Search - Franz Joseph Haydn, Roy Goodman, Hanover Band :: Haydn: Symphonies Nos. 9, 10, 11, 12

Exploring the Haydn Symphonies -- Nos. 9, 10, 11, 12

Robin Friedman | Washington, D.C. United States | 03/02/2006

(5 out of 5 stars)

"Haydn's early symphonies Nos. 9 -- 12 show Haydn as a young composer in his late 20s in transition. They are written in a variety of styles and show the many influences that converged in Haydn to form the modern symphony. The two earlier symphonies on this collection were composed before 1761 -- the eventful year in which Haydn assumed his lifelong position at Esterhaza. The two latter symphonies were written shortly after the composer entered the service of the Esterhazy family.



The CD, recorded in 1992, is part of an outstanding series of Haydn symphonies with the Hanover Band conducted by Roy Goodman. The ensemble performs on period instruments, tuned slightly lower that current practice (A -- 430) with Goodman at the harpsichord. The ensemble planned to record the complete cycle of Haydn symphonies, but, alas this did not materialize. But the recordings they made, particularly of the early, lesser-known symphonies included on this CD, are an excellent way to hear Haydn.



The two earlier symphonies, Nos. 10 and 11, predate 1761. Not only are they a delight to hear, but they are also very different from each other. Symphony no. 10 in D major is a three movement work that appears to have its origins as an overture for a lost opera or marionette show. It opens with a lively, attention-getting theme, punctuated by tympani with the horns tootling merrily in the background. The second movement is a moderately paced andante with a simple, singing theme in the middle strings, frequently accompanied by a high held note in the first violins. The brief minuet finale moves quickly with passages for the entire ensemble alternating with quieter passages for the lower strings alone. A fanfare in the horns brings the work to a close.



The four movement symphony no. 11 in E flat major has its origins, together with several other early Haydn symphonies, in the church sonata or sonata da chiesa. It opens with an extended, dignified slow movement featuring strings and continuo punctuated frequently by the horns. The second movement is a brief, lively allegro in Haydn's early galant style based on a single theme. The minuet is based on a rhythmic, glittering theme followed by a quiet trio based on a pattern of descending notes that reappears as the theme for the finale.



Haydn composed symphonies 9 and 12 shortly after moving to Esterhaza. Again, these symphonies show contrasts from each other and from the two earlier symphonies on this disk. The three movement symphony no. 9 in C major is a short work, about 12 minutes. The key of C major, throughout Haydn's symphonic output indicates a celebratory work with a great deal of fanfare. The opening flourishes in symphony no. 9 are contrasted with quiet, busy passages in the course of the first movement. The second movement is noteworthy because Haydn introduces the flute as the bearer of the melody. The earlier symphonies generally use only the strings and continuo in the slow movements. The finale is an elegant minuet with and oboe solo in the trio.



The three-movement symphony no. 12 is in the unusual key of E major. As do some of the other early symphonies, such as no. 17, it features a long poignant slow movement sandwiched between two short galant outer movements. Thus, the adagio is nearly 11 minutes in length while the two outer movements are only 8 minutes between them. The opening movement is short and glowing while the quick, short finale alternates a joyful theme with brief dips into the minor key. The middle movement, in the key of E minor, is an extended contrast to the outer movements. It is personal and expressive, for an early classical work, and is the highlight of this symphony.



Robin Friedman"