Hob 01:01 Symphony in D (2 Oboes, 2 Horns & Strings)
Hob 01:37 Symphony in C (2 Oboes, 2 Horns & Strings)
Hob 02:11 Divertimento in C for Winds & Strings (Flute, Oboe, 2 Violins & Basso)
When Robbins-Landon starts out discussing Haydn’s earliest symphonies, he shows little or no hesitation in beginning with the early divertimentos and making a natural segue into the symphony. As I mentioned earlier, the divertimento was serving as a training ground for Haydn in learning how to orchestrate, how to master various devices, and how to make his music pleasing to the ear. This early divertimento in C achieved a 
popularity beyond its merits, perhaps. The tune of the Andante, called ‘Man & Wife’ (Mann und Weib) was/became quite popular, possibly the theme was a folk standard of the time, or it became one later, being republished several times as various arrangements (keyboard sonata, violin sonata, flute quartet and more!) throughout the 1760’s. None of those arrangements had all four movements of the divertimento, however. This disk by the Kuijken Ensemble features a version for flute and strings that actually does contain all the movements, and is a very nice arrangement as an example of how the best arrangements were done in the 18th century. This next disk, by the Schönbrunn Ensemble, is one of many very fine versions 
available of the original version. Both of these are highly commendable.
The tie-in with symphonies comes in the last movement though, it is a theme and variations, one of the earliest occurrences of a form that would become one of Haydn’s greatest trademark expressions. The instruments take turns varying the theme throughout, until the final variation (#8, that is) in which they play it tutti to the finale. This would be the same formal structure used in the finales of two other symphonies within a few years; i.e. - #31 & 72 of 1765 & 1763 respectively. Possibly more surprising, although not in view of works which came later, is that Haydn appropriated the finale theme for reuse as the slow movement of Symphony #14 in 1762. While he would do the same thing for his whole career, this was one of the earliest instances. The important point here is that Haydn was learning how to integrate his ideas about symphonic part writing with the realities of having to simultaneously move away from Baroque , concertante ‘note-spinning’ while retaining enough of it to blend a gradual transition with the modern galant into what would eventually become ‘classical style’. This process, in Haydn’s case, actually took nearly all of the next decade too. Very little in the way of instant gratification here, I’m afraid.
All this being said, I still remember the first time I heard Symphony #1. The strings and horns opening with a little horn call, the tripping little runs in the violins and the stylish horns, presto in D; in short, classic Haydn! Despite the fact I was just dabbling in Haydn at the time, if you had asked me whose work was being performed, no doubt it was Haydn. But there is something 
else which I thought would be the case, since I only knew the barest essentials of these works and his situation at the time; I think I expected the music to be geared for less capable players, and also be the unpolished efforts of a beginner. Symphony #1, after. all. I was so wrong. Morzin’s band may have been small in size, but not in talent. Bohemian hornists, reputedly the best in Europe, were well represented here. I can’t believe Haydn’s later attitude of 'write the best and someone would be able to play it' was in effect at this early stage, so the next logical jump is that these guys were good! There is very little doubt that the symphonies are spun from different cloth than the divertimentos and chamber 
works, although as a non-musician I would be hard pressed to define the why of it. Clocking in at just over thirteen minutes, this little work in three movements captures your attention from the first and doesn’t release it. The same is true of the second symphony, Hob I:37 in C. Like all of the first several Morzin works, this symphony is again in three movements, much like an Italian overture in structure. The fact that Haydn was already writing his symphonic works in modular style created momentum in the music that never allows the feeling of being out of forward motion. This symphony, of which the earliest known manuscript copy is dated 1758 (allowing for a 1757 creation date), is also in the Viennese C major festive tradition, having optional trumpet and timpani parts in some copies. Overall, these are a fine pair of works to be able to call Nos. 1 and 2 of what is easily the most estimable series of symphonies ever created. These 2 disks both have fine versions of Symphony #1. Goodman uses a cembalo continuo to support the bass line throughout. I don't find it at all obtrusive; many do. He also doesn't play #37, here or elsewhere. His '1 - 5' is Hoboken 1 - 5. Hogwood though, as we discussed earlier, doesn't use a keyboard continuo. And as you can see from the front cover, he plays all the works in chronological order. I don't find the lack of continuo to be a problem; many do....
Thanks for reading!