4
D major
Sinfonien um 1757-1760/61
Herausgeber: Sonja Gerlach und Ullrich Scheideler; Reihe I, Band 1; G. Henle Verlag München
Symphony No. 4 in D major
The opening Presto of this symphony resembles that of No. 1 (also a Presto in D) as a 'type', in its motivically driving character, and in such passages as the minor-mode interlude for violins alone. In the development, however, the impressive twofold modulating crescendo sequence and the long, suspenseful retransition are very different. But the real departure is the Andante, one of Haydn's earliest 'atmospheric' studies. It is set in the minor, the violins con sordino, and it welds three separate rhythms freely developing melody, beginning messa di voce; sinuously syncopated, melodically active inner part; 'walking' bass into a mood that is not easily described, but once heard is not easily forgotten. The Tempo di Menuetto finale begins with one of Haydn's earliest thematicist gestures: whereas in the Presto the violins swooped down the scale from A to D, now they sweep right back up from D to A. It is a miniature sonata form; the development, though merely a long dominant pedal, moves in its second half into the minor, on a motive that recalls the end of the Andante.
Analysis

Analysis of the movements



Musicians

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".
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

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


