Haydn: Symphonies Nos. 50, 51 and 52 (2003)

Exploring The Haydn Symphonies: Nos. 50,51,52

Haydn's symphonies 50 -- 52 are chronologically and numerically in the middle of his 104 numbered symphonies and date from between 1771 -1773. These three works, close in time, show Haydn, in his never-ending inventiveness, composing in a variety of styles. Thus symphony no. 50 is a fanfare, celebratory work, symphony no. 51 is quirky and idiosyncratic, and symphony no. 52 is an austere work in a minor key. In this recording of relatively little-heard works Bela Drahos conducts the Swedish Chamber Orchestra. The CD is part of an ongoing cycle of the complete Haydn symphonies on the budget Naxos label. I enjoy hearing these symphonies on a disk-by-disk basis, which allows me to focus on each work, rather than as part of a complete set.

The first two movements of Symphony no 50 in C major probably were composed initially as music for a marionette opera at Esterhazy with Haydn adding the final two movements later to form the complete symphony. The work may well have been performed for the Empress Maria Theresa upon a visit to Esterhazy. The work is festive, as are most of Haydn's C major symphonies, with important parts for trumpet and tympani. The first movemenent opens with a slow, maestoso introduction with large, accented chords followed by a lively, celebratory allegro. The graceful slow movement is comprised by a flowing theme in the strings to which the oboes contribute near the end. The minuet contrasts a stately, angular main theme with a legato trio, featuring a sweet oboe solo in the instrument's upper register. The quick finale contrasts lively, hushed and running passages with brusquer, louder passages and with large concluding chords.

Symphony no 51 in B-flat major is one of Haydn's lesser-known symphonies. It is a highly unusual work and features virtuoso writing for the horn. The opening music contrasts a declamatory opening phrase with a quiet contrasting section that concludes with a horn call. There is an elaborate "false recapitulation" in the development of this movement that will test the listener's powers of attention in picking it out. The second movement is the centerpiece of this symphony and features horn solos throughout which reach both the upper and the lower limits of the instrument. There are also passages for oboe complementing the singing horns. The minuet features two distinct trios, the first for strings and the second, longer trio again featuring the horn in its upper register and the oboe. The finale is a rondo featuring an episode in the minor and more difficult solo work for the horns. This symphony is an excellent, obscure work of Haydn that is a delight to get to know.

The symphony no. 52 in C minor is part of what is sometimes called Haydn's sturm and drang (storm and stress)period. Its companions are the better-known symphony no 44 ("trauer") and symphony no 45 ("farewell") The symphony no 52 opens with an angry, agitated passage in unison, but the opening theme is soon followed by a gentler second theme which gets repeated and gets more emphasis in the movement than the tragically-tinged opening. The second movement features a gentle theme largely for the strings in contrast to the angry character of some of the opening movement. The minuet is in the minor and has a dark, angular character. The strongest movement of this work is the finale, a presto which opens quietly in the minor, features a second theme which is repeated (as was the case in the opening movement) and stays rooted in the minor key throughout. There are dramatic pauses in the movement, climactic chords, and a large swirling close.

Listeners wanting to deepen their knowledge of Haydn beyond his well-known masterpieces will enjoy hearing these three symphonies of Haydn composed at mid-career.

Robin Friedman