|
Hob I # |
NC |
HRL |
KEY |
Instruments |
|
34 |
29 |
39 |
d |
2 Oboes, 2 Horns & Strings |
|
72 |
30 |
30 |
D |
Flute, 2 Oboes, Bassoon, 4 Horns, (opt Timpani) & Strings |
|
13 |
31 |
28 |
D |
Flute, 2 Oboes, 4 Horns, (opt Timpani) & Strings |
Even a composer who is out on the leading edge of current musical styles doesn't write exclusively in that fashion. Due at least in small part to his respect for earlier styles, one of the many things that Haydn carried forward into the Classical era was the Baroque 'sinfonia da Chiesa' or Church Symphony. Stylistically this class of works has a consistent layout. The first movement will be an Adagio, and if often the focal point of the entire work. In itself this differentiates it from Classical works, which try to achieve a balance between the opening movement and the finale. The order of the tempos is always slow-fast-slow-fast. The first fast movement was always a fugue in the Italian tradition. Traditionally all movements are in the same tonic key, although this was not as unusual in the Baroque when most works were monotonic anyway. It does sort of stand out by the 1760's though! Finally, there is a tendency in modern times to automatically think of a 'Church symphony' as being written for use in church. However, this is not the case, certainly not in the Austria of Haydn. Symphonies were indeed used in church, and aplenty. But they could just as easily be ones that began with a 'normal' sonata-Allegro as one of these. Think of the name, instead, as meaning 'written in the Church style' and it is easier to escape deception.
And so, I told you that so I could tell you this; Symphony #34 is a sinfonia da Chiesa. The lovely Adagio opening movement is nearly exactly as long as the remaining three movements combined. The overall tone of this movement is one of profound sadness. Despite the fact that there has never been any demonstrable indication that Haydn's personal feelings were transmitted into his music, I find it more than a little coincidental that Haydn's father, Mathias, died in September of 1763, which would be right at the same time that this work was composed. On the other side of the equation, noted Haydn scholar Elaine Sisman has suggested that this work was composed as incidental music for a play by Carlo Goldoni called The English Philosopher, so perhaps the music is merely reflecting a mood in the play. This would be more consistent with Haydn's known personality and ideals. The remaining three movements are all in sunny and bright D major, as different in mood from the opening as one can imagine. So the tonic D is seen throughout, and it is not unusual to see this work described as being in d minor/Major. It is one that deserves more recognition in any case, not least because it is Haydn's first minor mode symphony!
As we saw earlier, Haydn acquired two new horns to work with. We close out the year for symphonies with two marvelous works that feature his new horn chorus, #72 & 13.
Symphony #72 has always caused some confusion, witness the fact that it was numbered 72 by Mandyczewski, which number was unwittingly taken up by Hoboken, and you have the makings of a snarl. And when it was clearly recognized as earlier than the mid-1770's, it was then paired up with #31 (Hornsignal), which is yet again off-base. Finally enough evidence was uncovered to pair it up with its true mate, #13 in 1763. Note that with the addition of a bassoon in the present work they are scored identically.
The first movement Allegro is an absolute tour de force of horn playing and writing. It is suggested that Haydn was trying to justify to the Prince the cost of having four horns by writing music for them which showed them to best effect. If true, then he accomplished his goal. After a relatively plain opening, the four horns suddenly take off on a wild ride of scales and arpeggiated chords that is more ornate and demanding than any other horn work he wrote. It is not hard to see why, after this movement winds up, he gave the horns a bit of a break in the rest of the movement so no one had a lip blowout! The second movement is again unique, being like a combination of divertimento and concerto grosso. The solo violin (Tomasini) and the solo flute play the concertante parts while the strings manage the rest while the horns are resting their lips! The horns return in the highly experimental minuet. Since they are clearly scored to play echoes of each other, it becomes obvious that they were placed in pairs on opposite sides of the orchestra. The minuet itself is carried by the oboes, our visiting bassoon and the four horns, playing the parts of a larger-than-life Feldmusik. The finale is a theme and variations. It features the soloists accompanied by the strings. The first variation features solo flute, the second a solo cello, the third a solo violin and the fourth a solo violone. The fifth variation is scored for oboe, two horns and strings while the sixth variation is for flute, oboe, bassoon, four horns and strings. The movement ends Presto with a final flourish by the horns.
Our final piece of the year shows to be different in character from the similarly scored work discussed above. #13 is a very large, festive piece that makes the most of the bright sound of D major. In the opening movement, he shows off the horns in the texture in a different way than before. In the recapitulation, he brings the strings back in piano instead of the expected forte, and then turns the horns loose on a great run up the D major scale on their pure open notes, thus showing them off to best advantage. In the second movement Haydn once again gives the winds a rest and creates a beautiful cello concerto movement with just the strings. His cellist, Joseph Franz Weigl, had to be outstanding for some of the music Haydn wrote for him, and here he gets an opportunity once again to shine for the Boss. Here he plays an arioso part that has shed off the formal pretensions of the Baroque and is squarely part of the Classical tradition. The menuet relies heavily on dynamic contrasts in the lower accompanying instruments, alternating forte – piano – forte in a way that highlights the melody. The trio is a tiny showcase for the flute. The fourth movement is the sort of music that earned Haydn his fame among musicians. It could be a fugue, but it isn't, really. It blends parts of the fugue with elements of sonata form to create the fugato that would become the 'fugue' of the Classical Era. It is in no way my personal style to inject advanced music theory into these essays, but if you are interested then by all means follow up on this interesting item.
Next time we will look at the other very fine works of this bountiful year. Symphonies are only the beginning!
Thanks for reading!
