38

C major

Order by Hoboken
Hob.I: 38
Chronological order
41
Key
C major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1767
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1766-1769
Herausgeber: Andreas Friesenhagen und Christin Heitmann; Reihe I, Band 5a; 2008, G. Henle Verlag München

Symphony No. 38 in C major
Whether the inspired foolery of this work owed its inspiration to the stage we cannot know; it certainly would not lose anything from the association. Like several other early Haydn symphonies in C, the opening Allegro di molto employs the otherwise unusual 'finale' metre of 2/4 in its opening movement. Perhaps it is overture-like; certainly it sounds 'stagey', faintly bombastic, with little subtlety of contrast or motivic variation. And in the middle of the development it becomes downright comic: this section has centred around A minor; at the conclusion of a long sequence, Haydn twice cadences deceptively on F (its submediant), until he tires of this game and stamps out a third cadence, in unison, to clinch A minor at last whereupon he not only substitutes F this time too, but drops to piano and begins a new episode in F major! (The 'trio'-like effect of the reduced scoring and contextual separation of the latter section is also found primarily in early finales.)
The Andante molto is a delicately farcical 'echo' movement, of the sort that notoriously offended the conservative North German critics of Haydn's day. The second violins, muted, constantly imitate the concluding motives of the unmuted firsts no matter how tactlessly in the rhythmic context, or how excessively at the end of both main sections. The minuet features a solo oboe in the trio. So does the second group of the Allegro di molto finale (now in alla breve), which in general alternates between an opening theme that prances up and down the scale over an offbeat tonic pedal, and contrapuntal passages in the transitions and the development. The effect is decidedly one of comic juxtaposition rather than organic integration.

Analysis

Analyse

Analysis of the movements

1. movement
41,1
Title of the movement
Allegro di molto
Key
C major
Form
sonataform
2. movement
41,2
Title of the movement
Andante molto
Key
F major
Form
ternary songform
3. movement
41,3
Title of the movement
Menuet Allegro / Trio
Key
C-F major
4. movement
41,4
Title of the movement
Allegro di molto
Key
C 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
0|2|0|0 – 2|0 – 0 – Str.
Cast oft he orchestra
0|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
41,1
2. movement
41,2
3. movement
41,3
4. movement
41,4



Score

38









Haydn13

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

1766

4. Periode

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

1796

1799

1801

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
I. Periode
Acide
 
I. Periode
 
I. Periode
 
I. Periode
La canterina
I. Periode
 
I. Periode
Lo speziale
 
I. Periode
 
I. Periode
Le pescatrici
 
I. Periode
 
I. Periode
 
II. Periode
 
II. Periode
 
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