Haydn - Symphony No. 79, 80, 81

Portrait of Haydn by Thomas Hardy.

The Symphony No. 79 in F majorHoboken 1/79, is a symphony by Joseph Haydn. It was composed in 1784. The 79th Symphony is characterized by a strong and joyful opening theme as well as varied rhythms throughout all four movements, especially in the minuet. The wind section alternated throughout the symphony either doubling the string section, enriching the tempo and solos void of virtuosity. Of note are long rests which are characteristic of Haydn.

Symphonies No. 79–81

Symphony No. 79 was composed as part of a trio of symphonies that also included symphonies 80

and 81.^[1] Unlike the previous three that were composed for London or the next six that were composed for Paris, symphonies 79 through 81 were written for a Lenten concert performed in Vienna in March 1785.^[2] For whatever purpose they were written, in these three symphonies Haydn experiments openly and widely with rhythms, pauses, tutti, minimal polyphony, occasional dissonance, theme and variations and dance like structures (one thinks of Beethoven's 7th symphony in terms of combined innovation, playfulness and daring). All three symphonies share the same structure of movements and for the most part have similar chord structures at least in the first movements of each symphony.

Movements

The symphony is scored for flute, two oboes, two bassoons, two horns and strings. There are four movements:

1. Allegro con spirito
2. Adagio cantabile, ³
   ₄ — un poco allegro, ²
   ₂
3. Menuetto & Trio: Allegretto, ³
   ₄
4. Finale: Vivace

The second half of the slow second movement is not slow at all and has a tempo more typical of a finale.

Much of the minuet is built on "4 + 2" six-bar phrases where the final two bars serve as a partial echo of the first four. The trio is based on a theme that is strikingly similar to the rondo finale to Mozart's first horn concerto, K. 412/386b, written in 1791, although it is unlikely that Mozart knew the earlier work.^[3]

The finale is a straightforward rondo with two episodes. The first episode has a gypsy flavor.^[3]

 Symphony No. 80 in D minor

, Hoboken 1/80, is a symphony composed by Joseph Haydn in 1784 as part of a trio of symphonies that also included symphonies 79 and 81. This symphony, along with the one that follows it, and the one that precedes it, were not written for Prince Nikolaus, but for a Lenten concert performed in Vienna in March 1785.^[1] It is one of the relatively few later symphonies by Haydn to begin in the minor mode. Symphony No 80 is highly structured with both outer movements in sonata form. There is a common (though not strict) modulation pattern seen in all four movements.

Movements

The symphony is scored for flute, two oboes, two bassoons, two horns and strings and is in the typical four movements:

1. Allegro spiritoso
2. Adagio
3. Menuetto
4. Finale: Presto

The first movement opens with a theme in the cellos accompanied by tremolos in the strings evoking a strong sense of Sturm und Drang. After the second theme provides a brief respite in the relative major, the music becomes turbulent as it transitions again. What follows is a very striking expositional coda which is a light, dancing theme featuring Lombard rhythms and scored for solo flute and first violin against a pizzicato bass. The development begins with a quirky coda theme in the remote key of D flat major and then slowly works it up the scale until it reaches A major followed by another grand pause and then the theme is repeated again in the relative major of F major. From there, Haydn blurs the lines between development and recapitulation as he did in earlier minor key symphonies. The first theme reappears in D minor, but it still appears to be part of the development. By the time the second theme appears in the parallel major of D major, it is evident that this is indeed the recapitulation and the movement drives home with odd expositional coda theme finishing the movement off in the appropriate key of D major. Haydn does not mark the second half of this movement with repeat signs.^[2]

The lyrical second movement is in B flat major and has little trace of the storminess of the opening movement,^[3] although there are some darker passages toward the end of the movement.

The third movement returns to D minor with some emphasis on F major, like in the first movement. The trio is in D major and uses a derivative (almost the reverse) of the Gregorian incipit lamentatio melody previously used in his 26th symphony "Lamentatione".^[4]

The finale is a sonata form in D major, with both halves marked for repeat.^[5] There is a lot of syncopation throughout the movement,^[6] particularly amongst the strings where the first violins play an eighth-note ahead of the second violins and the rest of the orchestra. The last movement contains very little negative melodies and ends with a passage similar to that he used to end his Symphony No. 84 in E♭.^[2]

Symphony No. 81 in G major

(Hoboken I/81) is a symphony by Joseph Haydn composed in 1784 as part of a trio of symphonies that also included symphonies 79 and 80.These three symphonies were specially written for performance in March 1785.^[1]

Movements

The symphony is scored for flute, two oboes, two bassoons, two horns and strings.

1. Vivace
2. Andante, ⁶
   ₈
3. Menuetto and trio: Allegretto, ³
   ₄
4. Finale: Allegro ma non troppo, ²
   ₂

In the first and third movements, Haydn explores "ambiguities of tonality ... which eventually reach their peak of subtlety" of the first movement of Symphony No. 94.^[2] The first movement begins "with an unusual and exciting pedal point ... [and] uses a subsidiary subject that appears like a cordial greeting to the newly won friend Mozart."^[3] The pedals and dissonances point to Mozart's K. 465.^[4]

The second movement is a siciliano theme with three variations.^[5] The variations are for the most part strophic and straightforward with the exception of a minor-key interlude in the center of the movement between the first and second variations. The final variation contains the fullest orchestration with pizzicato accompaniment and serves to recapitulate the movement.^[6]