Haydn: Symphony 91 - 92 & Sinfonia Concertante

 

Really, Haydn's Symphonies 90 through 92 (perhaps even 88 & 89 for that matter) should be either included with the Paris Symphonies, or mentioned as a substantial footnote as 'Paris Symphonies: Part Deux'. 

No, Haydn didn't visit the Gallic state again, however he sent his second violinist Tost with his next set of symphonies there (88 & 89), while the same Paris group and its leader further commissioned Haydn, resulting in the latter set (90 - 92).

No matter, for the short interregnum between the Paris and London Symphonies finds Haydn back to his old tricks, raring to take his leave of the Esterházy family after a lifetime of duty.

What is remarkable to me in Symphony no 91 in E-flat Major, after the Largo introduction, is the über smooth, unassuming melodic themes of the exposition. Haydn instead leaves the loud exciting portions for the transition material, which I might add are heavily chromatic and rather developmental, defined by the far-removed key explorations Haydn takes. He also takes the triplet rhythmic figurations with said transitional material into the development, all amidst a host of notable features from this first movement 

As if often the case with Haydn, the recapitulation is far from ordinary, neither presenting the thematic material in their original forms, nor connecting them in a recalled manner. Creativity and inventiveness are at the beck and call of this composer at all times.

I more often than not expecting a theme and variations from Haydn's second movements now, as there is here. While the composer begins by repeating each section of the theme and subsequent variations, Haydn abandons this approach. Instead, when repeating material he changes the orchestration to offer even more variety.

Similar to other Minuet's, Haydn puts emphasis on the third beat of the measure instead of the downbeat, while a rustic duet between violin and bassoon makes up most of the third-movement Trio. 

The final movement begins with winds really only adding color and weight to cadences, yet when the first half trails off, Haydn gives the winds the sendoff. The second half starts by adding winds one by one, having those instruments sustaining for most of the development. As with the first movement, here the opening material comes back to be recapitulated, only to have Haydn change up how each section sounds. This is a composer who knows how to keep his listeners on his toes.

As with Symphony no. 90, Symphony no. 92 in G Major uses both the slow introduction and the beginning of the following Allegro to lead into the first motive. While it is only four bars into the Allegro until the theme appears, that elongation and musical connection creates an unusual sense of anticipation missing from other symphonies of the time. They would have a created a solid break at the end of the Adagio, one with a strong dominant preparation, in order to begin the symphony proper at the fast tempo.

Speaking of the Adagio, this is Haydn's most beautiful first-movement introduction yet. Ádám Fischer makes the first statement unusually breathtaking, one which I wish would continue for the length of the movement. I never found the main theme of Hob. 1:92 the strongest from the composer, but as always, it is how Haydn develops his ideas later on which captivate me.

Of course, as soon as I say I expect a theme and variation in the second movement, here is a ternary-form song, with a stormy middle section set in the parallel minor. Ample time is given over to flute, oboes, and bassoon to make the heart sing, although I miss the horn once having such roles.

So the Minuet and Trio third movement has an overall ternary form, with the Minuet and Trio individually taking on a binary form. Lately, I have noticed Haydn treats the second section of the Minuet as a sort-of development area which ends by bringing back the opening material from the first section of the Minuet. Formally, this complicates matters, even if such explorations make the music more interesting. The Trio bears another third-beat emphasis, but this time with the horns and bassoons holding over the bar line, while the strings pluck on the downbeat. This feature creates an unusual sound, and is most creative on the part of Haydn. At nearly six minutes, this is also the longest Minuet thus far from Ádám Fischer.

I mentioned at the top that Haydn was back to his old tricks again in these symphonies. Indeed, I feel an Italian operatic sound return, similar to some of his middle symphonies. This fourth movement in particular is strongly flavored in that way, plus some conspicuously timed pauses in both the third and fourth movements add to Haydn's humor quotient. Otherwise, this ending is fleet-footed and light, bringing the symphony to a rather elegant, but exciting close.

I didn't even mention the subtitle Oxford. While this would lead someone to assume Hob. 1/92 was the beginning of his London Symphonies, this symphony was written upon commission from Paris, but used at Haydn's honorary doctoral presentation in Oxford later in life. It must have been quite the occasion with trumpets and timpani added to the work. A fine tribute!

With a Hoboken number of 105, the Sinfonia Concertante in B-flat Major comes from the composer's stay in London. If you are unfamiliar with the genre, there is a symphonic breadth and intent in a Sinfonia Concertante, combined with the approach of a mixed-instrument Concerto Grosso, a type of concerto with multiple solo instruments forming their own little ensemble against the larger orchestra. This one retains the scoring of trumpet and timpani from the previous symphony.

The outer movements are the most concerto-like, complete with a cadenza section set aside for the solo violin, cello, oboe, and bassoon. The middle movement (of three - another concerto attribute) relegates the orchestra to mere background, while the four solo instruments have their own chamber music fun.

This is the only volume in this Haydn series to feature specific players, where the solo instrument team is miked separately from the orchestra. After hearing 90-some symphonies from these players in this location, the perspective shift takes some getting used to, for the sonic texture is so different from what came before.

 

 

 
It has been a while since I have commented separately regarding the performers and sound on an individual Haydn post. Aside from the concerto soloists, I noticed the winds set back from the strings in the acoustic. This is a return to the start of the series where the engineers hadn't quite figured out how to tame the acoustic of the Haydnsaal. Too bad, although it simply requires the ears to adjust while listening, which they eventually do.

Works
Symphony 91 in E-flat Major, Hob. 1:91 (25.52)
Symphony 92 in G Major, Hob. 1:92 (26.53)
Sinfonia Concertante in B-flat Major, Hob. I:105 (21.38)

Soloists
Rainer Küchl, violin
Wolfgang Herzer, cello
Gerhard Turetschek, oboe
Michael Werba, bassoon

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Brilliant Classics
Year: 1988-91; 2002
Total Timing: 74.41