with brief opposing voice in flute. The conclusion of the theorem is extended as a coda: Instead of the known closing group has the first topic for another performance in bassoon and viola ( clock 152 ff ), followed by the extended to five bars Synkopenpassage, dialogue motif in the violins from the reconciliation and final Akkordmelodik. Also, development and recapitulation are repeated.

Second movement: Andante con moto

C major, 6/8-measure, 76 cycles

The set provides a ( largely ) new instrumentation of the slow movement of the fifth of the concertos for two street organs (F major, Hob VIIh: 5 ), which Haydn had composed in 1786 for King Ferdinand of Naples ( see above). The set has a superior three -part form AB- Á:

• A partial stroke 1-29: Also this part is structured according to the three-part ABA scheme. A section (bars 1-12 ): The catchy, singable main melody is first presented by the strings and flute. It has a pastoral Siciliano - character ( " pastoral idyll " dotted rhythm). The melody is then repeated again with the other wind instruments ( oboe, bassoon, horns ) instead of the flute, the strings now play pizzicato. The B section introduces the topic of the dominant G major from further short Forte insert and returns to clock 24 to the main melody ( theme) in C major back (A'- part). A and B with A'werden repeated.
• B-segment clock 30-47: The section contrasted by the use of tutti fortissimo and through the rugged F minor to the previous events. He begins as a cadenza-like sequence of " dramatic " chords, ( CFGC ), which is lined with running semiquavers movement. The fluid motion is then continued with piano forte accents. The first section, which is repeated, ends in E-flat major. The second (non -repeated ) section begins with chords, in C major, followed by a short polyphonic passage in F minor uses (bars 39 ff ) - again accompanied by the flowing semiquavers.
• Á - part cycle 48-76: This section is a variant of the A section represents the sub-sections are not repeated. The last appearance of the theme in turn backed by the semiquavers ( pizzicato ) Haydn. The sentence fades away after a closing phrase pianissimo.

Third set: Menuet. Allegretto

F Major, 3/4-time, with Trio 68 cycles

The upbeat minuet begins with a four-bar motif of forte solo oboes, bassoons and horns. The Tutti answers in the four-bar motif also, followed by another, contrasting four stroke with flowing piano quaver figure for solo flute. The second part takes up the head of the opening motif in the violins and oboes, and then backed it with a vote against -like, continuous staccato quaver movement. The main part is taken up again in measure 25. The piano - final with the eighth movement of the flute from the first part now appears forte, backed by pedal point in the last two bars lifted again by energetic - pounding beats fortissimo.

The trio is also in F major. In the first part first violin and flute play a parallel ländler -like, quiet melody with string accompaniment. At the beginning of the second part of the bass leads the subjects head as a variant, while the upper voices (flute, oboe 1 and 1 violin) play a short vote against it. Then repeated flute and oboe 1 the final turn of the first part, before starting cycle 61 using the main theme again.

Fourth sentence: Vivace assai

F Major, 2/4-cycle, 211 cycles

The set is constructed as Rondo ( Form: ABAC Á ) and based on the up composed for the symphony in F minor - Section on the closing sentence of the fifth concerto for two street organs (F major, Hob VIIh: 5), the Haydn 1786 had composed for King Ferdinand of Naples ( see above).

• The melody of the chorus (bars 1-24) has a cheerful and popular character. She is upbeat and vocal leader played by flute, oboe and first violin 1. Typical ( also for the further course of the movement ) is twice the upbeat tone repetition. The chorus is again divided in three parts (AB - Á ). When revisiting the main melody Haydn has prescribed for the flute and the first violin " strascinando ", ie the falling fifth from the previously long held C to F upbeat of the main melody to be played nachschleifend including overtones. This is the prelude pointedly " rough " highlighted.
• First couplet (B- flat major, clock 25-56 ): As the chorus is this part divided into three parts in it. Typically, the start (as in the chorus ), a sixteenth-note figure and the exchange between winds and tutti. The final phrase (measure 55-56 ) is identical with that of the choruses. To 68 lead The clocks 57 - surprisingly, starting from g minor - with the start of the subject and the sixteenth-note figure to the chorus ( F major ) back.
• The chorus (bars 69-91 ) begins after a general pause, the sections run without repetition through.
• The second couplet ( clock 92-136 ) contrasts with F Minor, numerous syncope, polyphony and the total wild character strongly to the previous occurrence of the sentence (as well as to the rest, rather light and cheerful sound of the symphony ). Characteristic of the little melodic section is the sixteenth - pendulum figure of the first violin. Also this part is divided into three parts in it, the second part starts from A flat major from. With the upbeat knocking then announces - separated by a general pause - again the chorus to.
• The chorus (bars 137-160 ) then passes back through without repeats.
• The coda ( from bar 161) extends from the first end of the chorus, but lands on a sustained by fermata fallacy ( clock 168/169 ). Subsequently, strings and winds the opening motif throw like to dialog with dynamic contrasts (piano, pianissimo, fortissimo ) and then by extending it over to one sixteenth of tremolo. Be rapid semiquaver runs in the bass from the tremolo. Haydn finished the sentence with a derived from the main melody theme ( piano), which is repeated an octave lower, and forte chord punches on F.

References, notes

Web links, notes

• Recordings and information about the 89th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Symphony No. 89 by Joseph Haydn: notes and audio files in the International Music Score Library Project.
• Thread to Symphony No. 89
• Joseph Haydn: Symphony no. 89 F major Hob I/89. No Philharmonia. 789, Universal Edition, Vienna 1964 series. Howard Chandler Robbins Landon (ed.): Critical Edition of the Complete Symphonies. ( Pocket score ), pp. 59-106.
• Joseph Haydn: Symphony No.. 89 F major. Ernst Eulenburg, no. 558 ( pocket score, undated )