Search - Haydn, Fischer, Austro Hungarian Orchestra :: Symphonies 14-17

Exploring the Haydn Symphonies -- No. 14 -- 17

Robin Friedman | Washington, D.C. United States | 02/24/2006

(5 out of 5 stars)

"Adam Fischer and the Austro-Hungarian Haydn Orchestra have the enviable accomplishment of recording the entire set of Haydn symphonies on eight CD compilations on the Nimbus label. (A 33 CD set of the cycle is also available on Brilliant.) The symphonies are performed in period style on modern instruments.



The CD I am reviewing consists of four works extracted from the compilation of Haydn's early symphonies no. 1 -20. It includes four early, little-heard Haydn symphonies, Nos. 14, 15, 16, and 17. Although their origins are uncertain, these works probably were composed before Haydn assumed his position at Esterhazy in 1761. It is inspiring to hear how Haydn developed from his early years, as witnessed in this set, to the mastery of his fully-developed symphonic style. Early as these pieces are, they offer some outstanding music and are worth getting to know in their own right. Fisher and the Austrian-Hungarian Haydn Orchestra play in an idiomatic, polished style that is lovely to hear. The works are scored for strings, oboe, high horn, harpsichord continuo, and a bassoon doubling the continuo.



This CD is, unfortunately, no longer readily available. But, if you have the opportunity, the CD rewards hearing. It is worthwhile to get to know this obscure Haydn and to read the excellent program notes prepared by Geraint Lewis. The works are performed in a smooth, polished style that is lovely to hear.



Symphony No. 14 in A major is a four-movement work which opens forte with a graceful theme in the strings. As befitting an early work, it includes much decoration and filigree. The second movement, as is generally the case in the early symphonies, is moderately paced and is for strings alone. There is a walking accompaniment in the lower strings to a theme stated in the violins. Haydn adopted this movement from an early piano sonata. The minuet of this work is notable for the extended and plaintive solo Haydn gives the oboe in the trio. In the finale, Haydn shows his mastery of counterpoint, even at an early age, with a fugual treatment of a theme consisting of a descending scale.



Symphony no. 15, also in four movements, is probably the earliest work on this CD and is in the style of a church sonata (sonata da chiesa) as is the symphony no 5 and the well-known "philosopher" symphony. Thus the work opens with a slow, elegant theme, which seems sufficient to comprise the opening movement. But mid-way into the movement, Haydn writes a light, developed presto section, followed by a return of the slow opening. Thus this movement is surprisingly complex and has the pattern of an early overture (slow-fast-slow). The second movement is a courtly, strongly accented minuet with a trio in which the melody passes between the cello and the violin. The third movement is an andante for strings alone in which the theme again is tossed back and forth between the lower and the higher strings. The finale is described in Lewis's notes as "an infectious romp which somehow epitomizes the spirit of early Haydn". It seems to me more in the tempo of a minuet with a contrasting minor section in the middle of the movement.



The three-movement symphony no. 16 in B flat major is the highlight of this CD and shows how much there remains to be discovered in Haydn's music. The symphony opens with short, rhythmic opening phrases which soon become the basis for a contrapuntal development that gradually builds to a flourish. The lovely second movement features a highly decorative and flowing cello solo, which takes center stage throughout and is doubled by the violins an octave higher. Brahms was deeply impressed by this movement and made a copy of it in 1870, while working on the piece that became his "Haydn variations" (on a theme not by Haydn). The finale of this work, following two highly original movements, is spirited and in the galant style.



Interestingly, the score of Haydn's Symphony no. 17 in F major was taken to America in 1766, within six years of its composition. The symphony is in three movements. The first and the third movements have a highly early feel to them with a galant opening movement contrasting loud and soft passages and a skipping, happy, finale. But the minor-key second movement for strings alone offers quiet, chamber-music like intimacy. This poignant movement is the highlight of this early symphony.



Robin Friedman



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