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05-17-2015 This CD has the Austro-Hungarian Orchestra of Eisenstadt, Austria with conductor Adan Fischer, in a performance of a collection of the better known Symphonies of Franz Joseph Haydn. We get the Symphonies numbers 43, 44, 49, 52, 59 and 64. Spread over two disks from the Musical Heritage Society, the total elapsed TIMING FOR THIS PAIR IS 125 and 1/2 minutes. These works were recorded in the Haydnsaal at the Esterhazy Palace in Eisenstadt, Austria in 94, through 97, in either May or June. A small 7 page booklet includes comments of the composer's works, plus some history of both the Orchestra and Maestro Fischer. I paid a cozy $4.50 for it.
ARTISTIC IMPRESSIONS AND THOUGHTS
As is often the case, the critiques on Haydn symphonies goes something like this---"well, they all sound so much the same, there can't be much difference between them." Only prt true. The best argument to support this broad and not really complimentary statement is that, yes, Haydn's works Do have a familiarity to them that implies mass production, stamped out for this or that patron, usually the Esterhazys, Anton or Nicholas. However, he also craved the individuality that any artist would desire. Anything short of that would be, well, unartistic, and nothing more than robotic and insensitive. Still, they were not that individual, because the are composed within a certain structural framework, indicative of that era, the great "Sturm und Drang Era" running from about the late 1760's through the 1780's.
A grade school classmate of mine whom I met again at a school reunion after over 50 years, had become a professional violinist, and there was a brief time when I took lessons with him, but dropped them because they were so difficult. I commented once how "powdery and frivolous" that age was, and he corrected me firmly saying that it was indeed an emotional time, when men cared deeply about many things---most notably their country. Ever hear of Ben Franklin, Gorge Washington, or Al Hamilton??? L.O.L. These symphonies, to an extent, reflect some of that similar sentiment, but also are not cool towards love, happiness, fear, and other emotive pastimes.
Not surprisingly, 3 of the 6 symphonies are in the minor keys of e, f and c, for me, the three most expressive keys in that lower case. Chiefly amongst the "stormy" period of the times were the Symphonies number 26, "La Passione," the number 26, "Lamentatione," chronologically, Haydn's first minor keyed composition, for which he chose f-minor. And, THE most indicative item has to be the "Farewell" Symphony, #45, not included here but on a CD I have ordered. The story of that will wait for a while, as will comments on both Schiller and Goethe, since they are so key to that era.
The Symphony in f minor, #49, is known as "La Passione" and was written in 1768. As in so many if Haydn's works, the opening movement begins with a short introduction and then a quick step into a rollicking Allegro or a vivace. Here, the entire first movement is an Adagio alone and this was quite a novelty in it's day. Another factor is that the title "La Passione" does not refer to the passion of Our Lord, but rather the simple passion of the times and the tedium often associated with symphonic composition.
The beauty of the composer's expressiveness is clearly evident right from the start, and the leisurely tempi chosen by Maestro Fischer is appropriate, allowing for maximum tenderness and delicacy to emerge from the pages. Just one more reason why the AHO under Fischer is such a treat for the ears. My "cd-clock" attests to a mere 2 seconds gap between the first and second movements, the later being a bright, quick string based "Allegro di molto."
Articulation is of a high level here, as the strings of this wonderful ensemble sound as if they've played this piece hundreds of times, which they very well may have done. The next section is the typical graceful and lilting minuet/trio, with some excellent but only brief Concertante work by a few of the strings in the podium arc. I wish there were more. The finale is a Presto of only 2:57 and it scurries along like a squirrel dashing to and fro on the branch of a tree on a warm Summer's afternoon.
Haydn's finales were often this short and compact, attesting to the idea that the composer eschewed large, wind-bag treatments, as they were never pompous and grandiose. He left that to other composers. Part of the composer's goal was simply entertainment, and these symphonies are just that, at least in part. Yet, it would be short-sighted to interpret them as merely passive and needing only casual attention. I say this out of respect for FJH but also acknowledging the reality that he did compose on commission for patrons whose in-depth understanding of music as art was not the deepest.
The Symphony in c minor, #52, opens with a minor key "Allegro assai con brio." Written in 1772, the 52nd uses various tempi in this first segment, forcing us to pay attention so as not to miss the wonderfully fresh and vibrant approach to the music. Just when the audience began to think of gossiping, they likely sat up and listened more closely than usual. An elegant and stately Andante is next, richly appointed and strictly paced. I thought I heard a premonition to the "Clock". as of yet, far into the future. if this is true, it reminds us that Haydn was surely the fountain of music, melody and invention we have always thought he was. An endless source of sound and ideas. The "Haydn-toolbox" is used to wrap up #52 with a rather odd sounding Minuet/Trio and then a brilliantly scored "Presto" finale.
All this made me reconsider the following. Often Haydn's huge output displays the early symphonies, say 1 to about 45 or so, composed in the aura of his discovery of the forms and structures at his disposal, then we jump ahead to the highly refined later mature ones, perhaps from around 75 or 80 to the final #104. Does this make any sense?? I don't know how else to say it, but I think there's something to this idea.
My last sample in this "six-pack" is the Symphony in A Major, the "Fire" Symphony, or, more appropriately titled the "Feuersinphonie." The opening movement "presto" crackles like a controlled combustion that it is, and this was a delight for me to hear this, my very first hearing of this 1769 work. I confess the last three movements left me nodding off and fighting to stay awake on this very early Sunday morning, as I am often a early riser and even with my customary -not to disturb my spouse, earphones, it was difficult to remain alert. The Andante came off more like a minuet and the Menuetto/Trio was a challenge to keep on top of. But, by the time I reached the finale, an "Allegro assai" I heard some rather interesting sounds. The finale (2:48) begins with a prominent horn call, spotlighted by Fischer and carrying with it a
healthy snarl and bite, giving it a sort of festive quality. The rapid pace flies past us and the Symphony ends in a flare of energy and excitement.
These 6 Symphonies of the Master are all VERY well played, conceived and articulated by these artists, and the sound is more than adequate. For $4.50, you can't go wrong, even with the competition these days. I remember the excitement when Antal Dorati and the Philharmonica-Hungarica recorded all 104 of these Haydn Symphonies for London Records. It was quite the event and represented a milestone not only in recording but also in the exposure the composer began to enjoy here in America. That notoriety, however, is still less than it should be.
All that aside, this set is a fine addition to you library and I'll close with my best wishes for years of pleasant listening. God bless you all, Tony.
A, M. D. G.
