JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

14

A major

The Project

Order by Hoboken
Hob.I: 14
Chronological order
25
Key
A major
Period
First Esterház-Symphonies 1761 to 1763; „Die Tageszeiten“ and other unique creations
Date of composition
1762
Customer
Which of the two princes is not clear!
Number of movements
4
Authenticity proof
Haydnverzeichnis, Abschrift von Joseph Elßler sen.
Score edition

Sinfonien um 1761-1765
Herausgeber: Ullrich Scheideler; Reihe I, Band 2; 2012, G. Henle Verlag München

Symphony No. 14 in A major
This symphony, whose concertante usage and style suggest the Esterhazy period, is on a small scale, but every note tells. The opening Allegro molto, 3/4, is tiny; indeed the 'development', uniquely in Haydn's opening symphonic allegros, consists merely of a brief (and more tuneful) variant of the 'second theme' and a retransition, all in/on the dominant. The Andante is a simple rounded-binary movement, with the gorgeous tone-colour of a solo cello doubling the violin melody at the lower octave. (The first and second phrases of the main theme are more or less identical to the first and last phrases of the variation-finale theme in the Divertimento Hob.II: 11). The minuet suggests a faster tempo than most of the early-symphony galant works; the trio, in the minor and featuring a solo oboe, shows yet again how much Haydn could say with a very few notes.
The Finale, another tiny movement, is inherently incongruous. It is densely contrapuntal, yet its 'theme' is merely a scale descending through an entire octave, with the added indignity of an inappropriately high-minded trill on the penultimate note. Admittedly, the syncopated countermelody and, a little later, the rushing semiquaver accompaniment add rhythmic interest. The 'development' indeed brings new developments, and there is a delicious joke at the beginning of the reprise: the return of the tune is delayed by a single quiet measure of the tonic, which is 'right' in terms of the modulating retransitional sequence, but utterly 'wrong' in stealing the thunder from its reprise. And so the latter, which originally was piano, now breaks in fortissimo. The only proper response not only here but throughout the movement is laughter.

Analysis

Analyse

Analysis oft he movements

1. movement
25,1
Title oft he movement
Allegro molto
Key
A major
Form
sonataform
2. movement
25,2
Title oft he movement
Andante
Key
D major
Form
binary songform
3. movement
25,3
Title oft he movement
Menuetto Allegretto / Trio
Key
A major - a minor
4. movement
25,4
Title oft he movement
Allegro
Key
A major
Form
sonataform
Duration
appr. 16 min.

Musicians

Musiker

Musicians

Due to the unclear time of origin of most of Haydn’s symphonies - and unlike his 13 Italian operas, where we really know the exact dates of premieres and performances - detailed and correct name lists of the orchestral musicians cannot be given.  As a rough outline, his symphony works can be divided into three temporal blocks. In the first block, in the service of Count Morzin (1757-1761), in the second block, the one at the court of the Esterházys (1761-1790 but with the last symphony for the Esterház audience in 1781) and the third block, the one after Esterház (1782-1795), i.e. in Paris and London.  Just for this middle block at the court of the Esterházys 1761-1781 (the last composed symphony for the Esterház audience) respectively 1790, at the end of his service at the court of Esterház we can choose Haydn’s most important musicians and “long-serving companions” and thereby extract an "all-time - all-stars orchestra".

Direction
Joseph Haydn
Instrumentation
0|2|0|0 – 2|0 – 0 – Str. (mit Solo-Vc)
Cast oft he orchestra
0|2|0|1 – 2|0 – 0 – Str.
Cast
Flute Franz Sigl 1761-1773
Flute Zacharias Hirsch 1777-1790
Oboe Michael Kapfer 1761-1769
Oboe Georg Kapfer 1761-1770
Oboe Anton Mayer 1782-1790
Oboe Joseph Czerwenka 1784-1790
Bassoon Johann Hinterberger 1761-1777
Bassoon Franz Czerwenka 1784-1790
Bassoon Joseph Steiner 1781-1790
Horn (played violin) Franz Pauer 1770-1790
Horn (played violin) Joseph Oliva 1770-1790
Timpani or Bassoon Caspar Peczival 1773-1790
Violin Luigi Tomasini 1761-1790
Violin (leader 2. Vl) Johann Tost 1783-1788
Violin Joseph Purgsteiner 1766-1790
Violin Joseph Dietzl 1766-1790
Violin Vito Ungricht 1777-1790
Violin (most Viola) Christian Specht 1777-1790
Cello Anton Kraft 1779-1790
Violone Carl Schieringer 1768-1790

Medias

Medien

Music

Antal Dorati

Joseph Haydn
The Symphonies
Philharmonia Hungarica
33 CDs, aufgenommen 1970 bis 1974, herausgegeben 1996 Decca (Universal)

1. movement
25,1
2. movement
25,2
3. movement
25,3
4. movement
25,4



Score

14









Haydn13
×

SINFONIE 107

1757

1. Periode
Hob.I:1

1757-1759

1. Periode
Hob.I:37
Hob.I:18
Hob.I:2

1757-1760

1. Periode
Hob.I:4
Hob.I:27

1758-1760

1. Periode
Hob.I:10
Hob.I:20

1761/1762

1. Periode
Hob.I:36
Hob.I:33

1771

4. Periode
Hob.I:52
Hob.I:42

1773/1774

4. Periode
Hob.I:50

1774/1775

5. Periode
Hob.I:68

1776

5. Periode
Hob.I:61

1777/1778

5. Periode
Hob.I:53 "L'Impériale"

1778/1779

5. Periode
Hob.I:71

1780

5. Periode
Hob.I:74
Hob.I:62

1781

5. Periode
Hob.I:73 "La chasse"

1787

8. Periode
Hob.I:89

-1788

8. Periode
Hob.I:88

1788

8. Periode
Hob.I:90
Hob.I:91

1789

8. Periode
Hob.I:92 "Oxford"

1791/1792

9. Periode
Hob.I:98

1793

10. Periode
Hob.I:99

1794

10. Periode
Hob.I:102

OPER 13

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I. Periode
Acide
 
I. Periode
 
I. Periode
 
I. Periode
 
I. Periode
Lo speziale
 
I. Periode
 
I. Periode
Le pescatrici
 
I. Periode
 
I. Periode
 
I. Periode
L'infedeltà delusa
 
I. Periode
L'infedeltà delusa
 
II. Periode
 
II. Periode
 
II. Periode
L'incontro improvviso
 
II. Periode
 
II. Periode
Il mondo della luna
 
II. Periode
 
III. Periode
 
III. Periode
La fedeltà premiata
 
III. Periode
Orlando paladino
 
III. Periode
Armida
 
III. Periode
La vera costanza II