Classical Works Spotlight #544--Haydn 49

[erik]

A mid-period symphony of Franz Joseph Haydn is in this week's Classical Works Spotlight, performed by a much-admired period-instrument organization in Boston.

Haydn: SYMPHONY NO. 49 IN F MINOR (LA PASSIONE)

Like many a composer throughout history, including arguably his good friend Wolfgang Amadeus Mozart, Franz Joseph Haydn went through a creative phase often known as “Sturm Und Drang”, or “Storm And Stress”. In Haydn’s case it was in the late 1760s, a little more than a decade before he and Mozart met. One of the symphonies he wrote during his own “Sturm Und Drang” period, in 1768, was his Symphony No. 49, which is known as “La Passione”. Like many of Haydn’s symphonies, the nickname of this work didn’t originate with the composer himself. Nevertheless, the fact that the work is in F Minor was deemed by noted Haydn scholar H.C. Robbins Landon to be sufficient reason to call it “dark-hued, somber, and even tragic”. The 49th Symphony is also homotonal, meaning that all four movements are in the home key, except for the Trio section of the Minuet, which is in F Major. Nicolas Chamfort’s 1764 play “La Jeune Indienne” may have been what provided some of the inspiration for the symphony to Haydn, in terms of its seemingly dark nature. The other noted thing about the 49th Symphony is that it was the last time the composer worked in the “Sonata Di Chiesa” for a four-movement work (slow; fast; slow [Minuet]; fast). All of his symphonies would be in what would become the favored format of two fast outer movements, with a slow second movement and a third-movement Minuet (later Scherzo in the Beethoven and Schubert symphonies).



Handel and Haydn Society/HARRY CHRISTOPHERS (Coro)

Included:
Mozart: SINFONIA-CONCERTANTE IN E FLAT MAJOR, K. 364 (Violin: AISSLINN NOSKY) (Viola: MAX MANDEL)
Haydn: SYMPHONY NO. 87 IN A MAJOR

[egoodstein]

That's interesting that this symphony marked a 'change' in approach after for Haydn symphonies. It's certainly one my fave 'early' ones, with also no. 48, the Maria Theresa (a fair contrast in styles between those too!). I think he was looking to explore and push the boundaries of the form, which in large part he 'invented.' Including basing some on minor chords and exploring what that meant. Other later composers would glean so much form all the moods and approaches of his symphonies, and they still have many sides and are amazing works in themselves. Haven't heard this recording, but I also like Christophers as conductor w. The Sixteen too, and the Haydn and Handel Society very much.

[erik]

In many ways, Haydn was moving the symphonic form away from its origins in the High Baroque period (Bach and Handel) with this work.

It is also interesting to note that the Handel and Haydn Society, having been formed all the way back in 1815 (when Beethoven and Schubert were alive), is one of the oldest orchestras of any kind in the United States. Until Christopher Hogwood became the ensemble's music director n 1986, however, they didn't use period instruments; they were still a fairly modern ensemble. That changed with Hogwood's ascension; and it continues under Christophers' direction (since 2009).