Haydn Symphonies Nos. 57, 67, 68 (2015)

Exploring The Haydn Symphonies: Nos. 57,67,68

The 104 symphonies of Haydn are a never-ending source of joy. Concert hall performances generally are limited to a handful of the symphonies, but each work may be sought out and enjoyed in recordings. The symphonies will bear repeated hearings from different orchestras using different performance practices.

The Philharmonia Baroque Orchestra's new recording of Haydn includes three rarely-heard Haydn symphonies composed during the 1770s: no. 57 in D major (1774), no. 67 in F major (1775-1776), and no. 68 in B-flat major (c. 1774). It is highly imaginative and courageous to release a CD with these unfamiliar works without including a "name" symphony. Each of these symphonies has been recorded several times but, to the best of my knowledge, as part of a complete recording of the Haydn symphonies as opposed to a stand-alone disk. There is no indication that the Philharmonia Baroque is planning a complete Haydn cycle. The orchestra has released an earlier CD of Haydn symphonies consisting of three of the most familiar works: nos. 88, 101, and 104. This CD of rarities is all the more commendable.

Located in San Francisco, the Philharmonia Baroque is a period instrument ensemble of about 40 musicians. Nicholas McGegan, the conductor of the Orchestra for nearly thirty years, is on the podium for this recording. I loved this CD for the music and for the exuberance of the playing and conducting. The phrasing and dynamics are nuanced and varied, tempos are unrushed, each phrase and each piece have been thought through, and the balance between the different instrumental voices is clear. These performances offer an excellent way to hear Haydn rarities.

The primary attraction of any CD must be the music. With the exception of those listeners familiar with a great deal of Haydn, many listeners are likely to be surprised by the inventiveness, melody, and variety in these three obscure works. Each of these symphonies is an individual, as opposed to a simple part of a long series, and rewards getting to know. These symphonies are part of a large number of works sandwiched between the "sturm und drang" symphonies and the latter Paris and London symphonies. Both the earlier and latter works are better known than the symphonies Haydn composed in the 1770s.

Symphony no. 57 begins in an unusual way with a series of strums on the strings followed by a large chord. This opening pattern -- short, quiet strums, large response, is used in each of the movements giving the work cohesiveness. The pattern returns in the pizzicato opening of the slow movement which is followed by a swirling passage in the orchestra, in the trio of the minuet, and in the running, shimmering theme of the finale. The music is full of subtlety and fun.

Symphony no. 67 offers many imaginative touches all of which are worked seamlessly into the music. The energetic opening movement is in a lilting 6/8 rhythm. As the movement progresses, the horns gradually assume prominence until they state the theme with a large horn call at the end. The second movement features a quiet theme and variations in many forms. At the conclusion, Haydn directs the strings to play using the wooden side of the bow, while the horns again have the last word. The minuet contrasts a flowing, conventional theme with a highly unusual trio scored for two violins, one of which must be tuned especially for this movement. In the finale, Haydn begins with a lively opening theme and a softer second theme. But suddenly the pattern is disrupted. The middle part of the movement is a separate and fully developed slow trio in which the full orchestra gradually comes to take a role. It is a lovely moment, and highly creative. The symphony resumes and closes with a return of the themes that opened the movement.

Symphony no. 68 features a lengthy, lyrical slow third movement. The movement develops by contrasting a singing theme played by strings with dramatic outbursts and rapid-fire notes from the rest of the orchestra. The slow movement is unusual for its time in its length and content and also as forming the climax of the symphony. The flowing theme of the opening movement, the brief off-beat minuet and trio, placed second in this symphony, and, the dancing rondo finale all work to accentuate the slow movement of this symphony.

The CD was recorded in 2014 in Berkeley, CA. Steven Ledbetter, a former musicologist for the Boston Symphony and a frequent writer of orchestral program notes, wrote the liner notes which discuss each symphony in detail. This CD will probably be of most interest to listeners with a passion for Haydn; but it will delight newcomers to Haydn's music as well. The symphonies as a whole are still a relatively unexplored treasure. The Philharmonia Baroque Orchestra released this CD on its own label. Naxos distributes the CD and kindly sent me a copy to review.

Total Time: 78:29

Robin Friedman