Symphony No. 9 (Haydn)

The Symphony in C major, Hoboken directory I: 9 Joseph Haydn composed in 1762 shortly after his appointment as Vice Kapellmeister to Prince Esterházy Anton. The three-movement work has as the final movement, unusually, a minuet.

General

In the Year of composition of the symphony in 1762 - a year after his appointment as Vice- Kapellmeister to Prince Anton Esterhazy - Haydn wrote several incidental music: The catchment of Anton's brother Nicholas Esterhazy ( Anton Esterhazy had died ) on May 17, 1762 an incidental music for the comedy " La Marchesa Nespola " and for a princely wedding his first opera, " Acide e Galatea "and the cantata" Vivan gl ' illustri sposi ". In addition, in the spring guested an Italian theater company in Eisenstadt, " so that Haydn was a composer as well as organizationally really sniff air theater for the first time ."

The Symphony No. 9 in three movements and ends with a minuet instead of a fast rate as usual. Howard Chandler Robbins Landon assumes that the symphony goes back to an overture to an opera or a prelude to a cantata, which has been lost. It could be either be a the lost Italian comedies of 1762. Robbins Landon also refers to structural features that suggest a reference to the play: The first sentence lacks strong thematic material, instead dominate fanfares and runs. Furthermore, there are according to Robbins Landon similarities to the overture to the opera " Acide e Galatea '", which was just like the symphony apparently written in a hurry.

This assessment is the presence of repetitions of the set partitions in the Symphony No. 9, which are typically lacking in overtures relied on by James Webster and Harold Haslmayr. It adds that the other three-movement symphonies of Haydn, which close with a Minuet (No. 18, 26 and 30), no origin known as Overture, and also there were also some other first movements of Haydn's early C major - symphonies that similar compact are kept loudly and in 2/4-cycle as the " so that little more than an atmospheric relationship seems to exist to genuine theater music. " from Symphony No. 9,

The autograph of the Symphony was formerly owned by the publisher Artaria and then was considered lost. It is now clarified by the retrieval of the autograph that the symphony is no overture based.

About the Music

Instrumentation: two flutes (only in set 2), two oboes (sets 1 and 3 instead of flutes), two horns, two violins, viola, cello, double bass. Bassoon and harpsichord were to reinforce the bass voice then even without special notation used, insist on the participation of the harpsichord in the literature different opinions.

Performance time: approximately 12 minutes.

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 work of 1762. - 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 molto

C major, 2/4-cycle, 137 cycles

The opening sequence ( position 1 to 10) consists of three strong C Major - chords, the whole orchestra, rapid scale runs in unison, and the final twist with trills. Immediately after a short break followed by a tremolo passage that takes up the running motif in the bass. A Fanfare for oboes and horns leads to the subject with suggestions and ascending G major - chord in oboes and violins. After a scale run - insertion followed by another motif in which a trill turn of strings with alternation of forte and piano in dialogue with a phrase of oboe is ( trill motif). The final group, again with scale runs, terminates the exposure.

The implementation processes the motives of the exposure with the exception of Bläserfanfare. The scale runs of the opening sequence are enhanced by syncopation and a minor turbidity. In the variant of the proposal motif follows the trill motive from measure 75 pianissimo without the ball the oboe.

The recapitulation at measure 89 is structured as the exposure. Exposure and development and recapitulation are repeated.

• " The Allegro molto waived highly profiled subjects in favor of" hammer blows " of three chords, brass fanfares, continuous busyness and rhythmic surprises. "
• ( A relationship to theater music) " will certainly come in 2/4-Allegro molto most clearly expressed, makes you forget the exuberant rhythmic verve that there is no genuine musical theme in this set, one has the impression in the vicinity of a late Baroque - early classical sound machine come to be. "

Second movement: Andante

G Major, 2/4-cycle, 57 cycles

As well as in some later symphonies, Haydn has the oboes replaced by flutes in the slow movement ( the horns are silent ). Vocal leader are the flutes and the first violin ( mainly the 2nd violin ), the flutes playing an octave higher than the violins. The quiet, singable set has a pastoral character. It is composed of several, usually two-bar and once repeated motifs.

The first "theme " ( Scene 1) is based on an on ascending and descending G major - triad with a triplet final turn. The head of the theme is repeated and changes to the dominant D major ( measure 9 ). Then set a motif 2 with its trill, followed by motif 3 with upbeat and dotted rhythm, motif 4 with derivative and two-time tone repetition and motif 5 with four-time tone repetition on the ascending bass line and falling, closing Triolenwendung.

The second part of the sentence begins with motif 1 in D major and repeated this once in the tonic G major, which may be initially interpreted as a " recapitulation beginning " while listening. However, the subsequent motif 2 changes to the subdominant C major and spins the material with a new Vorschlagsfloksel on. In bar 42 Scene 2 starts again - now in G major, so that the recapitulation beginning can also be heard here. The further course corresponds with motif 3, 4 and 5 to the first part. Both parts are repeated.

Third movement: Menuetto. Allegretto

C major, 3/4-time, with Trio 52 cycles

The main theme of the minuet consists of a smooth, upbeat quaver movement of the oboes and flutes alternating with border staccato quarters of the entire orchestra. The subject is dreitaktig, is repeated and provided with a final twist. This results in the first part of a structure of 3 3 2 overclocking and not, as usual, otherwise mostly a rating based on 4 4 clocking structure. At the beginning of the second Menuettteils Haydn expands the structure but then 4 4 bars with Fort spin drying the even eighth notes ( measure 9 to 16). In revisiting the first part ( measure 17 to 28) the phrase is repeated from cycle 7. Its rhythm ( half note and two eighth notes ) has already appeared in bar 4 and plays a dominant role in the trio.

The trio is also in C major and one of the first examples of a waltz in Haydn's symphonies. In the first part of the solo oboe plays on appoggiaturas border districts of the string accompaniment, the waltz melody. At the beginning of the second part Haydn uses a special sound effect by the solo oboe and horns pursue the waltz melody - accompanied only by the bassoon, the only in this passage (bars 37-44 ) is the score listed separately and by then with the other bass instruments ( cello, played double bass) in parallel. Then the first part with the solo oboe is taken up again.

Robbins Landon (1955 ) refers to the minuet and trio as the best movement of the symphony.