JOSEPH HAYDN

107 SINFONIE

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75

D major

The Project

Order by Hoboken
Hob.I: 75
Chronological order
73
Key
D major
Period
Late Esterház-sinfonias 1774 to 1782; The period of the „opera-symphonies“
Date of composition
end of 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. 75 in D major
The slow introduction is marked grave (the only Haydn instrumental work for which this is so; usually he writes 'adagio', occasionally 'largo'). It is in fact serious in character, indeed closer in form and mood to his late 'London' introductions than any other in this volume. It alternates ff unison attacks with piano sighing motives, then turns to the minor, and eventually arrives on a long dominant pedal, with further chromatic inflections. The Presto in common time (another unusual combination) begins quietly but breathlessly with a chromatic rise, D-D#-E, which more than one commentator has heard as foreshadowing the Allegro in the overture to Don Giovanni (Mozart once copied out Haydn's theme). The exposition is relatively terse, and maintains the breathless air almost throughout; the lightly syncopated second theme breaks off before scarcely having begun. The development begins in more leisurely fashion, with sequential and contrapuntal discussions of the main theme, preceding the central section in the prevailing 'forward' style. However, the retransition returns to the leisurely contrapuntal mood and texture, in the compositionally most complex passage of the movement, to which Haydn adverts again during the recapitulation. Thus the theme reveals itself as a complex personality: not only bustling and forward-driving, but contrapuntal and deeply-felt.
The Poco adagio is the first of what would become a distinct 'type' in Haydn's slow movements: dominated by a beautiful, hymnlike melody in 3/4, with regular, legato, singable phrases (see also, for example, Symphonies 87, 98 and 99).4 The form is a regular theme and variations; the four variations, in regularly accelerating note values, feature in turn the first violins, the winds on a rhythmic ostinato, a solo cello, and the second violins underneath a 'straight' statement of the melody (with a gorgeous wind accompaniment); a very brief coda follows, in the same texture as the final variation.
The minuet, with its vigorous 'turn' motive, reverts to the forward-driving style of the Presto; the trio features the flute and first violins doubled at the unison (rather than at the octave, as was more common), on a sprightly melody with forzato upbeat accents. The finale, Vivace alia breve, is a free rondo, A-B-A1-C-A2-Coda. The main theme for strings alone is a common 'rounded binary' form, a|b-a, with both halves repeated; A1 is given in much more varied scoring, while A2 undergoes an expansion in its b strain, complete with Haydnesque 'surprises'. Meanwhile B is in the tonic minor, with a variant of the theme transposed into the bass; C, following a contrapuntal transition taking off from the end of A1, begins in the relative B minor but soon reverts to the home dominant and to A2. Following the latter an extended coda further develops both the contrapuntal transition to C and the surprises of b, to which is added a ruminative 'long-note' cadence a reminder of the mood of the Poco adagio before the final shouts.

Analysis

Analyse

Analysis oft he movements

1. movement
73,1a
 
73,1b
Title oft he movement
Grave / Presto
Key
D major
Form
sonataform
2. movement
73,2
Title oft he movement
Poco Adagio
Key
A major
Form
variationform
3. movement
73,3
Title oft he movement
Menuetto Allegretto / Trio
Key
D-D major
4. movement
73,4
Title oft he movement
Vivace
Key
D major
Form
rondo
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
1|2|0|1 – 2|(2) – (1) – Str.
Cast oft he orchestra
1|2|0|1 – 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
73,1a
 
73,1b
2. movement
73,2
3. movement
73,3
4. movement
73,4



Score

75









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