Symphony No. 92 (Haydn)
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The Symphony No. 92 in G major (Hoboken 1/92) by Joseph Haydn is popularly known as the Oxford Symphony. Archaically, it may also be referred to as The Letter Q referring to an older method of cataloging Haydn's symphonic output.
Although he composed a variety of works of all different genres, Joseph Haydn may be best known for his symphonies. Due to the fact that the way in which he composed and arranged symphonies influenced symphony composition for decades to come, Haydn has earned the title of “the father of the symphony.”
Haydn’s symphonies follow the basic structure of four movements. The first typically has a fast tempo in the sonata form that confirms the tonic key. The second movement is slow and is the only movement centering around a key other than tonic. A minuet and trio style that modulates back to the tonic key usually defines Haydn’s third movement. Lastly, the final movement usually takes on a tempo slightly faster than the first and is in a rondo-sonata form. In addition, this last movement ends on the tonic.
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[edit] Date of composition and scoring
It was completed in 1789 as one of a set of three symphonies that Haydn had been commissioned by the French Count d'Ogny to compose.
The work is in standard four movement form and scored for flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.
[edit] Nickname (the Oxford)
It is so called because Haydn conducted it at a ceremony in 1791 in which he was awarded an honorary doctorate by Oxford University. The name is something of a misnomer, because the symphony was actually written earlier for performance in Paris. Haydn was awarded his degree fairly soon after his first arrival in England, and as he had not yet finished composing any of the twelve symphonies he ultimately wrote for England, he brought to the ceremony the most recent of his completed symphonies.
[edit] Movements
The first movement of Haydn’s Oxford Symphony is in a sonata form that is easily recognized by the listener. Haydn distinguishes each section of the sonata form by use of strong contrasts of stability and instability. Before revealing the first theme of the symphony, Haydn opens this movement with a slow introduction that begins in the tonic G major and modulates through to the parallel minor and then to the dominant. Haydn begins the first theme of the symphony in the tonic but on a dominant seventh chord. This is very unusual of symphonies of the time but it reflects an aspect of Haydn’s unique compositional characteristics. Because the rest of the Oxford will reflect many of the ideas presented in this first theme, this symphony has been termed monothematic. Following the first theme is the transition, which allows Haydn to modulate to the dominant. The second theme begins with the opening idea of the movement, as is typical of a monothematic symphony, however it is now presented in the dominant key. As this theme progresses it enters a section of minor-mode before entering into the closing theme. Haydn stays in the dominant key through the closing of the first movement. In the development section of the symphony, Haydn borrows themes from the exposition and simply “develops” and embellishes them. He adds sections of subject change and digression from the original theme as well as moments of rest or silence. These qualities of the development are all very characteristic of Haydn. Furthermore, he draws upon the older style of intricate counterpoint to enhance the gallant style of the symphony.
The second movement is in ternary form with a slow and song-like melody. Haydn, however, adds his own uniqueness to this movement by adding an intense middle section in minor.
Haydn composes the third movement in ABA form with a minuet and trio. Both the minuet and trio are in binary form with repeats. In order to create a more entertaining movement for the listener, Haydn composes the minuet with phrases of six measures as opposed to the normal four-phrase measure minuet and adds syncopations and stops. All of these qualities were found to be humorous by an audience of Haydn’s time because they were so unusual.
Haydn’s final movement of the Oxford Symphony is centered around a feeling of tension and release. In order to convey this quality to the listener, Haydn writes this sonata form movement slightly faster and shorter than the first movement of the symphony to create a climactic ending.
[edit] References
- Robbins Landon, H. C. (1963) Joseph Haydn: Critical Edition of the Complete Symphonies, Universal Edition, Vienna
- J. Peter Burkholder, Donald J. Grout, Claude V. Palisca, "A History of Western Music Seventh Edition," p. 536-538.
- J. Peter Burkholder, Claude V. Palisca, "Norton Anthology of Western Music Volume 2: Classic to Twentieth Century," p. 111-175.
[edit] See also
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