Haydn: Symphony 34 - 37

 

Listening numerically through Haydn's symphonies, Volume 9 contains a quartet of works with oddities compared to what has come before.

Most of these are flat-keyed symphonies, including one minor-keyed entry; opening tempos such as Vivace and Presto are utilized as opposed to the usual Allegro; a second movement Minuet is in place, usually seen as a third movement, plus a Sonata da Chiesa form returns. All of these have been done before by Haydn, but in the scheme of his many contributions to the genre, are still fairly rare, at least thus far.

Symphony no. 34 is set in both a flat and a minor key (D minor), most interesting as these features are primarily relegated to the opening movement only, instead of threaded throughout the entire work. Additionally, No. 34 has a Sonata da Chiesa structure, thus beginning the work with a full slow movement. Fischer adopts an icy, metallic-sounding period approach to this portion of the symphony, a quality I am not entirely wild about.

The rest of the music is set in a sunshiny D Major, never to revisit the titular D minor aside from moving through developments. The second movement gives great joy, and I like how Fischer brings out the musical contrasts, as well as the bucolic mood and leaping motivic ideas.

The Minuet is both stately and forward moving, always a fine choice, and the aggressive statements in the second half are a lot of fun. Oboe and horn have the Trio essentially to themselves, set in a rather agrarian in mood. A rather repetitive fourth movement concludes the work, where Fischer appreciably adds some solo moments for textural variety. Even though Haydn uses an antiquated form in this symphony, he still makes this one both lively and endearing.

Of the early and middle symphonies from Haydn, this opening melody from Symphony no. 35 in B-flat Major is easily a favorite of mine. Not only that, but this is one of the finest development sections I have heard from the composer up to now. I notice Fischer adds some sforzando moments and little dynamic shifts; I am not sure if these are personal choices on his part, or if indeed Haydn made these score markings. I suspect the former, but I am not an authority on the matter.

The second movement Andante is written for strings alone, and they provide a genial atmosphere. I notice the reduced orchestral vibrato makes tuning among the strings tough, and these players are not immune from these difficulties, occasionally showing the slightest of ensemble issues in these string-exposed movements. More solo moments are given in the Trio of the third movement, providing some contrast to the full sounding Minuet, the latter containing small moments for horns.

Three declamatory chords open the final movement, an important musical idea from Haydn, as they return often. The three orchestral strikes are offset by light string burblings, although the following offbeat single chords recall the feelings from those opening chords. This symphony ended up being a real treat for this listener!

A Vivace tempo begins Symphony no. 36 in E-flat Major, a tempo marking rarely used to open a Haydn symphony. Another sizeable development moves Haydn's music through minor modes, although it is the composer's buoyant opening music which sustains the mood.

In an unusual turn, a violin and cello duet constitutes the following Adagio movement, and a lovely choice it is. Only a strange unison tutti orchestral statement breaks up the string soloing, a heavy element which doesn't mix well with the romance of the violin and cello, even if the harmonic motion is most curious. Haydn wedges hover over notes in the Minuet, creating short, detached utterances. Again, solo strings are utilized in the Trio, although the contrast is undersold due to the extensive soloing in the previous movement.

Simple imitation opens the final movement, a textural choice not offered in this particular way all too often by Haydn. Plus the rhythmic string tremolos here are an infectious delight to these old ears!

We are in the realm of Count Morzin with Symphony no. 37 in C Major, which once again uses trumpet and timpani. Simple delights abound in this symphony, and if this one is truly one of Haydn's very earliest works in the genre, the music is certainly more than competent. The tubby timpani is not a favorite of mine, however.

Haydn strikes out oddly once more with a second movement Minuet, a dance which is usually reserved for the third slot. The contrast in the Trio comes with the parallel C-minor key, as well as a lack of winds, both of which are attributes Haydn continues into the third Andante movement. I could readily imagine a harpsichord effectively following along with the string motion in the opening of this portion, but I don't think I hear one this time.

With these four symphonies on Volume 9, I don't think there has been a compound meter until now, here a swift Presto in 3/8. This one lies on the more simplistic side accompanied by a four-movement symphony of rather short measure.

Akin to Volume 8, this entry comes from Ádám Fischer's last year in his Haydn symphonies project. I notice a little more intervention on his part in some aspects of these performances, such as pizzicato when not marked. Some have mentioned some invasive choices in his most recent Haydn recordings with the Danish Chamber Orchestra, so perhaps what I hear is the nascent blossoming of Fischer's later interpretive choices.

I think this is the first volume where all of the included symphonies each have four movements to them, although there is still a mix from Haydn working for Count Morzin and Prince Esterházy. I don't think I realized that the Hoboken numbering was so disordered with the music's actual compositional chronology.

Otherwise, these remain fine recordings, and my interest in Haydn continues apace.

 

 

 

 

Works
Symphony 34 in D minor, Hob. 1:34 (17.00)
Symphony 35 in B-flat Major, Hob. 1:35 (15.26)
Symphony 36 in E-flat Major, Hob. 1:36 (16.14)
Symphony 37 in C Major, Hob. 1:37 (13.07)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 2001; 2002
Total Timing: 62.17