JOSEPH HAYDN

107 SINFONIE

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Parkhotel Pörtschach

60

"Il distratto"

C major

Order by Hoboken
Hob.I: 60
Chronological order
62
Key
C major
Title
"Il distratto"
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1. half of 1774
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
6
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1770-1774
Herausgeber: Andreas Friesenhagen und Ulrich Wilker; Reihe I, Band 5b; 2013, G. Henle Verlag München

Symphony No. 60 in C major ('II distratto')
This work originated as incidental music to a comic play in five acts centring on the eponymously 'absent-minded' hero, Leandre. Notwithstanding hypotheses to the contrary, it is the only Haydn symphony that can be documented as having originated as stage music. This unique status correlates both with its oddities of style and with the fact that it is a six-movement symphony a generic anomaly that in 18th-century Austrian music is found only in overtly programmatic works. The first movement served as the overture, the second through fifth as entr'actes, and the last as a kind of 'finale' after the play was over.
Haydn's music occasioned widespread and enthusiastic comment as dramatic illustration. In the present context, only the briefest suggestion of his brilliant treatment is possible. For the action, I quote portions of Robert A. Green's synopsis.
Most of the characters are associated with the commedia dell'arte and as stock types were immediately intelligible as such to Haydn and the audiences of his day. Clarice and Isabelle are two well-bred young ladies. The Chevalier, Clarice's brother, is that member of the soldier-nobility who carouses, chases women, and who is well-schooled in the arts of the galant. Mme. Grognac is the authoritarian mother searching for a wealthy mate for Isabelle irrespective of her daughter's wishes. The avarice of Mme. Grognac is thoroughly exploited... Lisette and Carlin are the servants whose strengths help them to counterbalance the weaknesses of their masters ... Léandre, le distrait, is a character-type made famous by his description in Jean de La Bruyère's Les Caractères published in 1688 ... [He] comes down the stairs, opens his door to go out, then shuts it again; he notices that he is wearing his nightcap; and when he comes to look closer, discovers that he is only half shaved... Another time he pays a call on a lady, and presently convinced that he is the host himself, he settles down in his armchair and makes no attempt to get out of it... He gets married one morning, and has forgotten about it by that evening, and stays away from home on his wedding night.8 The first movement (overture) resembles that to Symphony No. 50, in key, metre, presence of slow introduction, and much else. The one obviously illustrative passage occurs in the second group of the exposition: having landed on a local subdominant, the music tarries there for no fewer than twelve bars, dying away melodically (stuck on a single note), dynamically ('perdendosi'), and rhythmically: it has literally 'lost its way'. More puzzling is the entry, shortly after the beginning of the development, of the beginning of the 'Farewell' Symphony: is 'Haydn himself here pretending to have lost his way?
In the ensuing Andante, the contrasting themes have been read as portraying the stage-characters themselves: first the placid Isabelle, then the martinet Mme Grognac; then, in the development, a 'French' dance-parody may suggest the dissolute Chevalier whom Isabelle foolishly loves; and so on so easily that it is worth recalling that most of these associations are speculative, even those that derive from the (also speculative) reviews of the 1770s. Listeners are encouraged to make their own.
But it is too tempting to relate the gimmick in the finale to Lèandre's tying a knot in his handkerchief in order not to forget that it is his wedding night. His 'recollection' is represented by the music's suddenly break-ing-off after only a few bars, while the violins tune their lowest string, which they had 'absentmindedly' left on F, up to G.
Minuet and Finale in C. 
This pair of movements survives in a partial, undated autograph now in Berlin.9 Haydn apparently composed them in 1773-74, in order to 'complete' the two-movement overture to L'infedeltà delusa into a four-movement symphony (as he certainly did to produce No. 50). Indeed, two sources that he sold to Spain actually transmit such a symphony. Later, however, he separated these components out again, selling the overture to Artaria, who published it as one of a set of six in 1782, and temporarily using the finale (not the minuet) in a preliminary version of Symphony No. 63. The latter, however, was almost immediately replaced by the definitive finale (see Volume 10).10 Thus the combination of overture and minuet+finale as a symphony proved to be temporary, and in fact scholars and performers have so far continued to regard these two movements as a fragment.
In style they are both closely related to the equivalent movements of No. 50; both are splendid examples of Haydn's 'C major' mood in the early 1770s. The minuet makes great play with apparently conventional material, ending each half with a perky upbeat motive, while the trio astonishes with its many different harmonisations of a simple two-bar motive and a completely unexpected turn to the minor at the end. The prestissimo finale is a compact, driving movement with constant quaver motion. At the very beginning, a three-'hammerstroke' motive alternates with a simple, six-note upward-scale motive and a more cantabile theme; virtually the entire movement is developed out of these three scraps. Particularly inventive is the development, where Haydn discovers all manner of surprising harmonic twists for the hammerstrokes, now in regular alternation with the other ideas.

Analysis

Analyse

Analysis oft he movements

1. movement
62,1a
 
62,1b
Title oft he movement
Adagio / Allegro di molto
Key
C major
Form
sonataform
2. movement
62,2
Title oft he movement
Andante
Key
G major
Form
ternary songform
3. movement
62,3
Title oft he movement
Menuetto / Trio
Key
C major-c minor
4. movement
62,4
Title oft he movement
Presto
Key
c minor
Form
sonataform
5. movement
62,5
Title oft he movement
Adagio di lamentatione
Key
F major
Form
binary songform
6. movement
62,6
Title oft he movement
Prestissimo
Key
C major
Form
binary songform
Duration
appr. 30 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|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
62,1a
 
62,1b
2. movement
62,2
3. movement
62,3
4. movement
62,4
5. movement
62,5
6. movement
62,6



Score

60









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