Symphony No. 80 in D minor, H. I:80 (1784) [24:29]
Violin Concerto No. 1 in C major, H. VIIa/1 (c. 1765) [18:59]
Symphony No. 49 in F minor, La Passione H. I:49 (1768) [25:32]
Freiburger Barockorchester/Gottfried von der Goltz (violin and direction)
rec. 2008, no location details given
HARMONIA MUNDI MUSIQUE D'ABORD HMA1952029 [69:19]
Originally released on Harmonia Mundi in 2009 this recent re-issue on
the label’s Musique d’Abord series sees period instrument
specialists the Freiburger Barockorchester investigate the ‘Sturm
und Drang’ aspect of Haydn.
The earlier of the two symphonies contained here is the Symphony No.
49 in F minor, H. I:49. Popularly known as La passione the
score was written in 1768 during Haydn’s Sturm und Drang
period. It is the last of the six that Haydn wrote in the church sonata
format that commences with a slow movement. Biographer H.C. Robbins Landon
described it as “a profoundly pessimistic work.” (BBC Music
Guide: Haydn Symphonies (1966)).
Gottried von der Goltz directs the Freiburger Barockorchester from the
violin and does so with real spirit and affection. Especially well done
is the buoyantly determined opening Allegro spiritoso of No.
49 followed by the prominently serene tread of the melancholic Adagio.
Next comes the Menuetto sounding so agreeably rhythmic on period
instruments. The Finale is taken very briskly with a fresh and
vibrant feel to the playing.
Written in 1784 the second symphony here is No. 80 in D minor,
H. I:80 which comes some sixteen years later. This forms part of a trio
of symphonies that includes Nos. 79 and 81 composed for sale to his publisher
Antaria. This is Haydn returning to the Sturm und Drang style
he had seemingly put on hold some ten years earlier. Haydn here “skilfully
mixes Sturm und Drang and galant idioms” (Oxford Composer Companions:
Haydn, ed. David Wyn Jones (2000)).
Goltz has the benefit of a highly talented and enthusiastic group of players
who excel in giving a near meditative feel to the comforting opening Adagio.
Next comes the effervescent Allegro di molto played with unerring
spirit followed by the elegant Menuet which is afforded real
dignity by the Freiburg players. It is difficult not to be impressed by
the sheer energy of the Finale: Presto the playing of
which yet remains in complete control.
A skilled violinist himself, Haydn in the mid-to-late 1760s is acknowledged
to have written four violin concertos including a missing D major
Concerto, Hob. VIIa/2. The present disc offers the Violin Concerto
No. 1 in C major, H. VIIa/1 — a delightful score written for
Alois Luigi Tomasini who was to become concertmaster at Esterházy. The
work boasts double-stopping and a lovely cantilena Adagio.
Goltz’s splendid bow control is commendable as is his noticeable
empathy for Haydn’s writing. He demonstrates an intelligent restraint
which supersedes any need for theatrical display. In the delightful Adagio
I enjoyed the languorous melody for the soloist played over a curiously
ticking bass accompaniment.
The sound quality is most agreeable and the booklet notes manage to be
both very concise and informative - all adding to the desirability of
this disc. This is an outstanding re-issue.
Michael Cookson
Masterwork Index: Haydn symphonies
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