Page:A Dictionary of Music and Musicians vol 1.djvu/733

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HAYDN.

721

[Mit dem Paukenwirbel.]

No. 8. [1.]

[1795.]

${ \time 3/4 \clef bass \key ees \major \tempo \markup { \smaller \italic Adagio. } \relative e, { \repeat tremolo 12 { ees32[ ees']\fermata\espressivo } ees4\p( d ees) c( aes' f) d( bes' aes) g } }$

No. 9. [12.]

'Sinfonia in B fa. 1795.'

${ \time 4/4 \key bes \major \tempo \markup { \smaller \italic Largo. } \relative b { bes1\ff\fermata| f''4\p( bes a g) | f2. f4 f( ees8 r16 d c-.( bes-. a-. bes-.) } }$

No.10.^[1] [3.]

'1793.'

${ \time 4/4 \key ees \major \tempo \markup { \smaller \italic Adagio. } \relative e' { <ees g,>2\ff g'4\p( f8.) d16-. ees4( bes8) r16 c32( bes) aes8-. g-. f-. ees-.) f'2\f aes4(\p g8.) ees16 f4( bes,8) } }$

'The ^[2]Clock.'

No. ll. [4]

'1794.'

${ \time 3/4 \key d \minor \tempo \markup { \smaller \italic Adagio. } \relative d'' << { d2. ~ d2 s4 <e d b e,>2. <cis a e>\fermata } \\ { d,4\p( e f) g( a\< bes) gis,2.\ff a\p } >> }$

'The Military.'

No. 12. [11.]

'1794.'

${ \time 4/4 \key g \major \tempo \markup { \smaller \italic Adagio. } \relative d'' { d4\p( g8) r16 d c8-. r b-. r | a2->( b8) r g4\p | a b8. e16 d4 c8.\trill b32 c | b4 \bar "||" } }$

II. Symphonies which are known by titles.

The letters ('Letter A,' etc.) are those in the Philharmonic catalogue, by which these Symphonies are designated in the Society's programmes.

Symphonies marked with a * are published by Simrock, in parts, engraved from the original scores.

'Letter A.'

*

[1780.]

${ \time 4/4 \key bes \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Adagio. } \relative b { bes4\f c8. a16 d8\sf bes r8. bes'16\p | bes8.( a32 bes) c8.( bes32 c) d8-! bes-! r4 \bar "||" } }$

'Letter B.' 'The Farewell Symphony.'

*

'1772.'

${ \time 3/4 \key a \major \tempo \markup { \smaller \italic "Allegro assai." } \relative f'' { fis4-.\f cis-. a-. fis-. cis-. a-. b( d) d-. d2. } }$

'Letter H.'

*

'1774'

${ \time 3/4 \key d \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Adagio. } \relative d' { \grace cis16\p d8-! r \grace cis16 d8-! r \grace cis16 d8-! r | <a' a'>4\f( cis'8 r r4 } }$

'Letter I.' [Trauer.]

*

[1772.]

${ \time 4/4 \key e \minor \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic "Allegro con brio." } \relative e' { e2\f b' | e4-! dis-! r b\p | c( b) r ais } }$

'Letter L.'

*

'1772.'

${ \time 4/4 \key g \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Allegro } \relative g { <g d' b' g'>4\f << { r4 r2 r4 b( c) e8. d16 c4 } \\ { g'8. g16 g4 g g } >> } }$

'Letter Q.' 'The Oxford.'

[1788.]

${ \time 3/4 \key g \major \tempo \markup { \smaller \italic Adagio. } \relative d'' { d8 r d r d r d2. ~ d4 c8( b a e') g4( fis8) } }$

'Letter R.'

[1788.]

${ \time 3/4 \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Adagio. } \partial 16 \relative c' { c16\ff c2.\fermata | e'8-!\p r d-! r r4 c8-! r b-! r r4 | <f c' a'>8\ff r <e c' g'> } }$

'Letter T.'

[1787, for Paris.]

${ \time 3/4 \key ees \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Largo. } \relative e' { <ees g,>4\f r <f bes,>-! <g bes,>-! r r <aes c,> r <f aes,>-! <ees g,>-! } }$

'Letter V.'

[1787. for Paris.]

${ \time 3/4 \key g \major \tempo \markup { \smaller \italic Adagio. } \partial 16 \relative g' { <g g,>16\f <g g,>8 r <b d, g,> r r8. <b d,>16 <c d,>8 r <a' c, d,> r r8. c,16 } }$

'Letter W.'

'1787.'

${ \time 4/4 \key f \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Vivace. } \relative f'' { <f a,>4\f r <a c, f,> r <c c, f,> <a c, f,> <f a,> r c2\p( a4 f) } }$

'La Reine de France.'

*

[1786. for Paris.]

${ \time 4/4 \key bes \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Adagio.} \partial 16 \relative b' { <bes bes'>16\ff <bes bes'>4 r8. a,16-! bes8.-! cis16-! d8.-! fis16-! g2^"ten." r4 r8. g'16 g4 } }$

'La Chasse.'

*

[1780.]

${ \time 3/4 \key d \major \tempo \markup { \smaller \italic Larghetto. } \relative a' { <a fis>2.:8\p d8-. r a-. r fis-. r a' r fis r d r } }$

'Roxelane.'
(Overture to 'Il Mondo della luna.')

*

[1777.]

${ \time 3/4 \tempo \markup { \smaller \italic Allegro. } \relative c'' { c2. e2 c4 g'2( e8. c16) a'4-! f-! d-! } }$

'La Poule.'

*

[1786. for Paris.]

${ \time 4/4 \key g \minor \tempo \markup { \smaller \italic "Allegro spiritoso." } \relative g'' { g2\ff bes cis\sf d4 d8. d16 d4 a8. a16 a4 d,8. d16 d4 } }$

'L'Ours.'

*

[1786.]

${ \time 3/4 \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic "Vivace assai." } \relative c'' { c4:16\f e: g: c: e8 r r4 g,4: c8 r r4 e,4: g8 r r4 } }$

'Maria Theresa.'

*

[1773.]

${ \time 4/4 \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic Allegro. } \relative c''' { c8\f c, c c c4 \acciaccatura e8 d8 c16 d c8 e e f g4 r } }$

'Laudon.'

[1779.]

${ \time 4/4 \tempo \markup { \smaller \italic Vivace. } \relative c'' { <c e g c>4\f c8\p c c4 c c2 \acciaccatura e8 d4( c8 d) <e c>4.( <f d>8 <g e>4) <f d> <f d>( <e c>) <d b g>2 } }$

'The Schoolmaster.'

*

'1774.'

${ \time 3/4 \key ees \major \override Score.Rest #'style = #'classical \tempo \markup { \smaller \italic "Allegro di molto." } \relative g { <g ees' ees'>4\f <g ees'> <g ees'> <g ees'> r <g' ees>\p <g ees>2( <aes f>4) <g ees>4( <f d>) <g ees> } }$

'Le Matin.'

[176-.]

${ \time 4/4 \key d \major \tempo \markup { \smaller \italic Adagio. } \relative d' { d8.\pp e32( cis) d8. e32( cis) d8.( cis16) d16. cis32 d16. e32 fis8. g32( e) fis8. g32( e) fis8.( e16) fis16. e32 fis16. g32 } }$

↑ Composed in Vienna.
↑ Referring to the Andante.

[1] Composed in Vienna.

[2] Referring to the Andante.

[1]

[2]