Ádám Fischer builds upon his success in Hob. 1:102 with a tremendous Symphony no. 103 in E-flat Major.
The titular 'Drumroll' heralds the start of the work, creating a memorable opening on the part of Haydn. An undulating melody unfolds in very simple textures here, only using unison and two-part settings voiced in bassoon and cello at the beginning, with occasional wind punctuations across the slow introduction. The unresolved quality of the opening melody almost hinting at c minor, with some pointing to the 'Dies Irae' plainchant as a reference point.
As a melody, the scatterbrained opening theme flits around quirkily, and unmemorably for me. I do like how Fischer leans into the pick-up note in the melodic phrase, almost making for an off-beat syncopation throughout and a rhythmic motive for the movement. The dance-like second subject is much nicer for my tastes, also lyrically complementing the flightier first, both cementing a rather jolly mood.
Haydn doesn't dwell long on the second theme however, preferring instead to move on to the development. Of course, the recapitulation is interrupted by the return of the slow introduction with drum roll and 'Dies Irae' intact. This is the start of the forward-looking, inventive nature of the two last symphonies from Haydn, often reminding me of the courageous musical choices Beethoven would make, ones which would confound future audiences. Perhaps audiences and critics lost their sense of humor between composers?
The hint of C minor from the opening introduction is fully realized in the second movement. Unusually, Haydn moves back and forth between C minor and C Major, creating a vacillating theme and variations between the two key centers. With repeats, this makes for one of the longer second movements we have heard in a Haydn symphony for quite some time. Of course, a violin solo showcases the historical nature of the premiere of these symphonies, honoring the first chair from the Haydn concerts.
The third-movement Minuet features a leaping melody, complete with wind echoes, developed further in the 'B' section. Fischer takes a solidly firm tempo, laying into the composer's Scotch Snap rhythms. The Trio shows how far Haydn has come in orchestrating with clarinets, where they, plus the bassoon, receive the spotlight here. It might be late in the game for Haydn, but this old dog was not afraid of new tricks.
I am again reminded of Beethoven at the start of the fourth movement's horn calls. In this case, it his Symphony no. 3 'Eroica' where the humorously early horn signals the recapitulation. In Haydn's finale, it is as if the horns have just started without the orchestra, for this element never reappears, even if the horn fanfares are a common thematic device. Haydn also uses a 1-2-3 (short-short-short-long) pickup as a theme as well, one reminding me of Beethoven's Symphony no. 5, which may be a stretch to recall on my part. After all, the lightness of the last movement could as easily conjure up Rossini.
Either way, both of these final symphonies remind me of the genius which was to become Beethoven in some manner. I would like to imagine Haydn was no small part of that later composer's tendencies.
I am so familiar with the music of Symphony no. 104 in D Major, I could probably hum the entire work from start to finish. Such familiarity could lend itself to musical exhaustion, akin to Dvorak's Symphony no. 9, however, I rarely spend much time with Haydn (criminally so), thus it remains fresh and positive in my mind.
The dotted rhythms and intervals of the Adagio introduction are famously imposing. Again, Haydn uses unison to leave the listener uncertain as to tonality at the beginning of this work. While the dotted rhythms might suggest a royal entry, here it sounds more solemn and funereal, again reminding me of Beethoven, especially in its last utterances before the Allegro proper. As memorable as this opening is, the dotted ideas never return across the first movement.
I greatly enjoy the bracing first theme, one full of life and vigor, akin to a stroll on a cold, sunny day in the fens. Just when you think the second statement is going to occur, Haydn reiterated the main theme, only in a lyrical, wind-laden manner. It could hardly be bettered, for I doubt a second idea could trump the first.
I should probably mention the balances of length in the first movement. The introduction itself is 2-minute-and 30-seconds here, while the end of the repeated expositions rounds off at around 6 minutes. In an eight-minute movement, that doesn't leave much for a development and recapitulation, and indeed the recapitulation starts off almost as a development before launching into motions of Coda finalities.
Once again there are reminders in the development of Beethoven; something about the orchestrations and harmonies, particularly the minor ones, plus the recall and implementation of themes, which bring to mind that composer. Perhaps my mind is just on Beethoven today...
A terrifically gentle theme inhabits the Andante second movement. Here, the entire beginning is written for strings alone, with only the bassoon entering after quite some time has elapsed. For a composer who made a lot of headway with integrating winds into the symphony orchestra, such a start is winning.
When switching over to the parallel G minor, it is only winds making the first statements, as if Haydn acknowledges their long absence. However, the whole ensemble plays shortly after, making for a stormy, 'Beethoven-ian sequence'; the sequencing is simply awe inspiring here, and the dainty return of the opening material is masterful, with variations coming and going here on out. The chamber-like orchestration of this development is emotionally packed clear through to the conclusion, with winds highlighting their abilities to tug at the musical heartstrings as much as the strings alone did earlier.
The first portion of the strongly rocking third-movement Minuet is oddly not repeated, yet the second part is. A famous two-bar rest reminds the listener as to Haydn's title as master of pauses. Golly, again there are some transitional half-step winds over timpani which remind me of Beethoven. Get out of my head! Oboe, bassoon, and flute make a delightful wind trio in the Trio section as well, one of pastoral rusticity. A masterful Minuet movement if ever I have heard one.
If you thought Haydn had no more melodic ideas which could top each of the movements which came before, think again. Another pastoral theme presents itself in the fourth movement, one of downward motion rather than the typical upward moving devices. This topped by a horn pedal, giving it a folksy flavor. Throughout this movement, bass pedals are notable, as are the crisp rhythmic flavors which appear o'er top.
By gum, when Haydn transitions to an harmonically unusual lyrical moment, I am once again reminded of Beethoven, especially with those sforzando pressure points. A rather lengthy developmental area follows, once again reminding me of that other composer, and how he relished subverting expectations through development and tying together musical attributes which appear throughout.
It might be the over familiarity speaking, but I could certainly declare Hob. 1:104 as the most important music I have heard from Haydn in the symphony genre. Such a granitic statement would be denying the long gestation period, the many inventive qualities, and growth of the composer's touch across 100+ symphonic treasures. Perhaps not... perhaps the 'London' Symphony is the touchstone of what Haydn had achieved, representing his entire legacy up to that point.
Regardless, I am enthusiastic over this last volume, both from Haydn and Fischer. Complexities abound in both of these works, ones I am not so sure were as evident to me in the other 'London' Symphonies.
As with the previous volume, the sonics are a little better in Hob. 1:104 than Hob. I:103. If I had to guess, I would suspect both Symphonies 101 and 103 were probably recorded earlier than Symphonies 102 and 104.
Symphony 103 in E-flat Major 'Drumroll', Hob. 1:103 (30.17)
Symphony 104 in D Major 'London, Hob. 1:104 (29.12)
Performers
Austro-Hungarian Haydn Orchestra
Ádám Fischer, conductor
Label: Brilliant Classics
Year: 1987-89; 2002
Total Timing: 59.38
No comments:
Post a Comment