Symphony No. 95 (Haydn)

The Symphony No. 95 in C minor Joseph Haydn composed in 1791. The work was written in the first London trip.

General

Haydn composed the Symphony No. 95 in the context of the first trip to London in 1791. Was first performed in the spring of 1791, the exact date is not known. With respect to general information about the London Symphonies see the Symphony No. 93

The Symphony No. 95 is in many ways a special position among the London Symphonies:

• It is the only symphony in a minor key. The minor character, however, is weakened ( as in other minor symphonies of Haydn ), here va " overcome " by the "overarching movement from minor to major ," that is, the minor passages are each to go major. For example. change the first sentence in the recapitulation to C major, in the third sentence a minor Minuet is set against a major Trio, and in the finale there is a dramatic minor passage, the " defeated " is.
• She is the only no slow introduction. Possibly this is related to the minor key, since it is the seriousness guaranteed without the extra weight of an introduction.
• It is the shortest of the London symphonies and characterized by a relatively clear structure in the sense that the individual themes / motifs are usually clearly demarcated from each other. Otherwise, the work is entirely worked out in detail: for example, in the first sentence of the veiled recapitulation entry or at the final change from " gallant - modern" passages with " old-fashioned scholarly " polyphonic sections highlight some authors and in the vicinity of the final Symphony KV 551 by Mozart back (see below). Haydn himself called the Symphony No. 95 ( also No. 96) as "very delicately ." Donald Francis Tovey says that the sensation calls forth a spaciousness that can occur, the relative brevity in the background.
• Perhaps Haydn had been drawn up " by extreme clarity and downright laconic brevity make it his new audience easily - which he might this audience [ ... ], but certainly underrated all later generations, because to date the work is the most unpopular of the London Group. remained "So the date of the first performance is not known, there is a lack of contemporary reports and press coverage: the work was " hushed up " and its performance appears to be no repeat calls ( as with the other London's symphonies ). The low popularity can also be seen from the fact that in 1795 published piano trio version was a shop keeper, for example during the Symphonies No. 94 and No. 100 were sold out immediately. Possibly the movement from minor to major was ( so ) perceived by some listeners as indecision of Tongeschlechter, still were Haydn's former minor symphonies not very popular because of the frequent lack of " melodic cantabile " in London. Also in the literature intersects No. 95 compared to other London symphonies from partially bad.

Some authors see the other ( in part something romantic interpretations ) similarities between the Symphony No. 95 and Mozart's Symphony KV 551, especially in the beginning of the first set with two contrasting motifs as well as the fugal finale. However, it is not yet completely clear whether Haydn knew at the time of the composition of Mozart symphony.

About the Music

Instrumentation: flute, two oboes, two bassoons, two horns (one in it, one in C ), two trumpets in C, timpani, two violins, viola, cello, cello solo, double bass. For harpsichord see Symphony No. 98

Performance time: approximately 20 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 Symphony No. 95. - 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 moderato

C minor / major, 4/4-time ( Alla breve ), 165 cycles

The set opens with a heavy unison motif in fortissimo, which is characteristic for the rest of the Allegro. It consists of the fourth C - G in half notes and the chromatic Orbit of G with four quarter notes. The downright menacing effect is strengthened by the subsequent general pause. Was the harmony of the sentence initially unclear, now put the violins ( from bar 3) in the piano with an ascending, melancholy melody in C minor one. The stock movement from the beginning is something to flow, but the melody line falls after five cycles back to the opening motif down (cycle 10). A similar sentence beginning with distinctive unison figures have also Haydn's other two symphonies in C minor on (No. 52 and No. 78).

After interrupted by pauses "harmonious Search" begins in measure 16, a reconciliation passage, consisting essentially of a dissonance- ranging dialogue of the opening motif in the violins over a pedal point on B- flat major. It ends as a seventh chord on B, which acts dominant table to E flat major second subject of the following ( the Tonikaparallele E flat major had already established itself in the short term at the beginning of the line ). The second theme (bar 29-43 ) in the dance- hopping character is built up periodically. It is repeated with a different instrumentation ( inclusion of the wind ) and votes against eighth -like run up in flute and first violin. The continuous downward triad jumps at the beginning can be optionally as a reversal of the violin motif of the first theme interpret.

The final group ( from bar 43) is determined by their continuous triplet, with the opening motif occurs again in the bass (bar 54). The exposition ends at bar 61 with a chord change from B flat and E flat major and is repeated.

The implementation ( clock 62-109 ) does not begin ( as actually to be expected) in the Tonikaparallelen E-flat major, but again in the tonic C minor with the opening motif. Initially, only played by the violins in the piano, the dialog is compressed more and more for polyphonic Forte; then made ​​with the further increase to fortissimo but again the transition to homophony up to unison. Abrupt breaks the music here by a general pause with fermata. Contrast begin the strings as a new beginning with the violin motif of the first theme in something " sinister " A-flat major ( from bar 75). A flat major is then initially retained in the following tutti passage with the opening motif with thumping triplets before Haydn changes to clock 84 to the subdominant F major at measure 88 and the second theme starts sounding in B flat major. Under current through the opening triplet motif is then sequenced ( from bar 98).

The entry of the recapitulation is veiled: The opening motif is first heard in measure 104 in D and ( after changing to the dominant G minor ) in measure 110 in C, but not isolated as in the beginning, but with sequence- like projection spin -drying, after a pedal point on G ebbs in Pianissomo. In this sequence Passage " reveals Haydn, as he has designed those opening bars harmoniously - as a cadence formula to G major, in a Neapolitan sixth chord occurs on the subdominantisch -conceived sound c. " The strings then grab the violin motif C minor on, but also this harmony seems to be unstable again a chromatic " slipping " ( from bar 124). In bar 129 the tone then changes very effective: with the entrance of the second theme in C major is reached and is maintained until the end of the sentence as a new tonic. This change to the major is highlighted by several authors to be particularly successful. The second theme - now backed by a continuous quaver movement and therefore more fluent than at the beginning - is repeated as in the exposure to changes in instrumentation, now pianissimo and - as a special feature - with the votes against like -eighth run for a solo violin, which at the premiere was probably played by Johann Peter Salomon. The final group of the recapitulation is codaartig extended over exposure: After a fanfare of brass fortissimo (measure 148 ), the opening motif of consecutive triplets accompanied two appearances - the last over a sustained low C of the bassoons and horns. Development and recapitulation are not repeated.

Second movement: Andante cantabile

( in the autograph only " Andante " ) in E flat major, 6/8-measure, 70 cycles, variation form. Trumpets and drums silent.

The two-part scale, cantabile theme (bar 1-10 ) is first presented in the strings. It is marked down by grinder and trill followed by arpeggiated triad. The trailer shows a variant of the antecedent, with the first violin is set to vote like the rest of the strings.

• In the first variation (bars 11-30 ) to solo cello and first violin with the voice leading of the topic, which is dissolved predominantly in sixteenth - triplets switch off. The horns are not involved as before.
• The second variation (bars 31-46 ) in E flat minor interrupts the subject with strong objections of the entire orchestra. This " knock motif" of three quavers can imagine derived from the subjects head and occurs at the end of the sentence again.
• In the third variation (bars 47-61 ) the violins play the theme dissolved in virtuosic runs. The horns are more involved in the first sentence, if only concomitantly.
• In the coda (bars 62-70 ) the antecedent is presented again, then accompanied by the second violin and a sustained low There 's motives run over a " mumbling " from the horn. Derivable from the topic header " knock motif" that occurred as a variant already in the second variation where " independent" itself. With it, the movement ends ( with a very similar motif begins the third movement, which is also used in cycle 5/6 to Andante).

Third movement: Menuetto

C minor, 3/4-time, with Trio 77 cycles

The minuet begins with a knock motif of two quarter notes (similar to the knock motif of the Andante), the alternating upbeat (1st violin) and abtaktig (other strings) will be carried forward. The 3/4-time is only with onset of the consequent change the subject clock 5 clear (again, remember clock 5/6 to the second set ). The theme is repeated with modified trailer, with a quarter note with a proposal notice. This quarter note with a proposal shall then be subject to the short middle section (bars 23-30 ). The recapitulation begins first as the beginning, but stops after a dramatic increase in G Major - seventh chord as a general pause over three bars from. The resolution taken by a " mysterious" cadence with a Neapolitan sixth chord and empties into the trailer with loud pedal point on C.

In contrasting Trio in C major, solo cello, which was already used in the Andante cantabile and a catchy melody plays in wide arcs, accompanied only by the other strings with pizzicato chords. In the second part of the trio, the first violin, the cello imitates shortly.

Fourth sentence: Vivace

C- DURL, 4/4-time ( Alla breve ), 211 cycles

The set is characterized by the juxtaposition of " gallant - modern" and passages from their main theme derived " taught baroque " polyphonic sections. At the beginning put the strings before the eight-bar, song-like main theme. The antecedent is held legato, the consequent consists of a knock motif with proposal (similar to the second and third set). The theme is repeated and then goes into a likewise repeated Fort spin drying part (bars 9-32 ) above, so that the listener is at first reminiscent of a rondo.

In bar 32 then sets a polyphonic " development section ", where the subject of this fugal is derived from the first five notes of the main theme. It started 2 Oboe and Violin with 2 dissenting votes bassoon and viola. From bar 39, the more compression takes place by including the other instruments. A first vote against eighth -like running becomes independent as a virtuoso element and leads back to homophony. However, again followed by a further compaction by relining the eighth runs with chords and fanfares in the brass, the discharges according to chromatic "Fallen " as cadence fortissimo. After another polyphonic passage (bars 78-92 ), the music is playing firmly on E major and breaks here in a general pause from.

Abruptly then follows reprise like the main theme as well as a variant of the polyphonic section analog clock 32 In particular, the escape- like twist to C minor after the chromatic Higher screws at the top point (measure 168) falls on pounding timpani rhythm ( from bar 152), after C major " brightening ". As in the two previous sentences, while a Neapolitan sixth chord occurs (measure 160/161 ).

Finally is presented the topic again: The antecedent over a chromatically falling line, with the consequent Akkordmelodik and fanfare expanded.

References, notes

Web links, notes

• 95th Symphony ( Haydn ): notes and audio files in the International Music Score Library Project.
• Sound and score the 95th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Thread to Symphony No. 95
• Joseph Haydn: Symphony no. 95 c minor. No Philharmonia. 795, Universal Edition Vienna, Row: Critical Edition of the Complete Symphonies by Joseph Haydn, edited by Howard Chandler Robbins Landon.
• Joseph Haydn: Symphony No.. 95 c minor. Edition Eulenburg no. 480 Ernst Eulenburg Ltd.. , London / Zurich ( pocket score )