Giuseppe Haydn

107 SINFONIÆ

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Kultur Niederösterreich, Parkhotel Pörtschach, Haydn Stiftung

57

D major

Order by Hoboken
Hob.I: 57
Chronological order
64
Key
D major
Period
Middle Esterház-sonfonias 1767 to 1773; „Sturm und Drang“ and the „calm“ afterwards
Date of composition
1774
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Autograph
Score edition

Sinfonien 1773 und 1774
Herausgeber: Wolfgang Stockmeier; Reihe I, Band 7; G. Henle Verlag München

Symphony No. 57 in D major
Symphony No. 57 begins, unusually, with a slow introduction, by far the longest Haydn had composed up to that time. The ensuing Allegro, unlike the other first movements in this volume, has a quasi-perpetuum mobile texture (in quavers) and a slow harmonic rhythm. It is also very long, especially the exposition; there are not one but two contrasting piano sections, and Haydn is in no hurry (in all these respects it resembles the first movement of No. 42, also in D; see vol.6).
The theme-and-variation Adagio in 6/8 is based on one of Haydn's greatest strokes of genius. The theme comprises two halves; the first half alternates among three contrasting motives: short and pizzicato; short and legato; longer and songlike. In the second half, however, the melodic vein takes over sooner, is extended, and becomes deeper in feeling until the initial pizzicato returns as the final cadence. The remainder of the movement comprises four variations, which combine gorgeous changes in scoring, filigree figuration for the violins and, towards the end, increased chromatics and thicker textures. But as his final gesture Haydn will repeat the pizzicato cadence one last time.
The minuet, based on a jaunty turn motive, is much extended in its second half, including a distinct coda following the structural cadence. The two last bars skip up through the triad in unison, whereupon, to our surprise, they immediately recur in D minor, as the beginning of the trio but in such a way that the first four bars sound like a transition, as if the 'real' trio began in its fifth bar and were in B flat. Not until the very end does the form become clear: those first bars in D minor are the beginning of the trio.
The finale is a rollicking Prestissimo; its main theme (featuring another turn motive) seems to be derived from a seventeenth-century Austrian piece titled 'Canzona and Capriccio on the Cackling of Hens and Roosters'.4 The momentum is sustained without interruption, except when Haydn pauses briefly for his trademark fusion of wit and sentiment. About the 'affect' of the ending, however, there can be no doubt.

Analysis

Analyse

Analysis oft he movements

1. movement
64,1a
 
64,1b
Title of the movement
Adagio / Allegro
Key
D major
Form
sonataform
2. movement
64,2
Title of the movement
Adagio
Key
G major
Form
variationform
3. movement
64,3
Title of the movement
Menuet Allegretto / Trio
Key
D major-d minor
4. movement
64,4
Title of the movement
Prestissimo
Key
D major
Form
sonataform
Duration
appr. 32 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
64,1a
 
64,1b
2. movement
64,2
3. movement
64,3
4. movement
64,4



Score

57









Haydn13

107 SINFONIÆ

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

13 OPERÆ

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

5 ORATORIÆ