JOSEPH HAYDN

107 SINFONIE

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Kultur Niederösterreich


Parkhotel Pörtschach

77

B flat major

Order by Hoboken
Hob.I: 77
Chronological order
79
Key
B flat major
Period
First Symphonies for a „new“ audience 1782 to 1784
Date of composition
1782
Customer
Willoughby Berties, Earl of Abingdon
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien 1782-1784
Herausgeber: Sonja Gerlach und Sterling E. Murray; Reihe I, Band 11; G. Henle Verlag München

Hob.I:77 Symphony in B-Flat Major
The second of the symphonies 76-78 composed for a trip to England that never came to fruition, the B-flat major symphony is undoubtedly the most compositionally distinguished of the triptych. The common characteristic of three of its four movements are the contrapuntal imitations Haydn uses as his working principle. The two themes of the first movement are derived from the same fundamental rhythm. The development begins with the working of the principal theme; the modulating sequences are based on a longer contrapuntal pattern in which the “primary motif” is overlapped “with itself” in a stretto. An identical figure beginning with the secondary theme is broken off prematurely in order to make room for the reprise. The interrupted development is then resumed in the reprise at the appropriate place and continued. In the second movement, an intimate piece with a muted string sound and contrasting developmental episodes, imitative passages are found at the locations of the returning principal theme. As is generally the case with Haydn, the minuet is a particular treasure, a musical miniature in the middle of a splendid symphony. By playing with accents - first on the loud, then on the soft part of the bar – Haydn suspends the laws of “gravity” of ¾ time with the greatest of ease and performs the awkward dance of a small marionette before an amused audience. Though in the character of a rondo-kehraus (a “sweep out dance” concluding the end of a season), the final movement is arranged in the form of a sonata movement. To this extent it resumes the cadences of the opening movement (thus bringing it full circle), as here, as well, the development over considerable stretches is organised on the basis of a fugato over the primary motif.

 

Analysis

Analyse

Analysis oft he movements

1. movement
79,1
Title oft he movement
Vivace
Key
B flat major
Form
sonataform
2. movement
79,2
Title oft he movement
Andante sostenuto
Key
F major
Form
ternary songform
3. movement
79,3
Title oft he movement
Menuetto Allegreo / Trio
Key
B-B flat major
4. movement
79,4
Title oft he movement
Allegro spiritoso
Key
B flat major
Form
sonataform
Duration
appr. 20 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|2 – 2|0 – 0 – Str.
Cast oft he orchestra
1|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

Choose the interpret

Antal Dorati

Joseph Haydn
The Symphonies
Philharmonia Hungarica
33 CDs, aufgenommen 1970 bis 1974, herausgegeben 1996 Decca (Universal)

1. movement
79,1
2. movement
79,2
3. movement
79,3
4. movement
79,4



Score

77









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