Only in the development do we as listeners detect a minor squall across a pleasant journey. The recapitulation seems to make more of the triplet motion, but nothing untoward.
I could say much the same of the second-movement Andante, which not only bursts into gentle triplets, but also make more of them in the second half of the movement. Thus far, Hob. 1:58 is a model of elegance and beauty.
The rather short third movement is notable for Haydn's 'alla Zoppa' Minuet and the 'al contrario' Trio. The limping Minuet puts the long note on the second beat, whereas the Trio plays it straight, albeit with a mix of minor keys.
The 3/8 Presto is not quite a hunting romp of a finale, yet there is a galop to its rhythmic demeanor. A little syncopated idea stands out, as does a quirky harmonic progression in some unison transitional material towards the end of the exposition.
The fact I have little to say regarding the symphony is a compliment from this listener, as the work is an efficient, expertly crafted symphony from Haydn. Individual moments are embedded into courtly geniality.
I greatly enjoy the violin's repeated notes which open Symphony no. 59 in A Major, with an occasional octave pop up which is a lot of fun. The exposition ends on a bass pedal, a nice final musical effect. Curiously, Ádám Fischer does not repeat the exposition, making for a rather short opening movement, which Haydn decisively ends quietly.
A minor-keyed second movement follows, where the unison strings bring a Baroque element until Alberti figurations bring the music into sunnier pastures. Strangely, Haydn inserts a key change into the second half, bring the music from A minor, only to land in A Major after a long Dominant preparation. A short minor statement is accompanied by horn calls, yet the composer sticks to the gentler music.
The third-movement Minuet begins in unison, in a tempo not all that much faster compared to the previous second movement. A beautifully flowing violin duet fills out much of the Trio, with only occasional support and punctuation from the lower strings.
Oddly, the winds open the final movement, beginning with horns only to have the music turn over to the oboes. A dozen or so measures later, the strings enter into the fast-paced conclusion. In the development, a contrapuntal/imitative section builds upon the opening ideas, a curious turn of events from Haydn, but the symphony ends in fanfare-like triumph.
Hob. 1:59 is often nicknamed 'Fire', and as with others, appears spurious to Haydn's intent.
While Haydn's Stürm und Dräng period is famous for his minor-keyed symphonies, many of this era's symphonies may have been associated with the theatre. Symphony no. 60 in C Major is one such work, where the plot and characters can be associated alongside specific music cues. Indeed, the unusual amount of movements, six, seem enough reason to consider this music more as a suite.
Indeed, the slow opening introduction acts like an overture, which wends its way to an Allegro in a most Rossini fashion. If the 'Fire' nickname had nothing particularly to do with the music of No. 59, certainly the 'Distracted' elements are not to be missed in Hob. 1:60. One can hear the repeated chords and notes of the opening movement where the main character gets lost in his own forgetfulness.
The second-movement Andante is perhaps more stately than normal, with little horn calls inserted here and there. The Minuet continues the above-board musical feelings from the slow movement to the third. Only in the Trio does the music wander into odd harmonic territory, where Ádám Fischer imbues a nigh-upon Hurdy-gurdy sounding drone to the accompaniment.
A rather severe Presto flings the fourth movement along, only for Haydn to add a key change from C minor to C Major. Enjoying the fun of this unusual symphony, Ádám Fischer relishes adding a rustic edge to the strings here. While it is not unusual to include trumpets and timpani into such occasions, to hear it in a fifth-movement Adagio lamentation is most rare. Despite their presence, much of this movement moves akin to an aria, occasionally interrupted by fanfares, only to continue singing on afterwards as if nothing had stopped their performance.
A sixth movement leans into the 'Distracted' nickname once again, with the orchestra completely stopping, suddenly finding itself needing to retune. Otherwise, this is a short jolly ending to a most unusual piece of music.
Works
Symphony 58 in F Major, Hob. 1:58 (16.40)
Symphony 59 in A Major 'Fire', Hob. 1:59 (17.12)
Symphony 60 in C Major 'Distracted', Hob. 1:60 (24.43)
Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor
Label: Nimbus / Brilliant
Year: 1996; 2002
Total Timing: 58.54
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