Haydn: Symphony 17 - 20

 

This was the first entry of Haydn's symphonies which I came away with less enthusiasm.

These were all symphonic creations from the composer's time with Count Morzin, where the other volumes were mixes of Morzin and those for Prince Esterházy, so perhaps this explains my overall feelings with these four symphonies.

Of Haydn's first 20 numbered symphonies, only three have been titled as flat keys, with Symphony no. 17 in F Major being the latest. Perhaps at the time, only certain instruments could contribute to certain keys, but the flat-key settings from Haydn are noticeable.

While I quite enjoy the opening melody in the first movement, it seems as if there is more transitional linking than time with the thematic ideas. The second half development, however, is big news, as Haydn hasn't really given us this music developmental material, and it is quite effective here.

The second movement is rather spare sounding, again rather Baroque in its minor-twinged two-part harmonies. A stronger harpsichord presence would really solidify this feeling, methinks. I love when Haydn ends his symphonies in 3/8 time, for high spirits mix with a hearty rustic swing. Only subtle solo strings are given some interplay with the whole orchestra, but variety is always appreciated.

Like flat keys, Haydn only has three symphonies, of the first 20 numbered ones, which are completely set at a slow tempo. The previous ones I refer to were related to the Sonata da Chiesa, yet Symphony no. 18 in G Major only has three movements, with the finale appearing as a Minuet. It is as if Haydn forgot the fourth movement of the form, and decided to leave this one at three.

In any case, the first movement is a dainty little dance with occasional outbursts. I actually quite like its character, which sounds impish and good humored. The bouncy strings of the motoric middle movement remind me of the Baroque once again, although there is a lightness and delicateness carried over from the opening movement of Classical Era sensibilities.

Both Symphonies 4 & 9 from Haydn ended on a Minuet, and so does his Eighteenth Symphony here. To these modern ears, it is a stuffy way to end a symphony, plus there aren't as many solo features as some other Minuet settings from the composer. I do rather like the minor-keyed Trio, which does indeed separate the solo strings, where Haydn then goes on to write out his Minuet's return.

Fischer only sets the opening Allegro molto from Symphony no. 19 in D Major a few ticks faster than the previously discussed Minuet which concluded his Eighteenth Symphony. I might have preferred a slightly more hectic forward movement, but the majestic feeling on hand still works just fine, especially in the upward moving sequences.

Another minor-keyed slow movement sits in the middle of this symphony, although it is of rather short measure in comparison. As a matter of fact, the Nineteenth Symphony is one of the composer's shortest in the genre, behind his repeatless Second Symphony. The repeated syncopated violin notes are a wonderful moment, and really the main melodic idea is a super one too.

At the end of the work, we have another favored 3/8 meter. In these shorter three-movement Count Morzin symphonies, I have noticed less attention to horn and oboe, perhaps a view of what Haydn was working with in his employ. Regardless, a delightful conclusion.

With Symphony no. 20 in C Major, Haydn treats the listener to an addition of trumpets and timpani. Note the C Major key, for Haydn usually included trumpets into his Masses in this same key. There is a nice driving feel at the opening of the first movement, which eventually gives way to lighter material, only to come back to the driven music. The extra brass and percussion seem to punctuate the proceedings rather than add any particular substance to the musical landscape, although the trumpet's bright timbre is appreciated.

If I mentioned delicacy earlier, this second movement would certainly apply as well, not to mention the sheer beauty on display here. A gently lapping second violin underscores the first violin, while the lower strings mainly pluck in support of the action. The trumpets add a formal touch to the third-movement Minuet, while a solo quartet of strings alone tackle the Trio.

Another bracing 3/8 finishes off Haydn's Twentieth Symphony, here set at a bracing Presto. A key change into minor halfway through the final movement seems an odd touch, also orchestrated with limited winds, although Haydn expectedly heads back to the Major for a triumphant conclusion.

The Austro-Hungarian Haydn Orchestra sounds a little more 'Period' than the last few volumes I've listened to. It could be these early symphonies from Haydn, but I think a reduced vibrato contributes.

I also notice Fischer is less slavish to follow every repeat. He is usually good about taking the opening repeat, but is beginning to be less consistent taking second-half repeats. This is nothing I am concerned about, however I have noticed the change.

This Fifth Volume features four symphonies from Haydn which all time under 15 minutes, the first to do so. While it makes some of these slight works, it also reminds me that beautiful music can come in small packages. These did require more attention from me as a listener, for the blink-and-you'll-miss-it movements pass by quickly.

I opened this post saying I felt less enthusiastic regarding Symphonies 17 through 20, yet the more I revisit these works, the more little things I find in them to enjoy. Since there was less wind-to-string interaction here, I was less bothered by the acoustic, where the Nimbus team captured the strings excellently.

 

 

 

 

Works
Symphony 17 in F Major, Hob. 1:17 (14.44)
Symphony 18 in G Major, Hob. 1:18 (13.47)
Symphony 19 in D Major, Hob. 1:19 (10.32)
Symphony 20 in C Major, Hob. 1:20 (14.27)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1991; 2002
Total Timing: 53.50