|
Symphonies
|
Key
|
Hob.
|
N.C.
|
H.R-L.
|
| |
G
|
23
|
32
|
33
|
| |
Eb
|
22
|
33
|
32
|
| |
A
|
21
|
34
|
31
|
| |
D
|
24
|
35
|
34
|
Here is a bit of an oddity for you. It happens sometimes! All four symphonies from this year exist as dated autographs! Seriously, this may be a one-of-a-kind sort of a year. Nonetheless, our three authorities have worked out a method of using most of the possible orderings for the four which helps to make it a more normal situation for us anyway; wouldn't want it to be a walkover would we?
As I mentioned in the essay above, two of Haydn's precious hornists died in some unnamed way in 1764, so the result is no four-horn works this year. Pity for all concerned, themselves not least. Not one to let calamity spoil the situation, Haydn turned out some superb symphonies in this year.
To proceed by Hoboken number allows us to note the fact that No's. 21 in A 
and 22 in Eb are both sinfonias da chiesa. The opening Adagio of #21 presents us with some sure signs of Haydn's growth within his developing style. The whole movement has no double bars (so, no repeats), it is a fully developed single theme of the type which would be Haydn's hallmark throughout his career. It is almost like a capriccio or a fantasia in that without repeats it is difficult to pinpoint structural signposts. It is also one of the first times where he uses the winds as full partners to the strings in presenting the musical material as opposed to merely accompanying as in a divertimento. The remaining three movements provide an easy descent from what is essentially the peak of emotion in this work, the Adagio. This is a trap for the composer that not even Haydn could avoid, and probably the reason why, after his greatest masterpiece in the form, #49 in f, he abandoned it altogether. All along he had been trying to shift the emphasis of the symphony away from the traditional Italian overture form and Austrian Chamber Symphony type, both of which more or less placed all of the musical interest in the opening movement. In this work, he tried to rescue the situation somewhat by making the finale an Allegro molto which would have nearly served as a regular sonata form opening movement for some composers. Since the opening of this work is not in sonata form, this works very well and makes a nicely rounded work for our enjoyment.
We have taken a brief look at #22 (The Philosopher) already in the context of its being a church symphony, and how it could very well have been used as such in 1768. As a concert symphony, with its minuet restored, it is also a fine piece of work, possibly the earliest symphony that one hears played regularly today, excepting only the "Times of Day" works. The reason, of course, is the totally unique opening Adagio, which features the wonderful interplay between the horns on the one hand and the Cors Anglais on the other, one presenting the first phrase of a chorale, the others supplying a reply. Quite the opposite of the previous work, this Adagio is very much in a formal structure with a double bar right in the middle. The chorale theme is brought back in several keys and instrumentations, in ways which uniquely combine stile antico with sonata form such as it existed at that time. No doubt that once again the opening movement is the high point of the work. The second movement Presto does feature some nice solo playing by the English horns, and the minuet is largely a Feldparthie wind divertimento. The finale, though, is an outstanding hunting type such as we see in others of Haydn's symphonies. The French and English horns lead the charge, one calling, the other answering, with a great deal of excitement attached. Since the hunt was one of the favorite pastimes of the probable audience for this and similar symphonies this sort of ending must have been a popular favorite.
Next time we will look at the symphonies #23 & 24. Neither is a sinfonia da chiesa, and both present several features of the 'new' Haydn, full of energy and rhythm. I hope you will have a listen to all of these works. They will repay your investment many times over.
Thanks for reading!