JOSEPH HAYDN

107 SINFONIE

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66

B flat major

The Project

Order by Hoboken
Hob.I: 66
Chronological order
68
Key
B flat major
Period
Late Esterház-sinfonias 1774 to 1782; The period of the „opera-symphonies“
Date of composition
1775/1776
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

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

Symphony No. 68 in B flat major 
The opening Vivace begins with a smooth, flowing 3/4 theme, which predictably becomes more vigorous later on, leading eventually to a 'second theme' that it would be criminal to hear without laughing aloud. The development seems uneventful, until by tonal sleight of hand Haydn slides into the recapitulation before we are aware of it. The end of the movement considerably expands the tonally off-centre closing theme.
For the last time in his symphonic career (the few other examples are all much earlier), Haydn places the minuet in second position, the slow movement third. The former adopts a rustic air, with four-square phrasing and simple texture, while the trio wears its sophistication on its sleeve, with joking upbeat phrases that suggest the trio of the 'Oxford' Symphony.
The Adagio cantabile is arguably the most extraordinary movement in this volume, particularly in its bewildering mixtures of Affekt. The opening theme and transition are played almost entirely by muted violins alone; the melody, in the first violins, seems arbitrary, repetitive and directionless. Meanwhile, the second violins proceed in unbroken, almost mechanical semiquavers, seemingly dissociated from the ruminative melody above (many will follow Charles Rosen in being reminded of the 'Clock' Symphony) except for occasional forte interjections by the full band, on the same semiquaver motif, which however never come just when they 'should'. The effect is at once amusing and disorientating. As the movement proceeds, the rigid distinction between melody and accompaniment becomes more complex, as the expression becomes more serious (though at first never for too long), until, in the widely modulating development, all humour is left behind. Nevertheless, all the discontinuities return in the recapitulation. As a whole, the movement is not easy to 'read'. Are the comic elements 'stagey', or high wit, or a kind of Brechtian Verfremdung (alienation) Do the disparate elements become synthesised into a satisfying whole, or do they remain unintegrated?
No such difficulties of interpretation cloud the rondo finale, as close to pure entertainment as Haydn ever came. The main theme is a raucous, triadic affair; nor do the episodes, for all their attractive variety, essay the bold modulatory or contrapuntal passages Haydn usually offers in this context although one reprise includes a crudely canonic variant of the main theme. In the comic coda, everything is repeated to excess (this is no criticism): a high dominant pedal, dying away; 'echo solo' entries on the main motif, wittily resolving that dominant, for all the instruments in turn; a tremolo wind-up, and altogether 'too many' shouting chords at the close.

Analysis

Analyse

Analysis oft he movements

1. movement
68,1
Title oft he movement
Allegro con brio
Key
B flat major
Form
sonataform
2. movement
68,2
Title oft he movement
Adagio
Key
F flat major
Form
ternary songform
3. movement
68,3
Title oft he movement
Menuetto / Trio
Key
B flat-B flat major
4. movement
68,4
Title oft he movement
Scherzo e presto
Key
B flat major
Form
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|2 – 2|0 – 0 – Str.
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
68,1
2. movement
68,2
3. movement
68,3
4. movement
68,4



Score

66









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