Haydn: Symphony 93 - 95

 

Ádám Fischer takes the introduction to Symphony no. 93 in D Major really slow. Where Haydn marks the tempo Adagio, Fischer's sashay's at a solid 25 bpm to the crotchet. I would probably count that as Grave, a tempo moderately slower than Largo.

A rather prim and proper Allegro follows. As opposed to the integration of the Introduction and Exposition which Haydn employed within the first movements of his symphonies before he visited London, this one once again separates the ideas, demarcated at the tempo change.

Both the first and second motives are rather legato for Haydn, with the transitional material offering up the contrast. While the first moves upward and the second flows downward, the two melodic ideas are quite similar. Otherwise, a few pauses in the development are all that keeps Haydn from sounding rather buttoned up.

The crotchet is almost exactly double the speed in the second movement as it was in the opening of the first, perhaps a reason why that introduction was paced as it was. I rather enjoy the gentle song of the second movement, music which is greatly overshadowed by the famed loud bassoon note towards the end of the movement. I am not sure Fischer's bassoons makes me chuckle, but it does stand out.

Haydn's third-movement Minuet begins at an unusual Allegro tempo, a change which insinuates the moving away from its dance origins. I do like how Fischer and the Austro-Hungarian Haydn Orchestra elongate, or stretch, the preceding upbeat ever so much as to add additional character to the music. The Trio eschews strings at its ope, finding instead the winds at full force. A back and forth ensues between the winds and strings, with the latter group coming in at an odd tonality with each entrance - b minor, G Major, F Major-to g minor-to-A Major, the last setting up the return to D Major.

A light, perky Rondo theme sets up the concluding movement for a delightful ending. This is hardly Haydn at his most vigorous, preferring amiable textures instead, including both up-or-down tempos. Truthfully, the Minuet and Trio is probably the most consistent throughout for music bearing extroverted strength.

Whereas Haydn's slow introductions tend to be grandiose or pompous in attitude, the one which begins Symphony no. 94 in G Major is rather lyrical and song like. Also, the first four measures of the following Vivace continue the lead-in to the G-Major exposition, instead of starting right at the tempo change. And yet, it seems the first motive actually begins at this lead-in instead of the G-Major tutti, a curious musical situation from Haydn.

Additionally, it has been a while since Haydn changed the meter between the slow and fast tempos of the first movement, here moving from 3/4 to 6/8. To add to the notable changes, Haydn employs two flutes. He did this in Hob. I:93 as well, but there the flutes more often played unison, while they do have a few separate parts here.

This is a rather long first movement too, where the development, recapitulation, and coda are fully realized. Plus, the trumpet and timpani give the music some extra heft, an aspect Haydn utilizes in the second movement theme and variations to great effect.

Any good Music Appreciation student will easily recognize the famous tune Haydn composes in the second movement (although my Music Appreciation classes covered the final movement of his Military Symphony from their text). Despite the famous opening, from which the symphony receives its 'Surprise' nickname, the whole movement is a wonderfully realized set of variations. Once the listener arrives at the very last 'Coda', you realize the symphonic journey was applied with great skill and effectiveness; perhaps the composer's finest, justly confirming its popularity.

Well, if Symphony no. 93's third-movement Allegro was a distinct change, here he instructs Allegro molto. Fischer is still sturdy in the Minuet, providing more weight than speed, I suppose adding to the triple-meter dance feel. Back to Haydn's former ways, bassoon and violin take over the melodic material of the Trio with minimal support from any of the other instruments, and no other winds in sight. With the reverberant Haydnsaal acoustic, one is reminded of the old Yankovic recording of the Pennsylvania Polka.

Another light, yet perky final movement is found at the end of Hob. I: 94, one with a rather wonderful melody found on repeat in the Rondo-like form. Some well-timed pauses keep the atmosphere of expectation going throughout the somewhat short movement.

The last of Haydn's minor-keyed symphonies comes in the form of Symphony no. 95 in C minor. This is one of the earlier London symphonies from Haydn, finding the composer utilizing minor much as in he did in the previous minor-titled symphonies, where he can't wait to get back to major. Indeed, the first movement even ends in C Major, as does the complete last movement. I must admit I prefer the composer's earlier forays setting minor keys to a complete symphony. This one has no slow introduction either, I think the only one of the London Symphonies not to bear a slow opening leading into faster material.

Again Ádám Fischer takes the 6/8 Andante rather peacefully, coming in at about 30bpm to the quaver. Although, taken any faster, the movement would take on a less lovely personality, I think. I love the cello solo here, part of the variations in this second movement. The length is rather short for a slow second movement too, moving the focus to the longer first movement.

I do like that Haydn brings back a weighty C minor to the third movement, here set in the normal Allegretto, as Hob I:95 is an earlier London Symphony. While the composer sets the dynamic differences far apart, Fischer treats Haydn's marking of forte as a crescendo to forte, a bit of a personal touch from the conductor. The cello comes back for another solo in the Trio, continuing that instrument's contributions from the second movement.

I guess I will keep using the term light and perky for Haydn's fourth movements. This one is contrasted with an interesting contrapuntal section, making the finale to Hob. I:95 stand apart from the rest. Moments standing apart is probably for the better here, as this is a rather unassuming little symphony, surrounded by a number of monumental edifices from Haydn.

Works
Symphony 93 in D Major, Hob. 1:93 (24.12)
Symphony 94 in G Major 'Surprise', Hob. 1:94 (23.43)
Symphony 95 in C minor, Hob. 1:95 (21.16)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Brilliant Classics
Year: 1988-89; 2002
Total Timing: 69.25

 

 

 

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