Haydn: Symphony 70 - 72

 

While Vivace isn't the rare starting tempo I originally thought it would be, the one-to-a-bar feel and brief runtime seem a most unusual way to open Symphony no. 70 in D Major.

All of those Haydn wedges keep the music light, although the composer's use of unison makes the instrumental sound a little heavier, aided by the addition of trumpet and timpani.

The shift from A Major at the end of the exposition, to the C natural beginning the development, is another one of Haydn's sudden surprises he loves so much.

The label of a 'double canon in counterpoint' is attached to the second movement, set in a minor mode. In addition to this label, both the two-part instrumental texture and the heavily dotted rhythms remind me of the Baroque. Only a harpsichord would make this music sound even more of a throwback to the past. Haydn sends D minor and D Major back and forth ala a variation form, where the movement ends up resting in the minor at its final statements.

Ádám Fischer chooses not to take any repeats of the sections in the second movement, perhaps to retain a balance between what would be an exceedingly long movement in comparison to the others, which are all relatively short. As it is, this movement times at 7 1/2 minutes, which could go on to 14-15 minutes if the repeats were observed.

The third-movement Minuet and Trio thrusts the listener back into a merry D Major, bringing trumpets and timpani along with the bright key. The more delicate Trio finds Haydn pairing solo oboe and violin together once again. In an unusual turn, Haydn adds a Coda to the final statement of the Minuet, instead of ending where the Minuet transitions to the Trio, as is normally the case. I don't believe I have seen him do this before, outside of an additional Trio.

I wonder how many of Haydn's symphonies titled in a Major key contain a final movement keyed in the minor. It can't be many, if any at all, but Hob. 1:70 is one such symphony. If I didn't hear it as obviously in the second movement, the Baroque tinged 'three subjects in counterpoint' of the last movement sounds decidedly fugal in nature. Of course, this aided by a bass pedal and the constant highlighting of the motives throughout.

Haydn does finally end up in D Major, but he saves it for the very last moments rather than bandying back and forth between modes or preparing the listener halfway through the movement. It is a surprise change for the listener, for sure, although the final unison 'D' ensemble hits allow some harmonic ambiguity.

Brevity is probably the best descriptor regarding the Adagio introduction to Symphony no. 71 in B-flat Major. The introduction is barely over before it begins, heavily trod when the full ensemble plays, delicate during two brief solo instrument moments. The Allegro proper is a charming, urbane first movement devoid of many dramatics, other than Haydn's developmental wanderings.

The second movement is a theme and variations. Here, Fischer does take all of the repeats, and in doing so, keeps the balance of the whole symphony well proportioned. In the final variation statement, Haydn builds to a precipice harmonically, providing the listener a climax of sorts in the wake of a rather subdued set of variations.

The Trio of the third movement features a violin duet with string accompaniment only, however, it is the peasant dance feel which sets it apart. Otherwise, the Minuet offers a hearty 3/4 to further contrast the lighter middle portion of Hob. 1:71.

A frothy Vivace moves the last movement along. Another surprise harmonic shift occurs from the exposition to the development, moving from F Major to D-flat Major, an unusually dark sonority from the composer, and then on to E-flat minor shortly after. In the second half of the movement, the strings get a bit of time to themselves, but so do the winds, offering nice ensemble features from Haydn.

As far as the Hoboken catalog is concerned, Symphony no. 72 in D Major actually falls around the 20s and 30s among Haydn's symphonic works. Thus, this is more of an early work than the number 72 presupposes. This makes the scoring for four horns make a lot more sense, since the 'Hornsignal' Symphony, also composed with four horns, is no. 31. The bassoon part is once again relegated to doubling the bass line due to the early date, but a timpani part creates drama amongst this opening music.

The presence of four horns remains an impressive sound in the first movement, one I readily welcome, especially when Haydn divides the four into their own musical lines. Solo flute and violin share the spotlight in the second movement, finally coming together at the last. The horns and timpani are once again utilized in the third movement Minuet and Trio, where the strings tacet altogether in the Trio.

An Andante theme and variations conclude Hob. 1:72, not a favorite finishing form for this listener. The variations do give the composer a chance to recognize his players as soloists, as flute, cello, violin, and winds in different combinations are showcased. Most unusual is the solo for double bass in the fourth variation, a portion where Haydn already scores the rest of the strings in a low register, making for rather murky musical sounds.

A theme and variations fourth movement also means the timpani has very little to do at the end, although the composer does insert a 6/8 Presto for the final run, providing the listener some contrasting athleticism before the symphony concludes. Fischer does indeed take all of the repeats once again.

Works
Symphony 70 in D Major, Hob. 1:70 (17.10)
Symphony 71 in B-flat Major, Hob. 1:71 (22.30)
Symphony 72 in D Major, Hob. 1:72 (18.45)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Nimbus / Brilliant
Year: 1997-98; 2002
Total Timing: 58.45