JOSEPH HAYDN

107 SINFONIE

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65

A major

Order by Hoboken
Hob.I: 65
Chronological order
48
Key
A major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1769
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1766-1769
Herausgeber: Andreas Friesenhagen und Christin Heitmann; Reihe I, Band 5a; 2008, G. Henle Verlag München

Symphony No. 65 in A major
This symphony is nearly as 'theatrical' as No. 59. To be sure, the opening Vivace e con spirito is closer to the 'neutral' rhetoric of ordinary symphonies; nonetheless it is a marvelously high-spirited and inventive composing-out of its opening contrast: between three annunciatory 'hammerstroke' chords (note the unusual melodic succession: 1-4-3), and the ensuing quiet off-tonic melody. Witty indeed is Haydn's inclusion, early in the development, of a 'false reprise' only of the quiet melody, without the hammerstrokes, and his consequent recomposition of the 'true' recapitulation. The Andante, by contrast, is so eccentric as again irresistibly to conjure up the stage. It is in sonata form but its unexpected, occasionally disorienting juxtapositions of four incompatible motives - a cantabile phrase with an off-tonic headmotive in triplets, a wind fanfare, a naked repeated-note pedal, and a sinuous phrase for the strings in unison seem to deny all formal and rhetorical decorum.
The minuet astonishes by its rhythm. A 'normal' opening phrase with prominent turn-motives on the downbeats is answered in the dominant; but now the turn figure, accented, appears every fourth beat (in the entire texture, not merely as a syncopation against steady downbeats elsewhere). The eruption of 4/4 metre is shocking in this context; it could be called Brahmsian, if only that admirer of Haydn had played his rhythmic games in an equally frank manner. The trio, like that in No. 59, is in the tonic minor for strings alone; it alternates a subtly conspiratorial grace-note ostinato with a frankly conspiratorial rising sequence. The latter is in hemiola (two-note groupings within 3/4); that is, the 'opposite' rhythmic deformation from that in the minuet. The Presto finale is a jig in which the characteristic 12/8 melodic figures are introduced by a horn-call in octaves. Soon the horns take the 12/8 figure, accompanied by massive string chords (recalling the ham-merstrokes from the opening movement), and a rollicking finale-exposition ensues. At the beginning of the development the horn-call engenders one of Haydn's most astonishing surprises. Thereafter all is well, except that at the beginning of the recapitulation the horn jig-motive and the hammerstrokes are nowhere to be heard - only to return, following a coda-like repetition of the opening theme, as the boisterous climax of this splendid finale.

Analysis

Analyse

Analysis oft he movements

1. movement
48,1
Title oft he movement
Vivace con spirito
Key
A major
Form
sonataform
2. movement
48,2
Title oft he movement
Andante
Key
D major
Form
sonataform
3. movement
48,3
Title oft he movement
Menuetto / Trio
Key
A major-a minor
4. movement
48,4
Title oft he movement
Presto
Key
A major
Form
sonataform
Duration
appr. 24 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
48,1
2. movement
48,2
3. movement
48,3
4. movement
48,4



Score

65









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