JOSEPH HAYDN

107 SINFONIE

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Kultur Niederösterreich


Parkhotel Pörtschach

69

"Laudon"

C major

Order by Hoboken
Hob.I: 69
Chronological order
67
Key
C major
Title
"Laudon"
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. 69 in C major ('Laudon')
More than any other in this volume, this symphony epitomises the 'easy listening' aspect of Haydn's art in this period. The nickname is that of a famous Austrian Field Marshal; it was not Haydn's idea to attach it to this work, but that of his publisher Artaria, for an arrangement for solo keyboard. But Haydn did, rather cynically, approve it:
The last or fourth movement ... is not practicable for the keyboard, nor do I find it necessary to include it; the word 'Laudon' will aid the sale more than any ten finales.
The work is in the major mode throughout, instantly accessible and lightly textured; it moves within familiar styles and conventions and includes few moments of expressive intensity; the large sections, thematic groups, transitions, and so on, are crystal clear. The opening of the first movement resembles that of the better-known Symphony No. 48, 'Maria Theresia' (c.1768), in the same key, but its course is, again, easier to follow; even the development adumbrates no remote keys and does not so much as hint at contrapuntal complexity.
The slow movement, while equally straightforward, is by contrast decidedly eccentric. Its rising triadic theme in repeated notes immediately dissolves into meandering semiquavers, which however prove unable to leave the tonic. Only when the bass takes them over does a crude modulation to the dominant follow; the second group at least includes a bow to the minor mode and an attractively pert hocketing theme in hemiola.
The development is uneventful, and only Tovey's 'counsel for the defense' could make the joking retransition seem more than routine.
Admittedly, even when Haydn seems not to be concentrating on the business at hand, he cannot help writing 'a really new minuet'; note, for example, the triplet figure's surprising reversal of accent in the middle. The attractive sonata-rondo finale seems more engaged and is certainly more engaging. The contour of the tune is other than what we expect; the second group in the dominant sparkles with tremolos, surprise remote chords, vigorous syncopated rhythms, and more. The middle episode, minore, exhibits real fire, although the transition, on a characteristic rhythmic motif over mysterious, slow-changing harmonies, lasts longer than we would wish. An imitative coda-like extension precedes the wind-up, in which 'entertainment' again has the last word.

Analysis

Analyse

Analysis oft he movements

1. movement
67,1
Title oft he movement
Vivace
Key
C major
Form
sonataform
2. movement
67,2
Title oft he movement
Un poco adagio più tosto andante
Key
F major
Form
ternary songform
3. movement
67,3
Title oft he movement
Menuetto / Trio
Key
C-C major
4. movement
67,4
Title oft he movement
Presto
Key
C 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
0|2|0|2 – 2|2 – 1 – Str.
Cast oft he orchestra
0|2|0|2 – 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
67,1
2. movement
67,2
3. movement
67,3
4. movement
67,4



Score

69









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