Herausgeber: Sonja Gerlach und Sterling E. Murray; Reihe I, Band 11; G. Henle Verlag München
Hob.I:81 Symphony in G Major
Although it is easy “to explain” in the framework of harmonic theory, for listeners at that time the beginning of Symphony No. 81 must have sounded fairly alien: over the tonic G in the repeated eighth notes of the basses the dissonant F is heard first, over which the suspended dissonant C is ushered in. The sound is only defined with the resolution of this C after B-natural, the various notes forming a seventh after the subdominant C major. It is undoubtedly this unusual edifice of principal themes which form the experimental centre of this entire first movement of Symphony No. 81: in the development Haydn uses increasingly bolder variants of appoggiaturas and “alien” harmonies. Like most of the introductory movements of the preceding symphonies No. 81 also has a “correct” reprise; the principle theme, which is simply passed over at this point, is heard again in its “original form” as a coda at the end of the movement. In the character of a siciliano, the second movement presents a mix consisting of variations and a tripartite melodic form, or a simple variation – the varying element consisting only of the figural play on the principle melody - in which a contrasting minor episode is inserted that has only remotely to do with the variation’s theme. The closing movement is a sonata movement again, its composition brisk and light with no stumbling blocks for intellectually challenged ears.
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"