JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

42

D major

The Project

Order by Hoboken
Hob.I: 42
Chronological order
53
Key
D major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1771
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Autograph
Score edition

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

Symphony No. 42 in D major
Symphony No. 42 dates from the same year (1771) as the String Quartets, op. 17 and the C minor Piano Sonata, Hob.XVI:20 (Landon 33). The opening movement bears the unusual tempo-marking 'Moderato e maestoso', which when taken seriously produces one of the longest movements Haydn ever composed. This is not merely a matter of clock-time; for example, the second group in the dominant includes, uniquely in Haydn, two 'second themes', each worked out at considerable length, with an even longer forte passage in between. The development includes not one but two 'false recapitulations', one in the tonic early on, another in the subdominant halfway through; and the recapitulation soon breaks off for a remarkable 'secondary development' based on motives from the first theme.
The slow movement bears the equally unusual tempo-marking 'Andantino e cantabile.' Heinrich Christoph Koch, the most important eighteenth-century theorist of musical form, used it as his 'demonstration' example of what we call sonata form. In the same key and meter as the slow movement of the 'Farewell' Symphony, its reflective mood is also similar, and it is even more eccentric in phrasing. (At one point Haydn went too far: in the autograph he cancelled a rhythmically obscure passage, commenting selfconsciously: “Dies war vor gar zu gelehrte Ohren” ('This was for much too learned ears'). It has been speculated that it was Prince Esterházy himself who was not amused. But the cancelled passage appears in no surviving sets of parts; most likely neither the Prince nor anyone else ever heard the version ante correcturam.
The spirited minuet is again of more than average length; the trio is an exquisite bit of refined play for the strings alone. The Finale brings yet another unusual tempo-marking, 'Scherzando e presto'. It is a set of free variations, 'excellent fooling à la Beethoven' (to quote Tovey). But it includes ravishing contrasts of instrumentation, as well as a somewhat extended minor-mode variation in the middle, and it concludes with a joking coda but whether its humor is 'high' or 'low', only the listener can decide.

Analysis

Analyse

Analysis oft he movements

1. movement
53,1
Title oft he movement
Moderato e maestoso
Key
D major
Form
sonataform
2. movement
53,2
Title oft he movement
Andante e cantabile
Key
A major
Form
ternary songform
3. movement
53,3
Title oft he movement
Menuet Allegretto / Trio
Key
D-D major
4. movement
53,4
Title oft he movement
Scherzando e presto
Key
D major
Form
five-piece variation-rondo
Duration
appr. 29 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. (with solo for 2 Fa or 2 Vc)
Cast oft he orchestra
0|2|0|2 – 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
53,1
2. movement
53,2
3. movement
53,3
4. movement
53,4



Score

42









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