JOSEPH HAYDN

107 SINFONIE

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61

D major

Order by Hoboken
Hob.I: 61
Chronological order
69
Key
D major
Period
Late Esterház-sinfonias 1774 to 1782; The period of the „opera-symphonies“
Date of composition
1776
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Autograph
Score edition

Sinfonien um 1775/76
Herausgeber: Sonja Gerlach und Wolfgang Stockmeier; Reihe I, Band 8; G. Henle Verlag München

Symphony No. 61 in D major
No better example of the unassuming art that animates Haydn's symphonies of the middle 1770s could be found than this lovely work, which even the great Haydn scholar Jens Peter Larsen dismissed as 'pleasant and unpretentious'. That it is pleasant, nobody will deny. Its opening theme, like that of No.53, combines rapid surface activity and slow-moving harmony; as the movement proceeds we realize that this block-like phrase organization is characteristic. But this, along with the entertaining rondo finale based on a 'hornpipe' theme in 6/8 time, are virtually its only features that can be called unpretentious, and even then only in the sense of 'unassuming', not modest or conventional. Indeed the block-like passages eventually become memorable; see the quavers for the winds at the beginning of the second group, and especially the closing theme, whose quavers become four octaves deep in oboes and horns and thus 'surround' the strange, chromatically rising semibreve melody.
The Adagio features the earliest example of an important thematic type in late Haydn slow movements: the 'beautiful', hymn-like melody in triple time. For this gorgeous movement, with its expressive transition and positively Schubertian second theme, the epithet 'unpretentious' is wildly inappropriate. The minuet begins conventionally enough, but its second part is much extended in unexpected ways; the trio features an oboe solo. As for the finale, the only appropriate response is to laugh aloud but, as everyone knows, this is just when Haydn is at his least innocent.

Analysis

Analyse

Analysis oft he movements

1. movement
69,1
Title oft he movement
Vivace
Key
D major
Form
sonataform
2. movement
69,2
Title oft he movement
Vivace
Key
A major
Form
ternary songform
3. movement
69,3
Title oft he movement
Menuet Allegretto / Trio
Key
D-D major
4. movement
69,4
Title oft he movement
Prestissimo
Key
D major
Form
rondo
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
1|2|0|2 – 2|0 – 1 – Str.
Cast oft he orchestra
1|2|0|2 – 2|0 – 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
69,1
2. movement
69,2
3. movement
69,3
4. movement
69,4



Score

61









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