JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

2

C major

Order by Hoboken
Hob.I: 2
Chronological order
4
Key
C major
Period
Symphonies for Count Morzin 1757 bis 1761
Date of composition
1757-1759
Customer
Count Morzin
Number of movements
3
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1757-1760/61
Herausgeber: Sonja Gerlach und Ullrich Scheideler; Reihe I, Band 1; G. Henle Verlag München

Symphony No. 2 in C major
This symphony explodes once and for all the notion that the young Haydn's instrumental works are conventional. The opening Allegro is unique; its 'subject-matter' is a kind of dialogue or confrontation between traditional and modern styles. Although it begins straightforwardly with a vigorous, dotted-rhythmed unison theme and a homophonic continuation, the piano counterstatement suddenly invokes academic counterpoint (in 'mixed' species). Indeed the entire movement is dominated by free alternation between rough-and-ready homophony and contrapuntal passages based on the rising dotted theme. But it is formally unique as well. It is Haydn's only fast symphony first movement lacking internal repeats of its two structural parts (exposition; development + recapitulation).4 Although the exposition form is clear, the putative development soon too leads to what turns out to be the first of three separate returns to the tonic. Why? Because Haydn wants to present the theme thrice more, now in the tonic, each time in a new contrapuntal elaboration. Indeed the last of these ushers in a more or less regular recapitulation of the second group in the tonic except for the one last contrapuntal passage, which repeats, in invertible counterpoint, the beginning of the 'development'.
The Andante is a perpetuum mobile for the two violin parts in unison over a 'walking' bass; although it is in sonata form, it too, like the Allegro, omits the internal repeats. Even the finale, though stylistically a normal 3/8 da capo movement, is formally unique in Haydn's symphonic finales: a five-part rondo form, A-B-A-C-A, with the first episode in the tonic minor and the second in the subdominant.

 

 

Analysis

Analyse

Analysis oft he movements

1. movement
4,1
Title oft he movement
Allegro
Key
C major
Form
sonataform
2. movement
4,2
Title oft he movement
Andante
Key
G major
Form
ternary songform
3. movement
4,3
Title oft he movement
Presto
Key
C major
Form
rondo
Duration
appr. 9 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.
Cast oft he orchestra
0|2|0|0 – 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
4,1
2. movement
4,2
3. movement
4,3



Score

2









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