Program notes from 2019 Festival by Jim Waddelow, Artistic Director
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Franz Joseph Haydn, Symphony No. 21 in A Major
There is an element of changing things up with this early Esterhazy-period symphony. The key of A major (one of only seven in the canon) was a rarity for him, and No. 21 is one of only seven Haydn symphonies to use a slow-fast-slow-fast movement format associated with the church sonata form known as sonata da chiesa. He later returned to the model only three more times with symphonies 22 “The Philosopher”, No 34, and No. 49 “La Passione”. Upon listening to this work it is easy to see how Haydn later modified the idea of a slow opening to his famous and well known slow introductions of the later London symphonies. It is one of the rare instances of the composer’s symphonies where he makes the curious choice of identical key signatures in all four movements. (The others are 5, 18, 22, and 49.) Written in 1764, and scored for a pair of oboes, two horns, strings and continuo, the orchestration is identical to most of his other symphonies of the era. The opening Adagio is the stately centerpiece of the symphony and there are several chromatic passages that keep the listener guessing. There is a lot of sequencing and repetition in the driving Presto that follows. The opening eight notes of the Minuet would later be directly quoted by Mozart in his Minuet of the celebrated Eine Kleine Nachtmusik (K. 525) At a mere 28 bars, the following Trio is more transparent, as winds are tacet and the accompaniment to the melodic line is sparse. The sonata form finale is similar to the style of the earlier Presto, as it features the constant interplay between the first and second violin sections.
There is an element of changing things up with this early Esterhazy-period symphony. The key of A major (one of only seven in the canon) was a rarity for him, and No. 21 is one of only seven Haydn symphonies to use a slow-fast-slow-fast movement format associated with the church sonata form known as sonata da chiesa. He later returned to the model only three more times with symphonies 22 “The Philosopher”, No 34, and No. 49 “La Passione”. Upon listening to this work it is easy to see how Haydn later modified the idea of a slow opening to his famous and well known slow introductions of the later London symphonies. It is one of the rare instances of the composer’s symphonies where he makes the curious choice of identical key signatures in all four movements. (The others are 5, 18, 22, and 49.) Written in 1764, and scored for a pair of oboes, two horns, strings and continuo, the orchestration is identical to most of his other symphonies of the era. The opening Adagio is the stately centerpiece of the symphony and there are several chromatic passages that keep the listener guessing. There is a lot of sequencing and repetition in the driving Presto that follows. The opening eight notes of the Minuet would later be directly quoted by Mozart in his Minuet of the celebrated Eine Kleine Nachtmusik (K. 525) At a mere 28 bars, the following Trio is more transparent, as winds are tacet and the accompaniment to the melodic line is sparse. The sonata form finale is similar to the style of the earlier Presto, as it features the constant interplay between the first and second violin sections.
Franz Joseph Haydn Piano Concerto in D Major
Like many of Haydn’s concerti, the lack of an autograph copy makes it difficult to prove the authenticity of composition of the D Major concerto. The first edition of the work was published in 1784 and some musicologists feel it was written along with the G major concerto sometime between 1770 and 1781. Due to ranges of the writing it is uncertain whether Haydn keyboard concerti were intended for performance on an organ, harpsichord, or the newer pianoforte. In any case Haydn is consistent throughout his career in that he wrote for the instruments he had and for the abilities of the performers at his disposal. Unlike Beethoven or Mozart, Haydn was not a virtuoso performer and this concerto is not as technically demanding as the works of the other two men. Thus there are questions as to for whom the work may have been written. With an orchestration of two oboes, two horns, and strings, the treatment of the orchestra is similar to the earliest Haydn symphonies. The cello and bass are doubled, while the viola divides alignment between the second violin and the lower strings. Typically the first violins share the bulk of the melodic interest. A bright Vivace begins softly before a series of contrasts and sudden dynamic shifts complete the lengthy 48 bar exposition. The soloist plays many sixteenth note runs and arpeggios while syncopations are echoed in the violins in this treble clef dominant movement. The rest of the chamber orchestra plays sparse chords that fill out the strait forward harmonic accompaniment. The short cadenza is attributed to the composer. Marked Un Poco Adagio, the A major second movement is in three quarter time with a short introduction before the soloist enters. The singing cantabile melody is more evenly distributed and displays rapid triplets leading to E minor before the brief solo cadenza returns to the home key. The final movement is and Allegro assai that returns to D major and designated Rondo all’ Ungherese. Based off of duple meter folk dance melodies, the soloist takes charge from the first measure. An A major transition leads to an unexpected lilting D minor section before the D major conclusion recalls the dynamic contrasts of the opening movement.
Like many of Haydn’s concerti, the lack of an autograph copy makes it difficult to prove the authenticity of composition of the D Major concerto. The first edition of the work was published in 1784 and some musicologists feel it was written along with the G major concerto sometime between 1770 and 1781. Due to ranges of the writing it is uncertain whether Haydn keyboard concerti were intended for performance on an organ, harpsichord, or the newer pianoforte. In any case Haydn is consistent throughout his career in that he wrote for the instruments he had and for the abilities of the performers at his disposal. Unlike Beethoven or Mozart, Haydn was not a virtuoso performer and this concerto is not as technically demanding as the works of the other two men. Thus there are questions as to for whom the work may have been written. With an orchestration of two oboes, two horns, and strings, the treatment of the orchestra is similar to the earliest Haydn symphonies. The cello and bass are doubled, while the viola divides alignment between the second violin and the lower strings. Typically the first violins share the bulk of the melodic interest. A bright Vivace begins softly before a series of contrasts and sudden dynamic shifts complete the lengthy 48 bar exposition. The soloist plays many sixteenth note runs and arpeggios while syncopations are echoed in the violins in this treble clef dominant movement. The rest of the chamber orchestra plays sparse chords that fill out the strait forward harmonic accompaniment. The short cadenza is attributed to the composer. Marked Un Poco Adagio, the A major second movement is in three quarter time with a short introduction before the soloist enters. The singing cantabile melody is more evenly distributed and displays rapid triplets leading to E minor before the brief solo cadenza returns to the home key. The final movement is and Allegro assai that returns to D major and designated Rondo all’ Ungherese. Based off of duple meter folk dance melodies, the soloist takes charge from the first measure. An A major transition leads to an unexpected lilting D minor section before the D major conclusion recalls the dynamic contrasts of the opening movement.
Franz Joseph Haydn Symphony # 101 in D Major “The Clock”
Haydn composed the Minuet in Vienna at the end of 1793, and completed the rest of this D major work after arriving in London. Symphony No. 101”The Clock” was the second symphony from Haydn’s second trip to England. Commissioned by impresario and violinist Johann Peter Salomon, it received its premiere at the 800-seat Hanover Square Concert rooms on March 3, 1794. One of only five symphonies by the composer to include clarinets, “The Clock” is one of the composer’s largest orchestrations. The brief 23 measure Adagio introduction is in triple meter and a minor tonality, featuring whispering fermatas punctuated by sudden and jolting sforzandi. The violins, oboe, and flute lead the transition into the following Presto where Haydn chooses to retain the piano context with a skipping violin melody. The tempo indication and the six-eight meter are unusual for a Haydn first movement, as it is the only one of the twelve London symphonies marked in such a way. The challenging violin melody demands agility and requires more technical facility than most any of Haydn’s symphonies. The bassoon and pizzicato low strings shift to G Major and establish the tick-tock of the Andante that give the symphony its namesake. Ever present, the tick-tock shifts voices and registers passing throughout the orchestra while a graceful slurring violin melody contrasts the pulsation. Haydn’s lengthiest and most elaborate Minuet features a violin melody doubled with the flute and oboe, while the Trio continues with a solo flute followed by a rare bass and cello melody in alternation with the violins. Like the opening movement, the cut-time Vivace Finale, is a tour de force for the violins. After a typical delicate opening phrase in the strings, Haydn delays the forte entrance of the winds and brass until after the repeat of the beginning. The composer then adds a fugue section of over forty measures before the movement ends much in the way it began. By the time Haydn premiered “The Clock” he was the best known composer alive and a London celebrity. Both the first and second movements were encored for the appreciative audience at the debut performance.
Haydn composed the Minuet in Vienna at the end of 1793, and completed the rest of this D major work after arriving in London. Symphony No. 101”The Clock” was the second symphony from Haydn’s second trip to England. Commissioned by impresario and violinist Johann Peter Salomon, it received its premiere at the 800-seat Hanover Square Concert rooms on March 3, 1794. One of only five symphonies by the composer to include clarinets, “The Clock” is one of the composer’s largest orchestrations. The brief 23 measure Adagio introduction is in triple meter and a minor tonality, featuring whispering fermatas punctuated by sudden and jolting sforzandi. The violins, oboe, and flute lead the transition into the following Presto where Haydn chooses to retain the piano context with a skipping violin melody. The tempo indication and the six-eight meter are unusual for a Haydn first movement, as it is the only one of the twelve London symphonies marked in such a way. The challenging violin melody demands agility and requires more technical facility than most any of Haydn’s symphonies. The bassoon and pizzicato low strings shift to G Major and establish the tick-tock of the Andante that give the symphony its namesake. Ever present, the tick-tock shifts voices and registers passing throughout the orchestra while a graceful slurring violin melody contrasts the pulsation. Haydn’s lengthiest and most elaborate Minuet features a violin melody doubled with the flute and oboe, while the Trio continues with a solo flute followed by a rare bass and cello melody in alternation with the violins. Like the opening movement, the cut-time Vivace Finale, is a tour de force for the violins. After a typical delicate opening phrase in the strings, Haydn delays the forte entrance of the winds and brass until after the repeat of the beginning. The composer then adds a fugue section of over forty measures before the movement ends much in the way it began. By the time Haydn premiered “The Clock” he was the best known composer alive and a London celebrity. Both the first and second movements were encored for the appreciative audience at the debut performance.
Franz Joseph Haydn, Cantilena pro Adventu “Ein’ Magd Ein’ Dienerin”
Not published until the late 1950’s, this solo work for soprano and chamber orchestra was one of several small works Haydn wrote for a chapel setting. There is no exact date of composition, but the Cantilena Adventu was entered into the Entwurf-Katalogue with a large group of compositions dated between 1766 and 1769. Several Haydn scholars date the work at 1765. Translated: “A Maid, A Servant” the brief eight-minute work was believed to have been a part of an Advent service at the chapel of the Esterhazy estate at Eisenstadt. Set in the joyous key of A major, there are two versions of text—one in German and the other in Latin. The German text is the original. The accompanying orchestration is a reduced or chapel orchestra of 2 horns, strings, and an organ continuo. Marked Moderato in 2/4, the orchestra has a lengthy introduction of 20 bars where the violins establish the forthcoming soprano melody. Like many arias, the orchestra alternates between sparse accompaniment and a connecting tutti sections that feature many sixteenth note runs. The violin one section shadows the soloist without the embellishments that are reserved for the soprano.
Not published until the late 1950’s, this solo work for soprano and chamber orchestra was one of several small works Haydn wrote for a chapel setting. There is no exact date of composition, but the Cantilena Adventu was entered into the Entwurf-Katalogue with a large group of compositions dated between 1766 and 1769. Several Haydn scholars date the work at 1765. Translated: “A Maid, A Servant” the brief eight-minute work was believed to have been a part of an Advent service at the chapel of the Esterhazy estate at Eisenstadt. Set in the joyous key of A major, there are two versions of text—one in German and the other in Latin. The German text is the original. The accompanying orchestration is a reduced or chapel orchestra of 2 horns, strings, and an organ continuo. Marked Moderato in 2/4, the orchestra has a lengthy introduction of 20 bars where the violins establish the forthcoming soprano melody. Like many arias, the orchestra alternates between sparse accompaniment and a connecting tutti sections that feature many sixteenth note runs. The violin one section shadows the soloist without the embellishments that are reserved for the soprano.
Franz Joseph Haydn, Cello Concerto in D VIIb/2, Op. 101
The majority of the concerti that Haydn composed were written while he was Kapellmeister and leader of the Prince Nikolaus's Esterházy orchestra. The D major cello concerto was written at for Esterházy cellist Anton Kraft in 1783—the same year he was commissioned to write his famous set of “Paris” symphonies. Like many other Late-Haydn works, authenticity was in doubt. There was no account of a debut performance, and many scholars believed for years that the concerto was written by Kraft. It was only after the signed and dated manuscript was located in 1951 in the basement of the Austrian National Library that the work was confirmed to be Haydn’s. There are several versions of the accompaniment with multiple and varied orchestrations ranging from sparse to a fuller set similar to the “London” symphonies. Set in the conventional three movement format of fast-slow-fast, the opening Allegro Moderato opens with the traditional orchestral introduction of the principal thematic material. The flowing and peaceful melodic line belies the fact that the soloist part if far more challenging than the more popular C Major concerto. Typical of his concerti, Haydn did not compose the cadenza, and there are several versions for soloists to choose from. The following Adagio shifts to the dominant key of A Major, and begins with the singing melody in the solo cello. The structure is responsorial and the entire movement feels like it could just as easily be a tender aria from one of Haydn’s operas. Haydn concludes the concerto with a joyous Rondo. Because of the many technical challenges, and modern orchestra tendencies to program Romantic-era concerti, this under-rated concerto does not get the number of performances that it truly deserves.
The majority of the concerti that Haydn composed were written while he was Kapellmeister and leader of the Prince Nikolaus's Esterházy orchestra. The D major cello concerto was written at for Esterházy cellist Anton Kraft in 1783—the same year he was commissioned to write his famous set of “Paris” symphonies. Like many other Late-Haydn works, authenticity was in doubt. There was no account of a debut performance, and many scholars believed for years that the concerto was written by Kraft. It was only after the signed and dated manuscript was located in 1951 in the basement of the Austrian National Library that the work was confirmed to be Haydn’s. There are several versions of the accompaniment with multiple and varied orchestrations ranging from sparse to a fuller set similar to the “London” symphonies. Set in the conventional three movement format of fast-slow-fast, the opening Allegro Moderato opens with the traditional orchestral introduction of the principal thematic material. The flowing and peaceful melodic line belies the fact that the soloist part if far more challenging than the more popular C Major concerto. Typical of his concerti, Haydn did not compose the cadenza, and there are several versions for soloists to choose from. The following Adagio shifts to the dominant key of A Major, and begins with the singing melody in the solo cello. The structure is responsorial and the entire movement feels like it could just as easily be a tender aria from one of Haydn’s operas. Haydn concludes the concerto with a joyous Rondo. Because of the many technical challenges, and modern orchestra tendencies to program Romantic-era concerti, this under-rated concerto does not get the number of performances that it truly deserves.