Haydn begins Symphony no. 25 in C Major with a slow introduction, which eventually leads into an Allegro proper. What strikes me as interesting is the rather static nature of the slow opening Adagio section, particularly in the middle. That, and the slow portion's length nearly takes up half of the movement's timing.
Otherwise, the following fast section is a raucous and spirited romp, only missing the trumpets and timpani normally associated with Haydn when composing in C Major. The composer also provides a substantial development, well crafted and raising tension just enough to successfully launch into a recapitulation.
Oddly, a (rather brisk under Fischer) Minuet and Trio supersedes the appearance of a slow movement, perhaps due to the length of the first movement's slow introduction. The Trio gives the horns and oboes some time to show off, while Haydn has the strings playing pizzicato, a lovely and varied effect. A lively Presto in duple meter concludes this rather efficient symphony, one with a notable lack of slow movements.
Well, Ádám Fischer certainly leans into the con spirito of Symphony no. 26 in D Minor's first movement's Allegro assai tempo. I have done no comparisons to Antal Doráti's classic set of Haydn symphonies up to this point, but I had to go back and hear the difference. Indeed, Fischer sounds almost manic in comparison, although it is rather exciting, especially since this is Haydn's first minor-key titled symphony. Dorati on the other hand is fully detailed, details which become smeared under Fischer. Otherwise, this opening is filled with rhythmic energy creating a fair feeling of dread and menace. Unusually, Haydn ends the movement in D Major, allowing the opening movement to burst into joyous light at its conclusion.
It is much easier to hear the chant-derived Lamentation subtitle in the Adagio second movement, although again, Fischer approaches this music at a solidly walking Andante. The long tones in the winds contrast the constantly moving strings, reminding me of a Bach cantata chorale fantasia such as Wachet auf!, something I observed in Symphony no. 22 as well.
Haydn ends this symphony on a Minuet and Trio; it is not the first to do so, but I find it an unusual choice. The minor mode reminds us of the work's opening, while the vibrato-less strings remind us of this orchestra's choices, thus reminding me of the Baroque. Sharp, stamping figures punctuate the Trio, offering a contrast with the Minuet in addition to the parallel major key. Overall, No. 26 'Lamentation' remains a special symphony, one showcasing Haydn's abilities as he continues to set a course of exploration and experimentation, even though like No. 25, this too is a rather smaller-scoped work.
The opening of Symphony no. 27 in G Major not only catches the breath of the listener by holding back the harmonic motion through the use of an extended pedal point, there also appears to be a quasi-Mannheim effect to burst upon the scene. Regardless, it is an effective beginning. As always, I like to hear Haydn working through the development up to the recapitulation's arrival, and I suppose these are the sproutings of the fully-fledged symphony form we will eventually hear from him.
A compound-meter Siciliano follows, a movement which is essentially first-violin centered. The second violins provide the rhythmic undercurrent, while the lower strings lay the foundation, both providing a firm harmonic base, as well as punctuating a gentle beat to the movement. A minor diversion into minor allows the music to go farther afield than the listener might initially expect.
My favorite 3/8 Presto setting finishes off this three-movement work, another symphony of rather efficient proportions. This one has a rather hearty, rustic swing I generally enjoy from Haydn, bolstered by horn at each of the main idea's return.
Ah... a four movement symphony. As opposed to plunging into immediate musical celebrations, the first movement of Symphony no. 28 in A Major opens rather delicately, leaving the more extrovert gestures for the second half of the exposition. The development holds onto the frilly nature of the opening, only to use diversions into minor to burst out loudly, as well as affording some limelight to the oboes. This is craftsmanship of the finest kind!
Haydn reserves the second movement Adagio for strings alone. Haydn ekes a unique sound out of the strings by having them use mutes, as well as contrasting legato phrases with short dotted notes, each in turn. Fischer really leans into the pianissimo dynamic by placing the sound at the very edge of hearing at times.
As I am not a string player, I'm not sure how the bariolage works, a strange-sounding technique that opens the third-movement. This is compounded by Haydn's unusual choice of setting an Allegro molto tempo in a Minuet; the dancers will be mighty tired by the end! Ooh... does Fischer have the string players bowing near the bridge (ponticello) in the Trio? Whatever the technique, this is a ghostly effect, but it is also perhaps an interventionist choice on the part of Fischer.
There is another folksy sounding Presto at the finish, one I enjoy a lot.
Haydn only wrote two symphonies in E Major, Symphony no. 29 being the last. Too bad, as I rather like the composer's gentle, pastoral style in this key, aided here by a solid oboe role.
Of the five symphonies on this 7th volume, this is the first 2/4 Andante we have hit, a standard second-movement tempo and time signature from Haydn. Once more, the composer omits winds to have the strings play on their own. Thankfully, the starkness of Baroque strings is lessened in favor of a genial, warm portrayal, and a fine balance of inner string lines. The mood is only interrupted by a crazy cello/bass line, which under Fischer sounds a little clangy and metallic.
Allegretto is now the tempo given to the Minuet movement; we will see if assigning a tempo to the Minuet is a new trend on the part of Haydn. Of course, it should be noted Fischer chooses a fleet Presto, which only sounds wrong if you have heard the actual printed tempo; otherwise, the music sounds fairly natural in Fischer's hands. Symphony no. 29 in E Major is well known for its melody-less Trio, although it is an effective piece of mood setting. Personally, I would like to hear a harpsichordist really go at it in this movement.
The ending 2/4 Presto chugs along merrily with significant jaunts into minor. As opposed to a 3/8 or 6/8, a 2/4 sounds a little more measured, perhaps even academic, but nothing which spoils my spirits. Indeed, this movement is a delight from start to finish, with a few surprises in store for the listener.
Volume 7, like six, brings together performances from the beginning and end of Ádám Fischer's Haydn project; here from 1989 (25 & 27) and 2000 (26, 28, and 29). My feelings of the Baroque are mainly from the later performances, probably due to the reduced vibrato. Plus, I feel some interventionist choices from Fischer in these later ones as well. Nothing to spoil the mood, but noticeable from this listener.
I mentioned a few times that this particular quintet of symphonies felt brief in their runtimes. My comments were only due to a feeling of Haydn getting the maximum effect out of the minimum of music; a wonderful compositional trait. These were perfect symphonic packages.
In any case, this was delightful listening as always, and I look forward to continuing the series.
Works
Symphony 25 in C Major, Hob. 1:25 (13.34)
Symphony 26 in D minor, Hob. 1:26 (13.06)
Symphony 27 in G Major, Hob. 1:27 (13.40)
Symphony 28 in A Major, Hob. 1:28 (17.45)
Symphony 29 in E Major, Hob. 1:29 (17.30)
Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor
Label: Nimbus / Brilliant
Year: 1989, 2000; 2002
Total Timing: 76.15
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