JOSEPH HAYDN

107 SINFONIE

powered by

Kultur Niederösterreich


Parkhotel Pörtschach

71

B flat major

The Project

Order by Hoboken
Hob.I: 71
Chronological order
71
Key
B flat major
Period
Late Esterház-sinfonias 1774 to 1782; The period of the „opera-symphonies“
Date of composition
1778/1779
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1777-1779
Herausgeber: Sonja Gerlach und Stephen C. Fisher; Reihe I, Band 9; G. Henle Verlag München

Symphony No. 71 in B flat major
The brief slow introduction masterfully juxtaposes the contrasting topics of 'majesty' (forte unison dotted figures) and 'tenderness' (piano trilled suspensions) on the identical melodic figure. Its musical content is subtly repeated during the course of the opening Allegro con brio theme. When the vigorous transition paragraph reaches the dominant of the dominant, it suddenly pauses for a ruminative passage that builds up in even crotchets, instrument by instrument and bar by bar. This air of hesitation spills over into the second group proper, Haydn's characteristic vigour not returning until the closing theme. The development soon reaches a stopping point on vigorous bare octaves on D; there follows Haydn's last extended symphonic 'false recapitulation' in the tonic (later examples are always in a different key), veiled by a subtle change in the initial two bars. By way of compensation, the 'true' recapitulation of the first group and transition is much shortened.
The Adagio is a theme and variations movement on an elaborate binary theme consisting entirely of complex five-bar phrases, (5 + 5) + (5 + 5) with each half repeated; at the beginning of the fourth and final strain the winds usher in longer notes and more complex harmonies, to magical effect. Three variations feature, in turn, the first violins in faster note values, solo flute and bassoon against a demisemiquaver countermelody, and basses in triplets. The theme then returns literally, except that at the 'magical' passage the harmonies expand out into a six-four chord on the dominant and fermata, which intro duces a very long written-out cadenza for the full band, followed by a very brief coda.
The minuet contrasts a striding forte theme with a piano answer featuring chromatic neighbours in parallel tenths, which 'take over' in the long second part; in the trio, the oddly phrased seven-bar melody is played by two solo violins in octaves, including a prominent turn figure (which becomes almost too prominent in the second part). The Vivace finale in sonata form features an irregularly developing theme over a constant quaver but harmonically slow-moving bass; it returns (in a variant) for the second group, which closes with a fanfare-like theme for the winds and a witty decrescendo. The development begins abruptly in the remote key of D flat major, with both violin parts in unison (both marked 'per licentiam' in one early source, a type of comment occasionally found in Haydn's autographs); after some 'mystifying' modulations D flat turns itself into C sharp; that is, the third of the dominant of the dominant in G minor, the relative minor. The recapitulation is prepared by one of Haydn's less subtle jokes.

Analysis

Analyse

Analysis oft he movements

1. movement
71,1
 
71,1b
Title oft he movement
Adagio / Allegro con brio
Key
B flat major
Form
Sonatenform
2. movement
71,2
Title oft he movement
Adagio
Key
F major
Form
Variationsrondo
3. movement
71,3
Title oft he movement
Menuet / Trio
Key
B flat-B flat major
4. movement
71,4
Title oft he movement
Vivace
Key
B flat major
Form
Sonatenform
Duration
appr. 33 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|1 – 2|0 – 0 – Str.
Cast oft he orchestra
1|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
71,1
 
71,1b
2. movement
71,2
3. movement
71,3
4. movement
71,4



Score

71









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