Haydn: Symphony 40 - 42

 

With Symphony no. 40 in F Major, I leave behind Haydn's early symphonies, at least for the most part. Hoboken is not chronological, so there are still a few high-numbered symphonies which represent the composer's earlier period of composing.

F Major is not a typical key for a Haydn symphony thus far (see Sym. 17), so I like to keep my wits about me in such a move from the composer. The opening movement sings in a jolly mood, with only a strangely static cadence towards the end of the exposition. Otherwise, the strings chug along without break.

A light, staccato approach holds the second movement for strings only. The two-voiced texture is charming but simplistic, keeping the mood firmly fixed to the positive. The third-movement Minuet returns to the stronger voice of the opening, set at a sturdy pace. The Trio features oboes and horns, where Fischer, upon repeating each section, has the strings tacet, only retaining the bassoon on the bass line. As with any of Fischer's choices, I do not know if they are for listener variety or from historical record. I like it, though.

The final movement is labeled as a Finale - Fugue. Fugues are a rare texture in Haydn's symphonies, and in the few they appear in, I do not how thoroughly he actually represents the genre, nor of the completeness of development and structure within that form, as they are usually of brief length. Yet, Haydn's contrapuntal motive is easily identifiable as it makes its rounds across the voices, so this may be the composer's most complete setting within a symphony.

As with many of Haydn's C-Major symphonies, Symphony no. 41 includes trumpets and timpani. As I listen, there is something about its first movement which reminds me of an overture from Rossini. Perhaps there is some theatricality about its first theme and transition, leading into the song-like second motive, which recalls the last time I heard Rossini's overtures, although Haydn remains thoroughly Teutonic.

While the second movement is shorn of trumpet and timpani, as is typical, the composer adds flute. Here, the wind instrument is more ornamental than soloistic, adding color rather than featuring as a melodic soloist, allowing the oboes and horns some say as well. It is a gentle, delightful portion of the symphony, and I especially enjoy the interplay between the first and second violins in their bridge material.

The Minuet, again taken at a dignified tempo by Fischer, includes all of the winds, although the flute is abandoned for the rest of the work. Solo strings are used in the Trio, giving more spotlight to the oboes and horns. Repeated notes in triplets permeate the fourth movement, with a fair bit of unison playing. This sort of mad dash to the end is always a lot of fun from Haydn, where Fischer leans into a terraced dynamics approach.

Symphony no. 42 in D Major is notable for its unusual tempo markings in each movement. I don't think Haydn has ever marked a first movement at Moderato thus far, nonetheless Moderato e Maestoso as it is here. Of course, Fischer actually takes this movement at the very fastest of Allegro, almost approaching Vivace. Thus, heard at its true tempo, this would probably be a very long opening movement, here at a meaty 8-plus minutes at a swift speed.

I do really like this starting melody. Haydn eagerly teases the listener by bringing it back a number of times during the development, as if we have arrived at the recapitulation, only to veer off into more developmental material. Also, I am not a string player, but most commentators mention the term acciaccatura in this opening, a word which refers to a certain type of ornamentation which dominates portions of the beginning.

I love the warm, peaceful sound Haydn ekes out of the second movement's A-Major key. It may be my favorite slow movement of the symphonies I have heard so far, one where the composer allows some wind work to peek in. Fischer is very loving with this movement, making me like it all the more at his leisurely Andante pace, nicely leaning into the cantabile marking. This is one to live with!

I have lauded Fischer in the last few Minuet and Trios for attempting to inject life into these sturdy dance movements, however I prefer when he adheres to the Allegretto tempos typical of the form. Here, the Minuet is played at a rather fast Allegro, although it does work well regardless of my preferences. Fischer also has solo strings play in the Trio for a nice bit of contrast.

Scherzando is added to the Presto tempo marking, an unusual instruction from Haydn, plus the opening musical idea of the final movement almost seems an extension of the Minuet which comes beforehand. To me, this last movement sounds like a theme and variations, but I understand it is in a Rondo vein. Of the many sections, I really like the minor-keyed statement the most, but there is a lot to enjoy throughout.

Works
Symphony 40 in F Major, Hob. 1:40 (17.17)
Symphony 41 in C Major, Hob. 1:41 (18.35)
Symphony 42 in D Major, Hob. 1:42 (26.04)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1991-95; 2002
Total Timing: 62.14