The Symphony No. 6 in D major (Hoboken 1/6) is an early symphony written in 1761 by Joseph Haydn and the first written after Haydn had joined the Esterházy court. It is the first of three that are characterised by unusual virtuoso writing across the orchestral ensemble. It is popularly known as Le matin (Morning).
The Esterházy Palace on Vienna's Wallnerstraße, where this symphony premiered.
Haydn wrote this, his first symphonic work for his new employer Prince Paul II Anton Esterházy, in the spring of 1761, shortly after joining the court. He had signed his employment contract with him on May 1, 1761. Prince Paul gave Haydn the three times of day as a theme for composition.[1]
The Esterházys maintained in permanent residence an excellent chamber orchestra and with his first contribution for it in the symphonic genre, Haydn fully exploited the talents of the players. In this, Haydn was consciously drawing on the familiar tradition of the concerto grosso, exemplified by the works of Antonio Vivaldi, Giuseppe Tartini, and Tomaso Albinoni then much in vogue at courts across Europe. All three symphonies (Nos. 6, 7 and 8) feature extensive solo passages for the wind, horn and strings, including rare solo writing for the double bass and bassoon in the third movement of No. 6. The work is scored for flute, 2 oboes, bassoon, 2 horns in D, violin I, violin II, viola, cello, double bass, and harpsichordad libitum.[2][3]
It has been commonly suggested that Haydn's motivation was to curry favour both with his new employer (by making reference to a familiar and popular tradition) and, perhaps more importantly, with the players upon whose goodwill he depended.[4] Typically during this period, players who performed challenging solo passages or displayed unusual virtuosity received financial reward. By highlighting virtually all of the players in this regard, Haydn was, literally, spreading the wealth.
Nickname (Le matin)edit
The nickname (not Haydn's own, but quickly adopted) derives from the opening slow introduction of the opening movement, which clearly depicts sunrise. The remainder of the work is abstract, as, indeed, are the other two symphonies in the series. Because of the initial association, however, the remaining were quickly and complementarily named "noon" and "evening".[5]
Following the sunrise-depicting introduction, the Allegro kicks off immediately with solo passages for flute and oboe. At the end of the development, a solo horn states the opening flute theme in the tonic, reminding modern listeners of the premature entry of the horn at the end of the development of Ludwig van Beethoven's Eroica Symphony composed forty years later.[6]
The slow movement is an Andante featuring passages for solo violin and solo cello bracketed by an Adagio on both ends. The leading Adagio is based on a hexachord.[6]
The minuet also contains concertante passages. A solo flute is heard accompanied by violins as well as a section with wind-band scoring. The trio begins with solo passages by the double bass and bassoon and are later joined by solo viola. The finale has a concerto grosso feel with virtuosi passages for cello, violin and flute.[6]
^Stapert, Calvin (2014). Playing before the LORD. Grand Rapids, Michigan: Wm. B. Eerdmans Publishing Co. pp. 39, 44. ISBN9780802868527.
^See H. C. Robbins Landon's edition of the score for Symphony No.6 at the German web site Haydn100&7. To display the score for each movement click the link "Partitur lesen" ["Read score"]. The instrumentation for the symphony is shown on page two of the section for the first movement. Accessed 29 May 2009.
^The harpsichord is marked ad libitum, since there is disagreement whether it should be used. Although Landon insists that it is required, James Webster (for Christopher Hogwood) argues that it should not be used, since Haydn was the only keyboard player in the Esterházy orchestra, and he conducted from the violin. Furthermore, there are no figured bass or keyboard parts in any of the authentic Haydn symphony scores (summarized by Threasher, p. 51).
^For a typical commentary, see D.[full citation needed] McCaldin, "Haydn Well Served", The Musical Times, Vol. 132, No. 1783 (September 1991), p. 448.
^For information on this symphony generally and for further details, consult H. C. Robbins Landon, The Symphonies of Joseph Haydn (London: Universal Edition. and Rockliff, 1955)
^ abcBrown, A. Peter, The Symphonic Repertoire (Volume 2). Indiana University Press (ISBN025333487X), pp. 71–72 (2002).
Referencesedit
Threasher, David. "Four Seasons in One Day". Gramophone (June 2009), pp. 48–53.
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This article is about the symphony by Joseph Haydn For the symphony by Michael Haydn see Symphony No 6 Michael Haydn The Symphony No 6 in D major Hoboken 1 6 is an early symphony written in 1761 by Joseph Haydn and the first written after Haydn had joined the Esterhazy court It is the first of three that are characterised by unusual virtuoso writing across the orchestral ensemble It is popularly known as Le matin Morning The Esterhazy Palace on Vienna s Wallnerstrasse where this symphony premiered Contents 1 Background and scoring 2 Nickname Le matin 3 Movements 4 See also 5 Notes 6 ReferencesBackground and scoring editHaydn wrote this his first symphonic work for his new employer Prince Paul II Anton Esterhazy in the spring of 1761 shortly after joining the court He had signed his employment contract with him on May 1 1761 Prince Paul gave Haydn the three times of day as a theme for composition 1 The Esterhazys maintained in permanent residence an excellent chamber orchestra and with his first contribution for it in the symphonic genre Haydn fully exploited the talents of the players In this Haydn was consciously drawing on the familiar tradition of the concerto grosso exemplified by the works of Antonio Vivaldi Giuseppe Tartini and Tomaso Albinoni then much in vogue at courts across Europe All three symphonies Nos 6 7 and 8 feature extensive solo passages for the wind horn and strings including rare solo writing for the double bass and bassoon in the third movement of No 6 The work is scored for flute 2 oboes bassoon 2 horns in D violin I violin II viola cello double bass and harpsichord ad libitum 2 3 It has been commonly suggested that Haydn s motivation was to curry favour both with his new employer by making reference to a familiar and popular tradition and perhaps more importantly with the players upon whose goodwill he depended 4 Typically during this period players who performed challenging solo passages or displayed unusual virtuosity received financial reward By highlighting virtually all of the players in this regard Haydn was literally spreading the wealth Nickname Le matin editThe nickname not Haydn s own but quickly adopted derives from the opening slow introduction of the opening movement which clearly depicts sunrise The remainder of the work is abstract as indeed are the other two symphonies in the series Because of the initial association however the remaining were quickly and complementarily named noon and evening 5 Movements editAdagio 44 Allegro 34 Adagio 44 Andante 34 Adagio in G major 44 Menuet e Trio Trio in D minor 34 Finale Allegro 24Following the sunrise depicting introduction the Allegro kicks off immediately with solo passages for flute and oboe At the end of the development a solo horn states the opening flute theme in the tonic reminding modern listeners of the premature entry of the horn at the end of the development of Ludwig van Beethoven s Eroica Symphony composed forty years later 6 The slow movement is an Andante featuring passages for solo violin and solo cello bracketed by an Adagio on both ends The leading Adagio is based on a hexachord 6 The minuet also contains concertante passages A solo flute is heard accompanied by violins as well as a section with wind band scoring The trio begins with solo passages by the double bass and bassoon and are later joined by solo viola The finale has a concerto grosso feel with virtuosi passages for cello violin and flute 6 See also editList of symphonies by nameNotes edit Stapert Calvin 2014 Playing before the LORD Grand Rapids Michigan Wm B Eerdmans Publishing Co pp 39 44 ISBN 9780802868527 See H C Robbins Landon s edition of the score for Symphony No 6 at the German web site Haydn100 amp 7 To display the score for each movement click the link Partitur lesen Read score The instrumentation for the symphony is shown on page two of the section for the first movement Accessed 29 May 2009 The harpsichord is marked ad libitum since there is disagreement whether it should be used Although Landon insists that it is required James Webster for Christopher Hogwood argues that it should not be used since Haydn was the only keyboard player in the Esterhazy orchestra and he conducted from the violin Furthermore there are no figured bass or keyboard parts in any of the authentic Haydn symphony scores summarized by Threasher p 51 For a typical commentary see D full citation needed McCaldin Haydn Well Served The Musical Times Vol 132 No 1783 September 1991 p 448 For information on this symphony generally and for further details consult H C Robbins Landon The Symphonies of Joseph Haydn London Universal Edition and Rockliff 1955 a b c Brown A Peter The Symphonic Repertoire Volume 2 Indiana University Press ISBN 025333487X pp 71 72 2002 References editThreasher David Four Seasons in One Day Gramophone June 2009 pp 48 53 Portal nbsp Classical Music Retrieved from https en wikipedia org w index php title Symphony No 6 Haydn amp oldid 1151347384, 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