JOSEPH HAYDN

107 SINFONIE

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56

C major

Order by Hoboken
Hob.I: 56
Chronological order
63
Key
C major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1774
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
Fürst Nikolaus I. Joseph Esterházy
Authenticity proof
Autograph
Score edition

Sinfonien 1773 und 1774
Herausgeber: Wolfgang Stockmeier; Reihe I, Band 7; G. Henle Verlag München

Symphony No. 56 in C major
This 'trumpet' symphony is the only one in which Haydn explicitly specified both C alto horns and trumpets (as we have seen in the musicological note, trumpets were unusual; when they were paired with horns, the latter were usually basso). The first movement immediately exploits this brilliant sound-world: first the trumpets, then the horns descend through a triad, while the more massive (and expected) unison writing comes in the third phrase, after the piano contrast. The exposition includes that rarity, a genuine second theme (although it turns out to be merely a large-scale antecedent, the harmonic consequent reverting to forte except that the cadence, thus long-delayed, is piano after all!). The first half of the development exploits the contrasts of the beginning through numerous modulations; eventually it settles into a loud imitative section that cadences on E as the dominant of A minor (compare Symphony No. 50), from where a brief, quiet interlude brings us home.
The Adagio is another of Haydn's long, deeply felt utterances characteristic of this period (compare No. 54). But it is far more concertante than No. 54: the oboes and obbligato bassoon are prominent throughout, and the horns are often independent as well (in this respect it is more closely related to No. 51, in vol. 7). Several passages in the minor uncannily anticipate Schumann, perhaps especially the slow movement of his Symphony N0.2.
The minuet is again very long, in miniature sonata form and with a good joking retransition back from the supertonic. The trio, for oboe and strings in the subdominant, is a brief study in elegance; it is tempting to imagine Haydn having wanted to produce here a 'normal' version of his deviant trio from No. 50.
The sonata-form finale is a C-major perpetuum mobile in triplets (only the rests demarcating the short individual phrases break the momentum). This too was something of a 'type'; compare the finale of Mozart's Symphony in C, K338. The development centers around the relative, A minor; a 'surprise' diminished seventh leads down a fifth to D minor, from where, as in the minuet, we revert directly to the recapitulation but in a much more abrupt manner, with the greatest sonic climax in the symphony.

Analysis

Analyse

Analysis oft he movements

1. movement
63,1
Title oft he movement
Allegro di molto
Key
C major
Form
sonataform
2. movement
63,2
Title oft he movement
Adagio
Key
F major
Form
ternary songform
3. movement
63,3
Title oft he movement
Menuet / Trio
Key
C-F major
4. movement
63,4
Title oft he movement
Prestissimo
Key
C major
Form
sonataform
Duration
appr. 36 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|1 – 2|2 – 1 – Str.
Cast oft he orchestra
0|2|0|1 – 2|2 – 1 – 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
63,1
2. movement
63,2
3. movement
63,3
4. movement
63,4



Score

56









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