66

B flat major

Order by Hoboken
Hob.I: 66
Chronological order
68
Key
B flat major
Period
Late Esterház-sinfonias 1774 to 1782; The period of the „opera-symphonies“
Date of composition
1775/1776
Customer
Prince Nikolaus I. Joseph Esterházy
Number of movements
4
Authenticity proof
Entwurfs-Katalog
Score edition

Sinfonien um 1775/76
Herausgeber: Sonja Gerlach und Wolfgang Stockmeier; Reihe I, Band 8; G. Henle Verlag München

Symphony No. 66 in B flat major 
This symphony opens with a variant of the beginning of the overture Hob.Ia:7 that is, Symphony No. 53, finale 'B'; however, the resemblance is only skin-deep, for the movement soon goes its own way. The tone is 'forward' throughout; as so often in Haydn, contrast is embedded in the flow of the music rather than given prominence for its own sake. Thus the second group at first continues loud and four-square; the brief 'second theme' does not allow the energy to slacken; and the only sustained piano is the retransition itself, on an unstable chord that yields to the orthodox dominant only at the last minute.
The Adagio is in 3/4 time, as in No. 61; unlike the latter, its motifs are short-breathed and additive rather than hymn-like, and soon develop into semiquavers then triplet semiquavers. The minuet is based on a short dotted motif, about which the only thing that can be predicted is that it will develop in an unpredictable manner; the return to the main theme is another characteristic joke. The trio begins off the tonic, engendering quiet subtleties of harmony and phrasing.
The rondo finale, Scherzando e presto, is the first in this volume to sound like a late Haydn rondo, with a main theme Tovey would have called 'kittenish', based on five-bar phrases. But counterpoint is hinted at in its middle phrase, and counterpoint erupts for real in the first episode, which combines second-group and developmental functions. After a varied reprise, the next episode pretends to be in the relative minor (the submediant), but soon leads to the subdominant and an even more contrapuntal episode. The next reprise is extended by various devices, leading eventually to the final thematic statement. This is less than subtle, with its fortissimo stamping-about, crude hocketing and concluding horse-laugh; it would be difficult to claim here that art triumphs over entertainment.

Analysis

Analyse

Analysis of the movements

1. movement
68,1
Title of the movement
Allegro con brio
Key
B flat major
Form
sonataform
2. movement
68,2
Title of the movement
Adagio
Key
F major
Form
ternary songform
3. movement
68,3
Title of the movement
Menuetto / Trio
Key
B flat-B flat major
4. movement
68,4
Title of the movement
Scherzo e presto
Key
B flat major
Form
rondo
Duration
appr. 29 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|2 – 2|0 – 0 – Str.
Cast oft he orchestra
0|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

Antal Dorati

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

1. movement
68,1
2. movement
68,2
3. movement
68,3
4. movement
68,4



Score

66









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