Haydn: Symphony No. 97 in C major, Hob. I:97 Franz Joseph Haydn, a brilliant composer, was born on March 31, 1732 in Austria and died May 13, 1809 in Vienna. For nearly thirty years Haydn was employed as a court musician at the Esterhazy court. This meant that the wonderful composer was stuck in one area for a large part of his life. When Prince Nikolas died in 1790 his successor, Anton, granted Haydn permission to travel. Haydn s travels lead him to London where his received a thousand pound sterling for composing an opera and six symphonies for German vocalist Johann Peter Salomon. 1 These six symphonies, as well another six, are together known as the London or Salmon Symphonies. Haydn s Symphony No. 97 in C major, Hob. I: 97 was the fifth written out of the twelve symphonies. This work was composed in March and April if 1792 while he was nearing the end of his first stay in London. It was the last symphony written before he returned to Vienna. This symphony in specific was difficult for Haydn to compose; it was the last of Salomon s commission and was written under time constraints. This is one of the least performed of all of the London symphonies, although it is a truly amazing composition. This symphony was first performed at the Hannover-square Concert Rooms on May 3, 1792 for a benefit concert. The other works on the program were written by Haydn as well. This performance was not lead by a conductor, but rather by Haydn himself while he played keyboard. 2 The orchestra that performed this piece consisted of about forty players. 3 As with many composers Haydn has many trademarks and recurrent traits in his works. Haydn, being stuck in the Esterhazy court, did not experience what was happening musically in the real world. Haydn said the following about his compositions: My Prince was satisfied with all my works; I received approval. As head of an orchestra I could try things out, observe what creates a [good] effect and what weakens it, and thus revise, make additions or cuts, take risks. I was cut off from the world, nobody in my vicinity could upset my self-confidence or annoy me, and so I had no choice but to become original. 4
This quote suggests that Haydn thought his music to be individual and not influenced by others. It also implies that he was not associated to other composers of his time. Haydn s music tends to capture different feelings or ideas. This is expressed in the nicknames for his works, for example the Joke Quartet and Surprise Symphony. Haydn is seen as a genius because of his use of rhythmic and motivic material to create these ideas. Haydn also strongly believed that the importance of his compositions was to motivate the listener. 5 Haydn s works usually sticks with one idea throughout. The second theme resembles the first; a developmental section follows and then a closing theme. These themes are famous for being simple and recognizable. Haydn s works are mainly in the mainly in the galant style, but also the empfindsam style (as he was influenced by C.P.E Bach). 6 A large number of his symphonies are fast-slow-fast. The first movement is usually longer and the final is fast and short. Haydn s first movements are generally a fast sonata-form movement. These start off with a slow section that makes the Allegro seem energetic in comparison. The themes are tonally stable; separated by unstable transitional passages. 7 All of these tendencies are seen in his 97 th symphony. Haydn was composer that wrote music with his audience and performers in mind. When he traveled to London his music became grander and more brilliant. 8 This is reflected in his London symphonies. Haydn was very meticulous about the music he wrote. He wrote I was never a hasty writer, and always composed with deliberation and diligence. 9 Symphony No. 97 hints romanticism with the diminished seventh chord in measure 2 that repeats throughout. There are also many modulations that occur in the first movement. 10 This symphony foreshadowed the six even more brilliant symphonies to come. When conducting this piece there are certain things to keep in mind. One thing to pay attention to throughout the entire piece is dynamic contrast. All of the dynamics in this score are
in Italian. There is a lot of dynamic contrast that takes place over the course of both long and short sections. If dynamics are not employed in this piece it loses excitement and becomes very stagnant. In the Adagio there is the change from f to p in m. 1. This happens again four bars later and also in m. 6. The rest of this section should crescendo and decrescendo to fit the shape of the line. A big deal should be made of the diminuendo in m. 13 so there is more of a contrast with the ff at the Vivace. The dynamics need to be brought down significantly at m.25. In mm. 30-36 there is great contrast between p and f every other measure. Another spot to pay attention to dynamically is the sf in m.44 on beats one and two, as well as those on beat one starting m. 60, and beat three starting m. 68. These dynamics should be conducted with both small and large patterns as well as with left hand dynamics. Overall the top line, which has the melody, should always be heard as the other voices play at a supportive volume. Dynamics really drive the piece and keep it lively so it is important that they are conducted correctly. Phrasing is also important to conduct correctly. This is a part of the music that can be interpreted differently from person to person. The conductor is responsible for communicating which phrasing to use so the orchestra can play with unified intentions. The dynamic shaping of the phrases is very important. These should be shown with the left hand. This can be challenging because the dynamics move by very quickly even in the Adagio. The phrasing of the music is also indicated with the beat pattern that is chosen. The Allegro can either be conducted in a three or two pattern. The pattern is determined by how they what it phrased. If this section is taken at a slow speed it may be necessary to subdivide. In the Vivace the first measure should be subdivided to show the quarter note. The other measures can either be subdivided or in one. It is important to pay attention to dynamics when deciding what pattern to use. For example, subdivision is required in mm. 31-35 because there are dynamic changes in the middle of the
measure. The harmony parts are also important when trying to decide what beat pattern to use. This is apparent in mm.44-50 where the second voice is playing sf notes on beat two. Another element that is important to the success of conducting is the tempi throughout the piece. This excerpt has two distinct tempos; the Adagio and the Vivace. The Adagio should be a slow adagio, around 69 bpm. The sudden change to Vivace in m.13 should be made very clear and predictable to the performers. Getting this tempo relation can be difficult but is crucial for getting the performers to play together. One way this transition can be thought of is by thinking in subdivided triplets in the last measure (m.13) before the Vivace. This will ensure that the tempo change makes sense to the performers. The first measure of the Vivace should be subdivided so the ensemble knows what the quarter note is. In Haydn s works tempi as well as dynamics are very important because they give the music energy. Throughout the piece Haydn uses many different timbres and textures to aid the listener formally. The score is transposed but all of the instruments are in C. The names of the instruments are also in Italian. The piece is scored, like many other Haydn symphonies, for: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. As is customary in many musical works, the higher voices (in this the violins and high winds) always have the melody. Haydn trades off between the two, in mm. 25-30; or adds a woodwind for emphasis, mm.4. The bass voices take care of the bass line and the middle voices add harmonic support. Haydn likes to use the contrast between the winds and strings, but also uses them together in loud ad brilliant sections like the beginning of the Vivace. Because all of the parts are playing different roles in the music it is important to cue and give attention the correct people when it is important. It can be challenging to decide where people need cues and when a cue is more of a hindrance. It is also very important to conduct the correct style, the Adagio needs to be different than the Vivace. The Adagio should be conducted with a more legato beats. Tenutos can be placed on
ornamentation such as the one on the down beat of m.9. Overall this section is relaxed and serene. In contrast the Vivace should be much more staccato, especially in m. 39. These styles are greatly contrasting so it is crucial to show the difference in the beats used. When conducting a piece it is important to know the background of the composer and piece. Firm background knowledge sets a conductor up for success. It is also important to have knowledge in the formal and harmonic tendencies of the composer. This process is helped by completing a flow chart of the score that is being studied. This gives a visual representation of the piece and helps draw connections to how the piece should be conducted. The flow chart shows phrasing, dynamics, and everything that is important to pay attention to when preparing to conduct. It also helps show where potential problems may occur for the conductor of the piece. Overall score study is a very important part of conducting that helps the conductor accurately lead music. 1 James M. Keller, Symphony No. 97 in C major, Hob, I:97, San Francisco Symphony, http://www.sfsymphony.org/music/programnotes. aspx?id=48010. 2 James M. Keller, Symphony No. 97 in C major, Hob, I:97. 3 James Webster, Joseph Haydn, http://webproxy.potsdam.edu:2102/subscriber/ 4 Ibid. 5 Ibid. 6 Burkholder, Grout, and Palisica, A History of Western Muisc, (New York: W.W Norton & Company, 2010), 532. 7 Burkholder, Grout, and Palisica, A History of Western Muisc, (New York: W.W Norton & Company, 2010), 537. 8 James Webster, Joseph Haydn. 9 Ibid. 10 Ibid.
Bibliography Burkholder, Grout, and Palisca. A History of Western Musci. New York: W.W Norton & Company, 2010. Keller, James M. "Symphony No. 97 in C major, Hob. I:97." San Francisco Symphony (blog), http://www.sfsymphony.org/music/programnotes.aspx?id=48010 (accessed May 6, 2012). Webster, James, ed. Oxford Music Online. Oxford University Press, 2007-2012. "Joseph Haydn." http://webproxy.potsdam.edu:2102/subscriber/article/grove/music/44593pg4 (accessed May 6, 2012).