Haydn: Symphony 61 - 63

 

I am really getting into Haydn's symphonies now that I arrive in the 60s of his output. They are theatrical for sure, with a lot of exaggerated contrasts, but the music is always of the highest order.

The light scurrying in the opening of Symphony no. 61 in D Major compounds my love of Haydn's musical writings. The exposition sounds like one of the composer's longest thus far, so much so, Ádám Fischer does not repeat the it, instead moving straight on to the development. Perhaps the decision was to afford space on the original recording.

Rising chromaticisms abound, and when appearing in the development, Haydn almost takes the listener to the breaking point of a rising chromatic line, only to follow it up with a descending line which is just as long. Fischer really has the horns break through the texture in the recapitulation, and it is a superb effect.

One of the treasures Haydn's symphonies moving forward is the inclusion of a flute and a pair of bassoons, the latter of which no longer simply double the bass line, but have their own interactive stance in the music. This is ably heard in the Adagio second movement, where the winds are allowed their own presence amongst the strings, including an unusually unflattering low horn part towards the beginning. The horn and bassoons even lead into a recapitulation of sorts, an oddly voiced showcase.

Again, Fischer eschews the repeat in the second movement of Hob. 1:61. This might have been one of the longest of Haydn's symphonies in the set so far, and the Hungarian conductor's loving touch in these middle symphonies would have been absolutely wonderful to hear upon a repeat. Oh well...

Of the third-movement Minuet and Trio, it is the latter which stands out for its unison melody on oboe and violins with only a bass line to add any bit of harmony. Musical economy still works in Haydn's favor here, for the simplicity nicely contrasts with the pomp of the Minuet.

The final movement may be Haydn's most recognizable application of the Rondo form thus far. He actually inserts a key signature change to the parallel minor, only to return to the original D-Major key signature following. 

The tart oboe cuckoo call easily puts a smile on the face, a curious harmonic transition from the minor key to major confounds expectations, and the unusual texture of violins playing by themselves are highlights in a generally light and jaunty conclusion with some storminess thrown into the mix. I didn't even mention the presence of a timpani in this symphony, but the percussion instruments gets an airing out here.

A delightful symphony on the whole!

The trouble with listening to two symphonies set in the same key back to back is it invites comparison. Moreso here, as Symphony no. 62 in D Major is completely homotonal, so the listener never receives a break from the constant onslaught of a D-centered tonality. 

This becomes more apparent as the first movement boasts rather slow-changing harmonic movement, with very few quirks of harmony or rhythm in the opening, and not many far-flung dalliances in the development. Elegance is certainly at the forefront here.

If I mentioned musical economy in the previous symphony, the second-movement Allegretto of Hob. 1:62 is a standard bearer for the term. Haydn uses an additive effect to the beginning of the movement, where instruments enter separately one by one to give the effect of a crescendo; it is given a lovely application here. Once again, Haydn provides the winds some time to themselves, as well as another written in key signature change, this time to  the chromatic third relationship of F major, not a common occurrence in a slow movement.

Since the slow movement was marked at a swifter Allegretto, the same as the third movement, Fischer feels the Minuet in a one-to-a-bar, not a bad choice in my book, even if it is swift. Again, Haydn enjoys the two-part texture in the Trio, where the violin and bassoon take the solo spotlights.

The final movement feels as if we are joining the music 'in media res'; as if we are walking into a musical conversation which has already started without us. Haydn continues the opening ambiguous feelings each time a new section appears, and each time it is an unusual musical feeling. Perhaps it is the rampant D-Major key which leads the composer to this choice. The  faster tempo of the third movement almost makes this ending sound a little heavy of foot in places, a problem when tinkering with tempos. Otherwise, this is a rather serious sounding concluding movement, different from the rest of the work.

Ádám Fischer chooses the second version of Symphony no. 63 in C Major, made up of some different orchestrations and the final two movements are completely changed. I don't think I hear timpani or trumpet in this opening movement, so perhaps Fischer has also scaled back the C-Major instrumentation as well.

Fischer gives the first movement a heart swing, where the winds are completely given the second statement of the opening material to themselves. The move from G Major to E-flat Major from the end of the exposition to the development is a sudden and unexpected occurrence, where Haydn really takes the listener through a circuit of distant keys.

The nickname 'La Roxelane' comes from the second-movement theme and variations, another possible theatrical allusion. The first variation is given over to the winds completely, whereas the second mixes the flute with the strings. Haydn also bandies back and forth between major and minor, the original theme based in minor, but ultimately resolving in major at the final variation. This may be one of my favorite use of the theme and variation form from Haydn thus far; the melody is catchy and the harmonies are memorable.

Again, it is the Trio which sticks out in the third movement, here giving a duet to the oboe and bassoon, floating over pizzicato strings. Otherwise, the Minuet bears one of those pompous, martial qualities, taken at a sturdier tempo from Fischer.

At the end of Hob. 1:63, terraced dynamics are again in play, creating a playful atmosphere. Haydn's orchestrating economy is present too, with strings often in small qualities sometimes alongside colorful punctuations, and even contrapuntal/imitative ideas. Another interesting conclusion from the composer.

Works
Symphony 61 in D Major, Hob. 1:61 (16.40)
Symphony 62 in D Major, Hob. 1:62 (17.12)
Symphony 63 in C Major 'Roxelane', Hob. 1:63 (24.43)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1996-97; 2002
Total Timing: 60.45