Haydn: Symphony 49 - 51

 

I believe, Symphony no. 49 in F minor represents the last of Haydn's use of the old Sonata da Chiesa model.

The opening slow movement sets itself apart from the others in this form for existing in a minor key, a most effective opening. It balances the unsettled minor mode with beauty exquisitely.

Speaking of unsettled, the following Allegro movement begins in a rather stormy manner, where Haydn balances the strong opening forte with a terraced piano in contrast. Here, Fischer gives both halves of the movement a repeat, and appreciated it is, for I find the Baroque motoric element most engaging.

In Hob. 1:49, Haydn really is invested in F minor, for each of the first three movements have been centered in that key, including the third-movement Minuet. Only the Trio, set in the parallel F Major, provides any relief from the composer's home key. The sturdy walking pace is perfectly set by Ádám Fischer, who occasionally adds solo string utterances.

A driving Presto ends the symphony, finding Haydn relishing a terraced approach to dynamics once again. The nickname 'Passion' finds itself unrelated to anything Haydn intended, although symphonies used as preludes to a theatrical work is a curious part of history.

So, Symphony no. 48 was subtitled 'Maria Theresia', but it appears as if it was actually this work, Symphony no. 50 in C Major, which was actually intended for the empress' visit. As mentioned in Hob. 1:48, C Major is usually reserved for celebratory occasions, providing Haydn the use of trumpets and timpani within the bright key.

Indeed, the first movement opens in a slow, stately introduction, only to launch into a faster Allegro. I have mentioned my dislike of noisy trumpets and timpani in these early C-Major symphonies from Haydn, but this one seems a little more understated than others I have heard recently, and appreciably so.

Hob. 1:50 bears the first Andante second movement I have seen from Haydn in a long while. Its dotted rhythms seem related to the majestic first-movement introduction, perhaps due to the occasion it was written for. Indeed, many aspects of this symphony appear pulled back in many regards, where Haydn seems to be not taking as many chances as he normally would.

The standard Minuet feels like it revels in simplistic unisons and two-part harmonies, where the Trio essentially continues the same ideas, but with doubling oboe and a surprising b-flat thrown in to the mix. I love the little tune the final movement is based on each time it appears. It is pleasantly pastoral, perhaps the finest of the work thus far.

If I had to guess, Haydn was probably asked to tame down his inventiveness for an imperial visit, and this is apparent in No. 50's music. There are many attractive qualities still, even if I might considered this 'lesser' Haydn.

I often mention an opening movement tempo of Vivace as rare with Haydn, but I suppose the more I see it used, such as in Symphony no. 51 in B-flat Major, the less apropos using the term rare is. Standing out to me in the first movement is a little banter between the first and second violins in transition material, one I originally thought was going to turn into Cuckoo calls, but Haydn avoids such things.

Haydn is back to Adagio in the second movement, this time with lovely solos from the horns and oboes. Dare I say, the upper and lower ranges of the horns are played at their extremes, providing unique colors and textures to this movement. So too the Minuet and Trios continue the horn extremes, although blended into the ensemble rather than as limelight soloists. I should mention Haydn incorporates a double trio here, something I haven't seen much of in his symphonies, at least as of yet.

Hob. 1:51 concludes on a theme and variations form, lending the finale a lighter, calmer ending. Of course, such a conclusion allows Haydn to feature various facets of the orchestra, and if this is missing the mad dash most of his symphonies end on, the gentry would have approved.

Aside from the F-minor symphony, this 14th Volume of Haydn Symphonies is the first time I feel the gentility of the Classical Era at the forefront. This isn't a black mark, but just an observation of my ears as I wend numerically through these works, hopefully catching the composer as he develops throughout his career.

As in Volume 13, these performances from the Austro-Hungarian Haydn Orchestra come from the mid-90s. Ádám Fischer provides rather straight-forward presentations without any undue intervention from the later recordings, nor the washy balances from the earlier ones.

 

 

 

 

Works
Symphony 49 in F major, Hob. 1:49 (21.56)
Symphony 50 in C Major, Hob. 1:50 (20.17)
Symphony 51 in B-flat Major, Hob. 1:51 (17.44)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1994-95; 2002
Total Timing: 59.20