E flat major
Herausgeber: Sonja Gerlach und Sterling E. Murray; Reihe I, Band 11; G. Henle Verlag München
Hob.I:76 Symphony in E-Flat Major
Symphony No. 76, the first of the trio, which like No. 74 is in E-flat major, contains numerous details which are sure to have delighted both the connoisseur as well as the fan: in the first movement, which is marked by the “drive” of the rolling unison phrases in the strings, the secondary theme sounds “premature” at first, that is, like a consequent in the repetition of the principal theme. At the analogue location in the reprise this is corrected by another contrapuntal “sequence.” Consisting of five parts based on the A-B-A’-C-A”-(Coda) model, the second movement lives entirely from its polarisation between the graceful “A” parts (with their economic use of elements of variation) and the highly animated minor-key episodes in “B” and “C.” The third movement is dominated by a contrast as well: while the minuet is entirely commensurate with “aristocratic taste” – the French spelling “menuet” in the score implies this – the trio melody (in accordance with the terminology of the time) is “German”: thirty years later people will say “Ländler” (rural dance) or already “waltz.” Untypical of Haydn, the finale is a fully executed principal sonata theme in a leisurely tempo: it rises and falls with its ornamental principal theme, which is characterised by numerous grace notes which on the surface lend the movement a playful airiness. The allure is all the greater when in the development the listener is repeatedly confronted with unexpected turns of phrase.
Analysis of the movements
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|
33 CDs, aufgenommen 1970 bis 1974, herausgegeben 1996 Decca (Universal)
Austro-Hungarian Haydn Orchestra
33 CDs, aufgenommen 1987 bis 2001, herausgegeben 1996
Hob.I:22 "Der Philosoph"
Hob.I:48 "Maria Theresia"
Hob.I:64 "Tempora mutantur"
Hob.I:63 "La Roxelane"
Hob.I:85 "La Reine"
Hob.I:83 "La Poule"