Haydn - Symphonies, Vol.18 [CD]

All three works are fine examples of Haydn's mature symphonic style, though none are frequently performed. Nos. 80 & 81 were written near the end of his employment at Esterhazy. Lacking trumpets, clarinets and timpani, they do not have quite the sonic brilliance of the 12 final Salomon symphonies commissioned for performance in London. The trio of No. 81 is especially felicitous. Symphony No. 99 was in the second six-symphony sets of Salomon symphonies, and is a somewhat neglected masterpiece (perhaps because it lacks a nickname such as "Miracle" or "Oxford.") The Cologne Chamber Orchestra presents agile, flexible, idiomatic performances with well-recorded sound. Typical of the Naxos tradition, this bargain-priced, fully-packed disc provides a recording opportunity for lesser-known but highly competent musicians.

Although this CD includes a performance of one of Haydn's "London" symphonies, no. 99, it also includes performances of two lesser-known Haydn symphonies, nos. 80 and 81. Symphony no. 81, in particular, is difficult to find on a single CD, separate from a complete set or other lengthy compilation. Helmut Muller-Bruhl conducts the Cologne Chamber Orchestra in volume 18 of Naxos's admirable project of recording the complete Haydn symphonies performed by a variety of conductors and orchestras. The performances here, especially of the 99th symphony, do not reach the level of some other recordings. But they are nicely and more that adequately done and will introduce the listener to some neglected Haydn.

Symphonies 80 and 81 are important because they are the last symphonies Haydn composed before the set of "Paris" symphonies, nos. 82 -- 87, in which he took the form to a new level. These two works date from 1784 and were part of a set of three which also included symphony no 79.

Symphony no. 80 in D minor is a neglected masterpiece that, in the words of the Oxford Companion to Haydn (edited by David Wyn Jones) "skillfully mixes Sturm und Drang and galant idioms... The overall result is an extraordinary symphony that finds coherence in its diversity." (p. 397)

The first movement of the 80th is based upon a lengthy, stormy theme contrasted with a galant theme of only seven measures. Both themes are explored in detail in the development while the stark character of the movement dominates the recapitulation. The adagio contrasts a lyrical, serene theme presented at its beginning and end with a stormy middle section. The third movement is an angular minuet, in which both the main theme and the trio exhibit substantial tautness and tension. But the symphony concludes with a rhythmic, galant finale, delightul both in its ease and in its learning.

The rarely-performed symphony no. 81 is G major is a much more cheerful, accessible work, opening with a skipping theme in the violins over a held note in the cello, followed by a related, complementary second theme. The development gradually works up to a large crescendo on the initial theme, which appears again, with marked changes, in the recapitulation. The following movement, an andante, consists of a tranquil theme followed by four easy to follow variations. The minuet theme opens with light repeated notes in the strings followed by a rustic trio which gives a prominent voice to the bassoon. The bassoon also plays a large role in the finale, a lively galant style movement with substantial counterpoint at the conclusion.

The symphony no. 99 in E-flat major is one of Haydn's final group of "London" symphonies, composed for his second visit to London in 1794 and, together with its companions, exhibits his consummate final mastery of symphonic writing. The 99th uses clarinets, for the first time in a Haydn symphony, and is notable throughout for the great freedom it allows to the winds. Following a slow, harmonically complex introduction, the first movement develops with an energetic, propulsive character featuring two contrasting themes using winds increasingly as it progresses. The lovely second movement, adagio, begins with a flowing passage in the strings that gradually expands and dips briefly into a minor key. The climactic moment occurs at the end of the movement where the entire wind choir of the symphony sings out the theme freely and with great breadth. The minuet is glittering with a large, pregnant cadential pause in the statement of the theme followed by a trio for the winds. After a quiet opening, the finale develops with a second theme given to the winds, counterpoint in the development, and a false ending followed by an expansive, exultant close.

The 99th is a great symphony, to be sure, frequently recorded. But the lesser known symphonies, nos 80 and 81 composed by Haydn just before a major turn in his career are the primary attractions of this fine CD.

Robin Friedman

When I first got into classical music, purchasing all 104 symphonies by Haydn seemed like a monumental, if not impossible task. I simply couldn't afford something as grand as the Dorati Complete Haydn Symphonies Boxed Set, and besides I wasn't even sure if I'd like Haydn all that much. I played it safe and made my first four purchases the two Szell Sony Essential Classics discs collecting Symphonies Nos. 92-97 between them, and Bernstein Royal Editions of the Paris (82-87) and London (100-104) Symphonies. (I can't remember why I opted for these instead of the Davis Philips two-fers -- the performances are just as amazing, and they are probably cheaper when all is said and done.)

To say the least, these Szell and Bernstein performances were stunning, and I was definitely on my way to a love affair with Haydn. But as I searched out more single disc Haydn titles, I found it very difficult to fill in the gaps in my collection between Symphonies 80 and 104. I discovered a few quality recordings here and there that fit the bill -- a Furtwangler performance of Symphony No. 88 on DG Originals and a Klemperer recording of Symphony No. 98 on EMI -- but for the most part I came away empty-handed.

At this point, a friend suggested the Naxos label. I was naive then and I told my friend I wasn't interested in hearing Alfred Rumplestiltskin and the East Cowtown Nebraska orchestra perform the great works. He told me not to be such a snob, and assured me that the performances and recording quality were consistently excellent, and that symphonies like the Cologne and Northern Chamber Orchestras, while not the Berlin Philharmonic, were certainly first class groups.

Well, now I am the proud owner of several Haydn Naxos Symphony CDs, including Volumes 12, 13, 16, 18 (this title), 20 and 21. All the performances are brilliant, and often indistinguishable from the Szell and Bernstein accounts, well at least to my intermediate-level listening ear. At this rate, I may continue backwards with Haydn's Symphonies on Naxos until I reach el numero uno. And another nice thing is that with Naxos that might even be an affordable undertaking.