Haydn: Symphony 101 & 102

 

Symphony no. 101 in D Major actually begins in its parallel D minor. While the slow introduction makes a slow meandering up in the bass line, the following two phrases take a slow downward plunge, the first time being rather chromatic while the second tries to match the opening a bit closer.

Haydn opens the D Major first movement proper in a compound metered Presto, although Ádám Fischer prefers a statelier Vivace. Either way, both tempo marking and time signature are an unusual choice for Haydn in the first movement of a symphony.

The light skittering of the opening upward-moving scale is a merry one, where Haydn doesn't truly settle into D Major until the end of the opening 8-bar phrase. If there is a secondary motive, the composer masks its existence pretty well by making it in a similar mold of the first theme rather than offsetting it through contrast. 

Haydn gets me every time with his false recapitulations, and does so here as well. He develops for so long, he leaves very little time for a complete wrap up, but I suppose that is substantially more interesting than a typical mirror image conclusion. I guess I know where Beethoven was influenced in some of his ideas

Symphony 101's nickname 'The Clock' is famously taken from the following 2nd movement. To my ears, this movement sounds like a variation-type form, yet I don't think that is quite the correct term for its music. Either way, Haydn puts the main idea through the wringer, including some minor-keyed entanglements and delightful re-engagements of the 'tick-tock' idea. The bassoon in particular adds a lot of character to this musical image.

Haydn put sforzandos on weak beats in the rather long Minuet. Otherwise, Fischer makes for a rather pompous sounding third movement. The Trio offers delightful solo moments primarily for the flute, although the bassoon is also included. I especially enjoy how the flute goes out of tune with the string drones, but is corrected on its return as Haydn changes the harmonies in the strings. I have read some score editors, unaware of the composer's wit, attempted to fix these incorrect sounds, adding to the behind-the-scenes merriment in Haydn's music.

The fourth movement contrasts the unusual opening movement's tempo and time signature by setting the finale in a cut-time Vivace, one which Fischer chooses to pace nearly the same as the first movement. Haydn uses a three-note motive to tie this movement together, one which consists of rising minims and another of moving crotchets. More interesting is the sort of Baroque-like imitation which appears in the last 2/3rds of the movement.

Intriguingly, I was not taken with Ádám Fischer's performance of Symphony no. 101. The sonics sounded unusually subpar and I generally felt disengaged the entire runtime. I can't quite put my finger on any particular reason either, other than I was dissatisfied while I sat and listened. I can't say I have had such a reaction from this set thus far either, so I remained surprised. Perhaps engineers and players were having an off day :(

Whatever irked me from the 'Clock' Symphony did not affect me in Symphony no. 102 in B-flat Major, the real 'Miracle' Symphony. Quite the opposite actually... this might be my favorite of the entire series.

Another slow introduction opens the symphony, and I love the long held B-flat chords with crescendos and decrescendos; such a simple, yet effective musical element. An achingly beautiful arched melody, one which has a longer downward trail compared to its upward start, informs what will become a major theme in the movement proper. Additionally, another chromatic line shows up before the major tempo change, this time moving slowly upward and whose sequencing is much tastier compared to the same moments in Hob. I:101.

The opening Vivace is nothing but a feel-good moment, perhaps a favorite opening for this listener. Haydn does indeed contrast this opening idea with an almost abrupt stop and change of mood in the second half, yet it doesn't take long for the composer to get the music moving positively once more.

Haydn uses rests to subvert listeners expectations once again, and to good effect here in my opinion. The development passes through many moods and keys, sometimes turning on a dime, while taking the smallest musical cells to build towards and away from various musical ideas. Once again, there is some imitation to add variety to the textures, and really this is one of the composer's finest development through recapitulation creations. Listen to that timpani transition!

The second movement Adagio is simply exquisite! The cello receives a notable solo, and yet, Haydn mainly gives it accompaniment figures rather than melodic lines. How this texture remains memorable and effective is beyond me, but it works really, really well. The pacing is also quite lovely from Ádám Fischer as well, while those sextuplet timpani taps are particularly well done amongst this ensemble's texture. A harmonic twist or two only adds to the charm of this movement's music, which is buoyed by a wonderful song-like quality with beautifully slow harmonic motion.

I have mentioned it before, but I love when the Austro-Hungarian Haydn Orchestra prolongs the time before reaching the downbeat by just a smidgen in the Minuet movement. It gives the music a rustic authority which is just so fun to listen to, while some strange harmonic motion adds some spice to what could be a bland, pompous dance.

I must mention the Trio separately. Something about the way Haydn spaces out the voicings between the instruments, here played as solos amongst Fischer's ensemble, is otherworldly and unusually satisfying. If nothing else, a fine complement to the opening Minuet, where I think the Austro-Hungarian horns clot up the instruments for a different timbre the second time around.

The last movement is a jolly affair, one which in the past might have reminded me of Rossini, but goes a bit beyond that this time. The turns of harmony do not go quite as the listener might expect, even at the very opening few measures, and makes for an imaginative listening session. The playfulness is well done by Fischer's team, with more musical winks from Haydn, and it should come as no surprise that I enjoyed both this music and its performance immensely.

Works
Symphony 101 in D Major 'Clock', Hob. 1:101 (23.22)
Symphony 102 in B-flat Major, Hob. 1:102 (25.57)

Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor

Label: Brilliant Classics
Year: 1987-88; 2002
Total Timing: 56.30

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