JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

35

B flat major

The Project

Order by Hoboken
Hob.I: 35
Chronological order
43
Key
B flat major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1.12. 1767
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien 1767-1772
Herausgeber: Carl-Gabriel Stellan Mörner; Reihe I, Band 6; G. Henle Verlag München

Symphony No. 35 in B flat major
Although by outward criteria this symphony of late 1767 is entirely unexceptional it employs a common major key, the customary four-movement sequence, and the standard orchestra of two oboes, two horns, and strings (the winds tacent in the slow movement and trio), and it has no nickname, programmatic or theatrical associations, or overt disruptions of generic conventions or stylistic decorum it exemplifies throughout the high art of which Haydn was capable in his 'entertainment' mode. The Allegro di molto is based entirely on two contrasting ideas presented at the beginning: a graceful cantabile motive in the strings (interrupted by a horn-instigated fanfare), and a powerful unison theme on a 'galloping' motive. The cantabile idea returns in numerous different contexts; as was his wont, Haydn varies it each time (note especially the eccentric continuations in the second group and, at the beginning of the recapitulation, the striking new form of that horn interruption). The development, a model of its type, is in two parts, which fragment and discuss the two themes in turn.
The sonata-form Andante exhibits the sprightly profundity mixed with eccentricity that is typical of Haydn's non-Adagio slow movements. It begins with a delicious example of tonal wit: though it is in the subdominant key of E flat, the five-bar opening phrase begins in such a way as to imply B flat (which is still resounding in our inner ear), with unexpected consequences at each successive appearance not least at the very end, where the tonal balance is at last restored. (This is perhaps Haydn's earliest large-scale example of what would soon become a familiar structural witticism: that of ending a movement with its opening phrase.) The vigorous minuet is a masterpiece of subtlety, with unexpected changes of register and phrasing (most obviously in association with the trilled motive first heard in the second measure); the most unexpected is the straightforward piano ending. The Presto finale repeats the beginning = ending ploy; the joke is all the more effective because the three opening 'ham-merstrokes' move up from the tonic to the mediant, such that the movement ends melodically 'off the tonic. The violation of convention is all the stronger because we have already heard 'the same' chords at the end of the exposition where, however, they remained on the keynote as a conventional afterbeat gesture.

Analysis

Analyse

Analysis oft he movements

1. movement
43,1
Title oft he movement
Allegro di molto
Key
B flat major
Form
sonataform
2. movement
43,2
Title oft he movement
Andante
Key
E flat major
Form
ternary songform
3. movement
43,3
Title oft he movement
Menuet Un poco allegretto / Trio
Key
B flat-E flat major
4. movement
43,4
Title oft he movement
Presto
Key
B flat major
Form
sonataform
Duration
appr. 25 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|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
43,1
2. movement
43,2
3. movement
43,3
4. movement
43,4



Score

35









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