Post by erik on Nov 5, 2022 23:30:29 GMT -5
The 99th Symphony (and the seventh of the twelve London symphonies) of Franz Joseph Haydn is in this week's Classical Works Spotlight.
Haydn: SYMPHONY NO. 99 IN E FLAT MAJOR
When it comes to symphonic writing, the undisputed king, or Father, of the form was Franz Joseph Haydn. Over a period of forty years, he was able to compose no fewer than one hundred four symphonies, thus expanding the form from its beginnings at the tail end of the Baroque period to what he and his much younger contemporary Wolfgang Amadeus Mozart made it near the end of the 18th century in Vienna. His most important contributions to the form, however, were the final twelve symphonies (nos. 93- 104) that he wrote during two separate visits to London in the 1790’s. Haydn’s popularity in England was such that he found extremely receptive audiences to his symphonies. The seventh of these twelve is the Symphony No. 99, an imposing work just to judge by the numerical placement alone, even though the orchestral forces required (including a pair of trumpets and timpani) are no larger than its other companions in the London set, though it was the first symphony of Haydn’s where the orchestra forces included a pair of clarinets. The 99th Symphony includes a slow introduction leading into a magisterial opening movement that presages Beethoven’s “Eroica” Symphony. The premiere of this work in 1794 saw Haydn himself directing the orchestra assembled by the impresario Johann Peter Solomon, but utilizing a fortepiano as a continuo instrument (virtually all performances and recordings by modern orchestras eliminate the fortepiano or harpsichord). As with its other companions, the 99th was a huge success with the London audiences.
Cleveland Orchestra/GEORGE SZELL (CBS)
Included:
SYMPHONY NO. 97 IN C MAJOR
Haydn: SYMPHONY NO. 99 IN E FLAT MAJOR
When it comes to symphonic writing, the undisputed king, or Father, of the form was Franz Joseph Haydn. Over a period of forty years, he was able to compose no fewer than one hundred four symphonies, thus expanding the form from its beginnings at the tail end of the Baroque period to what he and his much younger contemporary Wolfgang Amadeus Mozart made it near the end of the 18th century in Vienna. His most important contributions to the form, however, were the final twelve symphonies (nos. 93- 104) that he wrote during two separate visits to London in the 1790’s. Haydn’s popularity in England was such that he found extremely receptive audiences to his symphonies. The seventh of these twelve is the Symphony No. 99, an imposing work just to judge by the numerical placement alone, even though the orchestral forces required (including a pair of trumpets and timpani) are no larger than its other companions in the London set, though it was the first symphony of Haydn’s where the orchestra forces included a pair of clarinets. The 99th Symphony includes a slow introduction leading into a magisterial opening movement that presages Beethoven’s “Eroica” Symphony. The premiere of this work in 1794 saw Haydn himself directing the orchestra assembled by the impresario Johann Peter Solomon, but utilizing a fortepiano as a continuo instrument (virtually all performances and recordings by modern orchestras eliminate the fortepiano or harpsichord). As with its other companions, the 99th was a huge success with the London audiences.
Cleveland Orchestra/GEORGE SZELL (CBS)
Included:
SYMPHONY NO. 97 IN C MAJOR