Symphony No. 96 (Haydn)

The Symphony No. 96 in D major Joseph Haydn composed in 1791. The work belongs to the famous " London Symphonies " and carries the non- originating from Haydn nickname " The Miracle " ( "The Miracle ").

General

The Symphony No. 96 in D major Haydn composed in 1791 as part of the first trip to London and is probably chronologically the first of the " London Symphonies ". It was premiered on 11 March 1791 in London in the " Hanover Square Rooms ", as an opening of the second half of the evening, during the first half was played in Haydn among others not specifically composed for the London concert series Symphony No. 92.

From the premiere, which was a great success, Haydn later reported his Bekanntin Luigia Polzelli: "In the first concert of Mr. Solomon, I have made ​​a splash with a new symphony, from the Adagio had to be repeated; this is in London never happened, imagine you know what that was for a vortex to hear something from an English mouth. " ( original in Italian )

The nickname "The Miracle " (original in English: "The Miracle " ) has come into being through a tradition, reported on the Albert Dies ( 1810):

" When Haydn appeared in the orchestra and sat down at the piano to conduct a symphony itself, leaving the curious listener on the ground floor of their seats and huddled against the orchestra with the intention of being able to see the famous Haydn better nearby. The seats in the middle of the parterre were empty by it, and they were hardly empty, so fell the great chandelier down, smashed and set the various meeting in the greatest consternation. As soon as the first moments of terror were over, and the day before Huddled the danger of escaped them happy, imagine, find the words and the outbreak of the same could come, several people expressed their state of mind loud enough by the word " miracle! Miracle " of. Haydn himself was thoroughly stirred and thanked the kind providence, let it happen, that he would have to serve a certain way as a cause or a tool to save the lives of at least thirty people. Only a few listeners had received insignificant Quetschnungen. This event I have heard in different ways and almost always tell by the words, you would have got the flattering name in the London Symphony: " The Miracle " settled. It may be that this is so, but as I so wanted to move in with Haydn inquiry, he said: " I ​​know nothing. " "

This " miracle" first of Symphony No. 96 was attributed, but probably happened during the repetition of the finale of Symphony No. 102

The work will be evaluated in different ways in the literature:

• Haydn himself in a letter to Marianne von Genzinger: " to keep (...) of a sample beeden symphonies, because you are very Delicat, especially the lezte piece in D in which I commend the smallest piano and with a very swift pace. "
• " The symphony itself is one of the weaker ones. If it deserves a name, so you could the " perpetuum mobile" to call them from the last sentence here. Seventy years ago Johann Strauss, Haydn has made in this rondo finale the trial and carried out " not to let a tune stop ".
• " Your Allegro is very spirited; Andante her a set of variations, which is almost the Concerto for Two Violins; Minuet her gracious and full of sweetness; the final, lively and full of spirit, dismisses the phone with a smile of well-being. "
• "Even if The Miracle another miracle says, this symphony 96 remains always a miracle to set art and refinement. "

About the Music

Instrumentation: two flutes, two oboes, two bassoons, two horns, two trumpets, timpani, two violins, viola, cello, double bass. On the role of the harpsichord see in the Symphony No. 98

Performance time: approximately 25 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. 96. - 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

Adagio: D, 3/4-time, clock 1-17

The symphony opens forte in the signal-like D Major - triad down the piano respond to the strings in the decorated triad rise, followed by a staccato reconciliation cycle that leads to worn repetition of the opening figure in a minor variant and the introduction by pounding Tonrepetitionsmotiv with a plaintive oboe figure ended. The introduction is overall relatively simple structured and consists of several " standard phrases ". In the literature there are differing views Reviews: While Renate Ulm considering Haydn had at this crucial opening with the " not particularly stimulating appearing Entry to the high expectations of the audience once to disappointment " want to cut back, and then in the following Allegro regain the admiration of the audience, says Harold Haslmayr, Haydn had the symphony also therefore placed at the beginning of the second half of the evening, to " even the notoriously latecomers the wonderful introduction ( ... ) not to withhold. "

The introduction contains, despite their relative simplicity essential building blocks for the remaining sets (similar to the Symphony No. 102), in particular the Tonrepetitionsmotiv and the opening triad.

Allegro: D, 3/4-time, clock 18-203

The set begins with a piano accompaniment carpet in staccato, the its characteristic timbre gets through the parallel guidance of second violin, viola and bassoon (motif c in the graph, derived from the staccato motif of the introduction ). The first theme ( main theme ) relies on this carpet upbeat one with three repeated quavers, in a ganztaktigen tone ( also A ) open ( a motif in the graph). Another prelude leads into an ascending quaver figure (motif b in the graph), the end the first half of the theme with triple tone repetition abtaktig on e. The second half ( postscript ) of the subject is constructed symmetrically to it so that the overall result is a periodic structure. The subject performs in measure 25 in the first Forte tutti - block, which is broken up with syncope. From bar 32 the repetition of the theme ( with gegenstimmenartigem throw the oboe), the subsequent tutti followed by block falls beside his virtuoso semiquavers in particular by exposing the Tonrepetitionsmotivs on: From bar 43 in the fanfare-like marching rhythm with semiquavers, starting at measure 54 in uniform eighths. Haydn modulates it up to E major, can here but the river abruptly stop (cycle 57), leads with hesitant, interrupted by pauses in unison movement for strings in a staccato emphasized G major seventh chord back to the tonic D major, a bit later, in the end section ( from bar 71) to establish the dominant A major. The final section brings you once the head from the main theme, and then terminates the exposure to a repeated sequence of Tonrepetitionsmotivs. The exposition ends at bar 83 and is repeated.

The implementation of changes abruptly with the tone repetition to F # minor, which acts dominant table to the next appearance of the main theme in the bass in B minor. Over several suspensions (of motif b ) Haydn now leads in the piano to C major, in which presented the theme from bar 104 in Forte and spun out. In bar 117 emerges a new theme in the subdominant G major, which on a G Major - down based chord (possibly from the opening triad of the Adagio derivable ). An increase in performance with the fanfare-like Tonrepetitionsmotiv to fortissimo, where the action stops surprising to B minor with two clocks general pause. The following presentation of the main theme is a sham recapitulation, because it stands in the subdominant G major. Semiquaver runs in Forte then eventually lead to the "right" recapitulation in the tonic D major ( from bar 154).

The recapitulation is compared to the exposure varies: The issue is not repeated, but the Forte is Tutti - Block now expanded and is fortissimo. The final group is also expanded to include a final surprise after three times repeated fanfare motif Creates an effective, short D Minor - fortissimo outburst. Development and recapitulation are also (but for the last time in a head movement of Haydn's symphonies ) repeatedly.

Second movement: Andante

G Major, 6/8-measure, 89 cycles

The Andante is a three-part ( Variations ) kit (ABA ') structured with a central part in a minor key. The main part is phonetically characterized by the balance between strings and woodwinds.

• A section (bars 1-25, G major ): The four-bar galant delicate topic is first introduced by the strings with leading vote first violin. Characteristic is a auftaktiger, broken chord (a sixteenth note triplet ), which one can think derived from the opening chord of the introduction. The theme is repeated once with pastoral splashes of color in the woodwinds ( Tonrepetition! ). - In bar 9 then sets unexpectedly a " booming " forte tutti one in which the thematic material is spun out. In addition to the triad motif here also the Tonrepetitionsmotiv from the introduction is worked out - both at the beginning striking in unison. With serious octave leaps followed by a brief haze after minor (bars 18/19), with a Tonrepetitionsmotiv in the Horn leads over several tentative attempts of the first violin in a repetition of the theme / bassoon.
• B section (bars 26-45, G minor ): the middle section in G minor begins forte with staggered use of the instruments ( first without bass) so that a polyphonic sound carpet designed. In bar 34 sets with turn to the B flat major on a short whitening, which is, however, returned with a " rumble " in the bass to G minor.
• A'- part cycle 46-89: The subject is again presented by the strings, the flute supports the first violin in the vocal line. It follows the forte tutti part corresponding to clock 9, in turn, connects the subject to the, now a version with continuous sixteenth-note triplets. The theme via throbbing repeated notes in the horn to a six-four chord. This is the signal for the two violins to a solo cadenza, where both instruments vary in flowing triplet on the subject. The flutes and oboes occur towards the end, solo show, in the end, with the Tonrepetitionsmotiv. One is uplifting jam chord is - as in a solo concert - taken up by the solo instruments and finished with trills. Perhaps Haydn wanted to meet the London taste, who was also (still) influenced by the Baroque concerto grosso, and / or the two leaders of the 1st and 2nd Violin pay tribute. After the proven triplet of the 1st violin of the sentence fades away in pianissimo.

Third set: Menuet. Allegretto

D major, 3/4-time, with Trio 84 cycles

The main section of the minuet begins as a strong, decisive forte tutti up with Pralltriller and virtuoso run, then alternate with a slow -quiet piano passage. In the Tutti - blocks can imagine the tone repetition (eg, stroke 4, bar 21 and very noticeable from bar 40) and possibly also the Dreiklangsmelodik (eg clock 2) thinking derived from the corresponding motifs of the introduction.

The trio is also in D major and is characterized by its ländler like oboe solo over waltz -like string accompaniment. At the beginning of the middle part the solo bassoon continues the melody to give back to the oboe after a short, energetic forte unison passage. Striking is a ausholende figure of the oboe in measure 77 to 80

The triple time (for example, in the piano passage from bar 5) occurs in the minuet partially recovered, but is emphasized more strongly in the trio.

Fourth sentence: Vivace ( assai )

D major, 2/4-cycle, 239 cycles

The phrase is almost always characterized by the elements of the main theme, in particular its two - eighths - opener and the continuous movement.

• A partial stroke 1-48: Presentation of the eight-bar melody in the main strings piano. The elegant scurrying theme is repeated and then goes - still in the piano - in a short D Minor - passage over. After vigorously - imitative forte unison, the first violin, the major developed chromatically back. The topic is presented again - supported by the flute - and ended with a prolonged final turn. This second part is repeated. The A- part is thus structured in three parts. The upbeat topics beginning you can think derived from the opening chord of the symphony in turn.
• B- part cycle 48-102, D minor: The beginning of the minor middle part is dominated by the upbeat head to the main theme. Then change Haydn with accentuated chords, and sixteenth - grinder, restless repeated notes, runs and the issues head on C major to F major and finally to A major, the dominant effect table for the following D major.
• C'- part clock 103-149: reaching major, the dark mood of the middle part has evaporated and attacks the fast and cheerful character from the beginning of the block with the main theme again. Block -like now follows a forte section with staggered use of the instruments, syncope and to aufstauenden with repeated notes dissonance, which merges into the dominant diagram in A major.
• A'- part clock 150-186: corresponds to the A- part.
• D- sub clock 187-239: The final part initially leads to an A - flat major - seventh chord with a fermata as a calming influence. The following " Final Storm " lets Haydn addition to the accented chords with grinder from the B section also occur the main theme again, put in the woodwinds, over a pedal point on D, and most recently in brass unison.

The phrase, " do not stop a melody " in the Haydn leaves, falls relative to its length much shorter than the first set and therefore reminiscent of previous to the " Clean Sweep " closing sentences symphonies. Perhaps for this reason, Haydn fashioned also the finale of Symphony No. 93.

References, notes

Web links, notes

• 96th Symphony ( Haydn ): notes and audio files in the International Music Score Library Project.
• Sound and score the 96th symphony of Haydn by the project " Haydn 100 & 7 " of the Haydn Festival Eisenstadt
• Joseph Haydn: Symphony no. 96 D major. No Philharmonia. 796, Universal Edition, Vienna 1962, Row: Howard Chandler Robins Landon (ed.): Critical Edition of the Complete Symphonies by Joseph Haydn
• Thread the Symphony No. 96 by Joseph Haydn