Symphony no. 38 is another in a line of C-Major symphonies from Haydn I have recently come across. While, the work is from Prince Esterházy's employ, the opening Allegro is of the clunky, noisy variety, aided in no small part by the addition of trumpet and timpani. Even the main idea is rather simplistic, with a C major arpeggio rising and falling again and again.
Thankfully, the rest of the symphony moves up in my estimation. The second movement Andante gives the work its 'Echo' subtitle. Haydn makes more of the echo than mere Cuckoo mimicry by having the echoing second violins on mutes while the first violin statements are without. Fischer must have divided the violins to the left and right, for the audio is interestingly separated sonically. Additionally, the conductor really leans into the quiet dynamics to place this music at the edge of hearing.
The second half of Symphony no. 38 gives the oboe many outstanding solo moments. In the third movement, the oboe comes to the fore in the Trio section, with some rather wide leaps for the instrument. Fischer pulls back the tempo a tad for the Trio too, but also alternates between bowed and plucked strings on the repeats. I am not sure how authentic this approach is, but I suppose it offers some aural variety.
After the opening statement by the orchestra, which balances a delicate idea opposite an extrovert chugging from the strings, the oboe again comes into the spotlight with some fast fingerwork and moments for solo cadenzas in the final movement. With what started out as a rather banal C-Major symphony from Haydn, ended up developing into a delightful listen beyond the first movement.
If Symphony no. 26 (BLOG) gave the listener the smallest of tastes from Haydn writing a symphony in a minor key as an opening introduction, Symphony no. 34 (BLOG) teased us further with a complete first movement in minor. Here, Symphony no. 39 in G minor is a fully developed minor-keyed symphony, perhaps the composer's earliest. As if that weren't enough, the work is scored for four horns instead of the usual two.
Aside from the minor mode, the symphony is striking in its use of silence, easily discernible in the first movement. As a matter of fact, I think Fischer dwells a little too long, taking the rests outside of their metrical lengths and shining the focus on the conductor's choices instead of the music itself. As to the music, the tune of the opening movement is a winner, and I daresay I would enjoy hearing a theme and variations based upon it very much. Haydn marks this movement at an Allegro molto, where Fischer prefers the molto, providing the listener an exciting Vivace instead.
A rather genial Andante follows, written for strings only, although some sudden outbursts surprise the listener. Again, there are some silences thrown in at points in this slow movement, ones where Fischer again dwells too long outside of the rest's length. It simply takes me out of the music, as if Fischer is saying 'Look at me!'.
Fischer also takes the third-movement Minuet on the speedy side of Allegro, although again I think this is generally effective. I could imagine a harpsichord moving along effectively with the fast rhythms, although you won't hear me complain about its absence.
The final movement begins in a stormy manner, where Fischer has his horns sting their opening notes. I mentioned the use of four horns in this symphony at the top; I don't really feel the force of this instrumental quirk, as they are usually playing in pairs instead. In this last movement, I finally hear a horn moment from the group.
As a side note, I have seen nicknames for this symphony, but I have not come across any dialogue as to their veracity. Certainly 'Tempesta di mare' is fitting to the minor-keyed outer movements, but my favorite is 'The Fist'.
Symphonies A and B, both set in the key of B-flat Major and designated with the Hoboken numbers 107 and 108 respectively, bring the listener back to Haydn's Count Morzin days.
Symphony no. A is a happy little three-movement work, originally thought to be a string quartet. Hardly a dark cloud hangs over any part of this symphony, save for perhaps a minor excursion here or there, only to swing back to the affable mood this music relishes most. It should come as no surprise that I like the delightfully rustic romp of the concluding movement most, cementing the untroubled atmosphere on display.
Symphony no. B has a little more to say from Haydn comparatively, if only from its four-movement structure; otherwise, both symphonies are of rather short measure. This one is of the handful Haydn wrote with an oddly-placed second movement Minuet and Trio, one which carries on the slight martial or walking feel of the opening. The Trio is notable for its bassoon solo, the first of its kind as far as I am aware.
If I have to choose my allegiances, I might prefer Symphony B, if nothing else than for its colorful use of winds. I doubt either would ever be a favorite symphony, but high spirits count for a lot in my book!
Works
Symphony 38 in C Major 'Echo', Hob. 1:38 (15.55)
Symphony 39 in G minor 'The Fist', Hob. 1:39 (16.45)
Symphony A in B-flat Major, Hob. 1:107 (12.58)
Symphony B in B-flat Major, Hob. 1:108 (11.37)
Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor
Label: Nimbus / Brilliant
Year: 2000-01; 2002
Total Timing: 57.45
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