JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

40

F major

Order by Hoboken
Hob.I: 40
Chronological order
26
Key
F major
Period
First Esterház-Symphonies 1761 to 1763; „Die Tageszeiten“ and other unique creations
Date of composition
1763
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Autograph
Score edition

Sinfonien 1761-1763
Herausgeber: Sonja Gerlach und Jürgen Braun; Reihe I, Band 3; G. Henle Verlag München

Symphony No. 40 in F major
Not only the differing paper-types (see the note on chronology), but also the different styles, suggest that this symphony may represent an after-the-fact combination of originally separate movements. While the opening Allegro and the minuet are typically symphonic, the remaining two movements are unique each, however, in a very different way. The masterful sonata-form Allegro employs 'neutral' thematic material, compact scoring, and continually forward-driving rhythms (except for one curious incident in the second group). The minuet is in free, irregularly phrased two-part counterpoint; the trio features concertante horns and oboes.
The Andante più tosto Allegretto Haydn at first wrote merely “Allegretto” - is written for strings alone in bare two-part harmony, “sempre stacccato e piano”, primarily in short, repeated-note motives and sequences. (It would be a sin to disfigure this unique sound with a keyboard continuo.) Was it intended to suggest 'conspiratorial' goings-on? The finale is the only formal fugue in Haydn's entire symphonic output: of the other two finales often cited in this context, that of No. 3 conflates fugue and sonata form, while the severe triple fugue in No. 70 is framed by extensive homophonic sections at either end. Even this movement includes occasional passages in more or less homophonic texture, but the subject (or at least its descending-skip headmotive) is never lost sight of, so that the entire movement indeed derives, fugue-like, from its theme. Although it bristles with contrapuntal artifices, especially strettos, it maintains a jaunty, forward-driving air that is appropriate to its role as a finale.

Analysis

Analyse

Analysis oft he movements

1. movement
26,1
Title oft he movement
Allegro
Key
F major
Form
sonataform
2. movement
26,2
Title oft he movement
Andante più tosto Allegretto
Key
B major
Form
ternary songform
3. movement
26,3
Title oft he movement
Menuet / Trio
Key
F-F major
4. movement
26,4
Key
F major
Form
sonataform
Duration
appr. 21 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
26,1
2. movement
26,2
3. movement
26,3
4. movement
26,4



Score

40









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