JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

3

G major

The Project

Order by Hoboken
Hob.I: 3
Chronological order
17
Key
G major
Period
Symphonies for Count Morzin 1757 bis 1761
Date of composition
1761
Customer
Count Morzin
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

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

Symphony No. 3 in G major
If this imposing work is indeed earlier than 1761, as the sources imply, it offers persuasive evidence of Haydn's early mastery. The opening Allegro, 3/4, begins with a theme that is potentially in double counterpoint, the long melody notes contrasting with 'running' quavers in the bass (though the melody is heard in homophonic versions as well). Among the other contrapuntal passages in the movement, the most impressive occurs just after the beginning of the recapitulation: the long notes finally turn up in the bass, the first violins bring a new version of the running motive, and the seconds add a new syncopated countermelody.
The sonata-form Andante moderato turns to the tonic minor; its apparently simple tune develops into an intricate web of hocketing and imitative figures. The minuet may sound galant, but it is a strict canon at the octave: one of the earliest, if not the earliest, of the many symphonic minuets where Haydn injected 'learned' elements into this unassuming dance-form. The trio is pure concertante for the winds.
But the Finale, a masterpiece, trumps all this with a remarkable synthesis of fugue and sonata style, again arguably Haydn's first example of this important type of finale.
Indeed it resembles the finale of the 'Jupiter' Symphony, in that it is a sonata-form movement in elaborately contrapuntal texture, based on a 'cantus firmus'-like subject consisting of four semibreves. The first group in the tonic is a formal fugal exposition; the transition, although more 'businesslike', uses two new motives in invertible counterpoint. The second group in the dominant combines one of the latter with the original 'cantus firmus' motive, and the development increases the complexity considerably. Finally, the recapitulation features a four-part stretto on the 'cantus' — until, as always, Haydn reverts to sonata style at the very end, for a spirited wind-up.

 

Analysis

Analyse

Analysis oft he movements

1. movement
17,1
Title oft he movement
Allegro
Key
G major
Form
sonataform
2. movement
17,2
Title oft he movement
Andante moderato
Key
g minor
Form
ternary songform
3. movement
17,3
Title oft he movement
Menuet /Trio
Key
G-G major
4. movement
17,4
Title oft he movement
Alla breve
Key
G major
Form
fuga
Duration
ca 18 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
17,1
2. movement
17,2
3. movement
17,3
4. movement
17,4



Score

3









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