Symphony, No. 6 [antikvár]

Joseph Haydn, Symphony No. 6, D major (Le Matin)Called "Le Matin", this symphony forms the first in a trilogy which Haydn wrote in 1761 for Prince Anton Esterházy. The sub-titles "Le Matin" (No. 6), "Le Midi" (No. 7) and "Le Soir" (No. 8) appear to be authentic, for the one extant autograph (No. 7, in the Esterházy Archives at Budapest) contains the title "Le Midi" in Haydn's handwriting. According to A. C. Dies,' who wrote one of the two authentk Haydn biographies printed in 1810VtlÍ|-' other was by G. A. Griesingerftle" Prince himself suggested the idea to Haydn; it is further related that these were the first symphonies that the young composer wrote in his new position as Assistant Capellmeister to the Court of Prince Esterházy (he had been engaged, according to the dated contract still preserved in the Esterházy Archives, on 1 May, 1761).The new symphonies are scored for a much larger orchestra than any of Haydn's earlier works in the form, most gf which were composed in Lukavec (near Pilsen) for Count Morzin. The trilogy marks, in fact, a decisiveturning-point in Haydn's artistic career; for the excellence of the Esterházy band, including Luigi Tomasini, the brilliant leader, seems to have spurred Haydn to new eflforts: these symphonies were by far the most important works he had hitherto written.All three are quite obviously composed around a programmatic background, which Haydn was wise enough not to reveal. The beginning of "Le Matin", for example, brings to mind a sunrise, whilst the finale of "Le Soir", sub-titled "La tempesta", is intended to portray a summer thunderstorm. The orchestration shows strong traces of the concerto grosso: in "Le Matin" the concertino, as it were, consists at one time or another of a solo violin, solo 'cello, and solo violone (i.e. double bass), whilst the ripieno contains one flute, two oboes, one bassoon, two horns, strings and harpsichord, though the wind instruments are often treated as soli.The following sources have been used in the preparation of this new edition:A.MS. parts, Gesellschaft der Musikfreunde, Vienna; cat. XIII, 27013. The source was once part of the Emperor's (Joseph II) Collection. The title reads: "Le Matin ex D./ k piu Stromenti/ Concertanti/ [theme]/ Del Sig: Giuseppe Hayden [f/c]", and is on imported Italian paper of oblong format,B.MS. parts, Musiksammlung der österreichischen Nationalbibliothek, Vienna; cat. s.m. 22152. A collection of five works bound together, including the Overture B. & H. 11-13 and Symphonies Nos. 6, 7, 8 and the spurious Symphony B. & H. Ill, 13 (Landon Appendix II, No. 41). The sources were'written by a Viennese copyist's firm; the original title pages are no longer extant.C.MS. parts, Conservatorio Benedetto Marcello, Venice (from the Gustinian Collection, Vol. Ill); the MS. contains Nos. 6-8 and is entitled: "IL MATTING, IL MEZZODI, E LA SERA/ Tre Sinfonie/ Per Violino Principale, due Violini, Secondo di Ripieno, Viola, Violoncello col/Fagotto primo, Violone col Fagotto secondo. Oboe con Flauti, e Corni./ Del Sigr. Giuseppe Haydn". The MS. is written on oblong Venetian paper.D.MS. parts, Monastery of Göttweig (from the Erzherzog Rudolf Collection): a late copy, from early I9th century.E.Printed score by Le Due, Parts, c. 1810, probably made from an earlier print by Bailleux, of which no copy is known to exist.F.Printed score in the B. & H. Gesamtausgabe, Series I, Vol. 1, pp. 63-88, based on a set of MS. parts in the Gymnasialbibliothek. Zittau (Saxony).'Biographische Nachrichten von Joseph Haydn, Vienna, 1810, pp. 44/.