Haydn: Symphony 73 - 75

 

As opposed to the very brief slow introduction at the start of Symphony no. 71, Symphony no. 73 in D Major has an introduction with an elongated presence.

It is worthy of mention too, that the music is more atmospheric than melodic. Still, Haydn makes a rhythmic motive out of the short-short-short-long which ends the introduction. Of course, so does Beethoven!

The opening of the main Allegro which follows sounds as if it has been wandering aimlessly, even before we are introduced to its music. Haydn keeps this harmonic start as an idea throughout the movement as well. For me, it is important to identify the composer's choices at the beginning of a movement, for it often informs what the whole movement is based upon, allowing the listener to marvel at Haydn's choices in how he uses the small pieces of a musical idea to forge ahead.

The second movement is based on a song previously written by Haydn. And yet, this is a song more in the line of the famous Symphony no. 94 rather than a lyrical entity. To my ears, this portion of the symphony sounds like a theme and variations or rondo form. Haydn wends back and forth from major to minor in a sectional manner, and the music becomes more decorous as it plays on.

The Minuet and Trio is taken over by an oboe and bassoon duet in the latter. Ádám Fischer takes the Minuet at a quick one-to-the-bar feel rather than the typically slower Allegretto. Of course, anytime the Hungarian conductor makes such a choice, it sounds perfectly natural without comparison.

'La Chasse' is the nickname of Hob. 1: 73, so given due to the swift 6/8 galop applied to the last movement. It wouldn't be as much fun if the horns weren't allowed to have their say, and Haydn does so deliciously. Plus, Fischer lets a few stings of the horn punctuate the music when they are not front and center.

Despite three forte chords at the start of Symphony no. 74 in E-flat Major, Fischer plays the beginning of the first movement delicately until the strings are allowed faster rhythms later on. Again, I am reminded of Rossini for the rhythmic preparations from Haydn in these opening movements.

Another notable feature of the opening are two little chord statements shared across the orchestra in instrumental pairs, but are separated by rests and usually grow softer as they move around the ensemble. Fischer is not afraid to have his instrumentalist play at the edge of hearing for an effect either, and does so here.

Once again, a songful melody is featured in the second-movement Adagio, and once again it sounds a little clunky to my ears rather than full of romance. In this case, I think it is the use of Alberti Bass in the accompaniment which turns me off some, although the duet between violin and cello is a nice choice. 

And as before, a sort of rondo / theme and variations develops. Here, Haydn has the flute double the violin supported by the other winds, and I think this opens up the possibilities of the tune compared to the opening statement.

Jumping Scotch Snaps litter the third movement Minuet, and Fischer wonderfully treats repeated notes with a slight crescendo, where the horns are allowed to sting their notes again. As has been the case in Trios lately, a duet ensues, this time for violin and bassoon. On the repeat of the first half, Fischer has the strings play pizzicato; a conductor's choice I believe.

Another 6/8 ends Hob. 1:74 in the final movement. This one is a tad daintier than 'La Chasse', although once the strings happen upon their semiquavers, the music grows in intensity nicely.

Two unusual choices from Haydn are shown right at the beginning of Symphony no. 75 in D Major. The tempo marking Grave is rarely if ever used to denote a slow movement from Haydn, here used as the slow introduction. After the rather heavy, martial introductory start, Haydn uses Presto as his first-movement tempo following, and sets it in Common Time, a relationship not often seen paired together, nonetheless to open a symphony. 

The addition of trumpet and timpani gives the music a brighter opening. The composer pulls way back in the development for a piece, using minor and majestic chords alongside many rests to change up the atmosphere of the music most effectively.

Another set of variations inhabit the second movement once more. In this case, a hymn-like 3/4 contrasts the melody-centric ones we have primarily heard on this volume. The hymn is less a Rock of Ages type and more of a National Hymn type setting, reminding me of God Save the King in parts. I like these variations quite a bit, probably due to the hymn theme, but also the third cello variation is absolutely lovely.

The Minuet is more pompous and royal in nature, aided in no small part by the trumpets and timpani, I am sure. This time, flute and violins team up in the Trio of the third movement, while the winds completely tacet. Carried over from the last variation of movement two, the second violins are used to propel the music forward.

The fourth-movement Rondo is generally light and frothy to start. Eventually, Haydn changes the key to the relative minor, offering a stormy contrast to the rest of the runtime. Fischer uses solo strings to transition back to D Major before employing the full forces in a rather light manner. Unusual fermata harmonies demarcate sections, otherwise, there is a lightweight wittiness attached to the ending button.

Works
Symphony 73 in D Major, Hob. 1:73 (19.30)
Symphony 74 in E-flat Major, Hob. 1:74 (19.14)
Symphony 75 in D Major, Hob. 1:75 (19.32)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Brilliant Classics
Year: 1997-98; 2002
Total Timing: 58.37