Haydn: Symphonies for Count Morzin 1757-1758
[Dolní Lukavice castle]
The Count's orchestra consisted of six, possibly eight violins, while in the basso section there were at least one cello, one bassoon, and one double bass (violone). There was also a wind-band sextet (oboes, bassoons, and horns). This ensemble was much smaller than the orchestras Haydn would later write for, which could include up to about 60 musicians.
While in Vienna, the Morzin ensemble was evidently part of a lively musical scene sponsored by the aristocracy. Around this time, the music of Sammartini was introduced to Vienna, where it quickly became fashionable. Aristocratic sponsors competed in bringing musical novelties to their almost daily concerts.
During his tenure with Count Morzin, Haydn married Anna Maria Keller on 17 November 1760, despite his contract forbidding him to marry. The marriage, lasting until Anna Maria's death in 1800, was unhappy. A year passed before Count Morzin learned of Haydn's marriage. However, financial difficulties soon forced the Count to reduce his expenditures, resulting in the dismissal of his musicians and Haydn losing his position as Kapellmeister.Fortunately, Haydn's growing public reputation and amiable character worked in his favor. Count Morzin, moved to help Haydn, facilitated his next career move. Shortly after losing his post, Haydn was appointed Vicekapellmeister to Prince Anton Esterházy at Eisenstadt, with a salary of 400 florins.
The initial 15 or so symphonies of Haydn's prolific career were composed for Count Morzin. However, the numbering of these early works is uncertain, ranging from 1 to 37, with the possibility of even more compositions from this period. Scholars disagree on the exact chronology, and some of these symphonies may have been written as late as 1760, just before Haydn moved on to his new position.
Typically, these early symphonies were crafted for a modest ensemble consisting of oboes, horns, and strings. While bassoons were often included, their role was usually limited to doubling the bass line. The use of percussion was rare, with timpani seldom employed.
Below I introduce the first 8 symphonies, which probably date from 1757 and 1758.
(1) Symphony No. 1 in D major
Written in 1757 while in the service of Count Morzin at the castle of Dolní Lukavice near Pilsen, the count's summer residence.
It is scored for 2 oboes, 2 horns, strings and continuo.
Like most of Haydn's early symphonies, it is in three movements:
(1) Presto in D (sonata form)
(2) Andante in G (sonata form)
(3) Presto in D (sonata form)
This most familiar of Haydn's early symphonies unusually begins with a crescendo that rises in pitch before reaching a forte and an impressive horn fanfare (not to be confused with the much longer so-called "Mannheim crescendo"). Horn fanfares continue to appear at key points. After modulating to A major, the second theme appears in eighth notes. The development is based on the second theme, but is very short, and the recapitulation is preceded by an ostentatious horn fanfare.
As in Haydn's other symphonies of the period, the slow movement is for strings only. The movement establishes the combination of liveliness with profundity so characteristic of Haydn's intimate andantes. It is in sonata form, with a surprise turn to the minor mode and denser counterpoint for the recapitulation of the opening theme. The main theme, which begins with a triplet, features a distinctive exchange between the first and second violins.
The concluding Presto exemplifies Haydn's "short 3/8 finale style". It has a lively theme that begins with an ascending arpeggio and is a simple, monothematic piece.
(2) Symphony No. 37 in C major
Although this symphony bears the advanced number of No. 37, it is actually one of Haydn's earliest symphonies, dated 1758 in a manuscript found in Český Krumlov, Czech Republic. Since it usually took about a year for a manuscript to appear after the work was composed, it probably dates from 1757 and was written while Haydn was in the service of Count Morzin in Lukavice (1757-1761).
It is scored for 2 oboes, 2 horns, strings and continuo. In some performances, trumpets and drums are added.
The work consists of four movements:
(1) Presto in C (sonata form)
(2) Menuet/trio in C/c
(3) Andante in c (ternary song form)
(4) Presto in C (sonata form)
This symphony exemplifies Haydn's C major style. However, as it does not appear to have originally included trumpets and percussion, it is less festive and more typical of the early symphonies in general.
In the constantly shifting first movement, the key suddenly changes to G minor in the middle of the exposition. After a very short development, there is a recapitulation that differs markedly from the exposition.
This work is one of the few symphonies of the Classical period to place the minuet second. The stately minuet is characterized by a dotted rhythm. The Trio is in C minor and is played by strings only.
The Andante is also for strings only. Unusually, it is also in the tonic minor of C.
The finale, again in Presto 3/8, is rather abrupt and contains many internal contrasts.
(3) Symphony No. 18 in G major
It is scored for 2 oboes, 2 horns, strings and continuo.
The work is in 3 movements:
In the first movement, which is serious in tone, the second violin plays a dotted theme over a bass eighth note accompaniment, and the first violin takes over, making it similar to a trio sonata. The wind instruments play a supporting role throughout.
The second movement consists of fast music, even incessant, relentlessly driving quaver rhythms, often with fanfares from the horns. After the first and second themes are heard in the development section, the original key is restored, but unlike true sonata form, the theme is not repeated, only the transitional and concluding sections are repeated.
The third movement is in ternary form, like a normal long and leisurely minuet. The main part of the minuet is a beautiful piece of music using triplets, dotted rhythms, trills, etc. The trio changes to G minor. After returning to the first part, the repetition is omitted, and a 10-bar coda is added at the end, giving it the feel of a final movement.
(4) Symphony No. 2 in C major
Haydn probably composed this C major symphony between 1757 and 1759 while working for Count Morzin. The autograph of the symphony has been lost, but contemporary copies of the parts exist. Its authenticity is assured by an entry in Haydn's own handwritten "Draft Catalogue". A peculiarity of the work is that the movements do not contain the usual repetitions of parts. A short symphony, without repetitions, but with some pleasant themes.There are three movements:
(1) Allegro in C (sonata form)
(2) Andante in G (ternary song form)
(3) Presto in C (rondo)
According to Robbins Landon, a comparison of the first movements of Symphonies 1 and 2 shows a constant struggle between pure Baroque style and pre-classical elements of the Viennese, Mannheim and Italian schools. Symphony No. 1 leans more toward the Mannheim school, while No. 2 returns to Baroque cadences and long, deliberately archaic sequences. Nevertheless, in terms of general structure and thematic development, No. 2 is clearly more modern. It is hard to believe that the two symphonies were composed within a few years of each other.
Here, the first movement combines homophonic and contrapuntal sections in such a way that the main motif of the homophonic opening becomes one of the contrapuntal motifs, and the large form combines elements of sonata and ritornello form. This symphony disproves once and for all the notion that the young Haydn's instrumental works were 'conventional'. The opening Allegro is unique; it is the subject of a kind of dialogue or confrontation between traditional and modern styles.
In the second movement, the winds are omitted and the violins play in semiquavers from beginning to end (a kind of perpetuum mobile), the pattern often broken by the use of trills. The violas in this slow movement double the bass part throughout at an octave above (e.g., "col basso," which was common at the time).
The last movement is Haydn's first attempt at a symphonic rondo and is characterized by a preoccupation with imitative processes.
(5) Symphony No. 4 in D major
Joseph Haydn composed this symphony between 1757 and 1760, when he was employed by Count Morzin. The symphony is in the common (early classical Italian) three-movement form of the time; the final movement is unusual in having the tempo of a minuet.The three movements are:
(1) Presto in D (sonata form)
(2) Andante in D (ternary song form)
(3) Tempo di Menuetto in D (sonata form)
The Presto is kept in the spirited character of the then "modern" galant type in the style of the Italian opera overture. Compared to the similarly structured first movement of Symphony No. 1, there is somewhat more thematic work, the middle section ("development") has stronger dynamic contrasts (piano to fortissimo), and the recapitulation is more varied than the exposition.
The second movement has a syncopated second violin part. As in Haydn's other symphonies of this period, the slow movement is played by strings only. The violins are muted, but the first violins play the melody while the second violins repeat the syncopated figure.
The finale is marked Tempo di menuetto, but is not in the 34th beat of a minuet, but in the 3/8th beat typical of Haydn's other early symphonic finales. Also, unlike other minuets, the movement lacks a central trio section.
(6) Symphony No. 27 in G major
There are three movements:
Despite the small forces at Haydn's disposal, the symphonic expression is broad and vigorous. The main theme of the opening movement hints at the Mannheim Rocket, although in abbreviated fashion. The second hybrid subject employs a developmental device quite common in Haydn's early works. It starts in the dominant major but concludes in the dominant minor, setting up a bright contrast with the closing refrain of the exposition.
The second movement is a lilting 6/8 siciliano played on muted strings and without winds or horns. Robbins Landon describes the movement "as Italian an andante as was ever composed in Naples or Palermo".
The symphony concludes with a bright, upbeat and brief finale that, like many of his other early works, is developmentally straightforward.
(7) Symphony No. 10 in D major
(1) Allegro in D (sonata form)
The first movement consists of strongly contrasting elements.
The second movement is written for strings only and is characterized by ascending and descending chains of seconds and suspensions ("sigh motifs").
As is typical for a symphony of this period, the last movement is designed as a lightweight "finale". It begins forte with the lively eight-bar theme with embellishments (triplet, trill). This symphony shines in the finale.
(8) Symphony No. 20 in C major
The symphony is in four movements:
(1) Allegro molto in C (sonata form)
(3) Menuet / Trio in C-F major
(4) Presto in C (sonata form)
The symphony begins forte in the entire orchestra as a symmetrically constructed question-answer structure and cadential "appendix" with trills (bars 1 to 12, "first theme").
The slow movement is in an unusual "serenade style" and is marked Andante cantabile alla breve; it has a uniform structure (regular melodic phrases, quarter-note accompaniment and pizzicato bass) and only towards the end of each half is it slightly broadened and accelerated. The winds are silent in the serenade-like second movement with the melody in the first violins, broken chords in the second violins and a pizzicato bassline.
In the festive minuet, which is already reminiscent of Haydn's later style, the upbeat triplets, the sweeping ascending and descending chord breaks and the forte-piano contrasts are striking.
The Presto is designed as a three-part da capo movement (A-B-A structure), with both parts A and B being in three parts. Since the middle sections have a development-like character, both parts are reminiscent of "sonata movements in miniature".