Haydn: Symphony 6 - 8

 

Haydn's 'Time of Day' trio of symphonies are remarkable works in a number of ways.

Certainly the concertante aspect is the most obvious to this listener, with virtuosic solos for everyone in the orchestra, winds and strings alike.

Each of these three symphonies also come in four movements, although Haydn is not done with the three-movement symphony structure yet. These are also the first of his symphonies to have programmatic titles, where there is a musical nod in each work to the 'Time of Day'.



In Symphony no. 6 'Le Matin', the sunrise prelude is short, yet magnificently built. What follows in the first movement is a parade of wind ensemble features and wind solos, a very different sound from Haydn's first five symphonies. The second movement contains a slow bookended prelude and finale, separate from the movement proper. When its tempo moves from Adagio to Andante, Ádám Fischer seems reluctant to move into the new tempo; only the opening violin soloist begins pushing the music along a little faster towards the correct pacing.

The third movement Minuet is sturdy enough for its dance time, and once again the flute receives a solo spotlight. It is the Trio section, though, which really catches the listener's ear with unique low-tessitura action, particularly the bassoon and cello/double bass. The violin and cello soloists receive even more time together in the fourth movement, with continued commentary from the flute.

By the time I get to Symphony no. 7 'Le Midi', I feel the Sinfonia Concertante style has outstayed its welcome. While the second movement violin recitative and aria are a remarkable conception, carried through a lengthy, but impressive cadenza between violin and cello as a conclusion to their spotlit soloing, I am ready to hear an honest-to-goodness symphony.

Once again, Haydn affords the low-ranged instruments focus in the Minuet and Trio, an unusual treatment I wouldn't mind hearing again and again. Two violins receive the solos in the final movement, with these symphonies beginning to remind me of Corelli and the Baroque concerto. Add to that a more noticeable harpsichord, and my ears are firmly fixed on the Baroque.

The opening of Symphony no. 8 'Le Soir' is a balm from what has come before. Haydn gets right down to business at the start, with no introductory material, and where the musical focus is on the orchestra as a whole. Plenty of wind features come and go, but in a much more cohesive symphonic role.

The concertante aspects return in the second and third movements, where in the latter Haydn once again treats us to his special timbres in the Trio. Famously, the final La Tempesta movement depicts a storm, although this is not a frightening nor suspenseful musical portrayal ala Vivaldi or Beethoven.

The great thing regarding this trio of symphonies is the musical wit and knowing nods Haydn puts into each of them. Musically, he pushes the virtuosity of the individual players, not to mention the special attention the wind instruments receive throughout.

As to the recording itself, the Esterházy Palace is a reverberant space in these recordings. You can really hear this aspect in the flutes, who are heard at some distance compared to the strings, although the horns are able to make their presence known strongly from time to time, adding appreciated bluster to the texture.

Ádám Fischer seems to relish this music with his handpicked Austro-Hungarian players, a feeling I am sure Haydn was going for when looking to impress audiences and musicians at his new position in the employ of Prince Esterházy. The solos leap forward willingly and I find each of the symphonies rather warmly played.

 

 

 

 

Works
Symphony 6 in D Major, Hob. 1:6 (22.36)
Symphony 7 in C Major, Hob. 1:7 (25.19)
Symphony 8 in G Major, Hob. 1:8 (21.48)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1989; 2002
Total Timing: 70.02