JOSEPH HAYDN (1732-1809)
Let’s give a look today to Haydn’s symphonic output. We cannot realistically encompass all his production in one entry but we can look at works composed at different eras. The real starting point of his symphonic career is the Matin-midi-soir (morning, noon, evening or 6,7,8) triptych composed in 1761. They are in part remnants of the baroque period (a concerto grosso structure) and look like proto sinfonias concertantes, especially the morning and the noon one (the evening is closer to your typical classical symphony).
From the excellent Freiburg Baroque Orchestra CD, on Harmonia Mundi label, the 1st movement of the symphony 7 “Midi”
Symphony no 7 in C major: I- Adagio – allegro (play or download)
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The symphonic halfway between the numbers 6,7,8 and the London Twelve is not as clear as those two sets. Any symphony from the late 1770s/early 1780s could be plugged in here. I selected a relatively unknown one, the 75th, created in 1779. It comes before the trio of 76,77 and 78, composed specifically for the edition market, and before the famous symphony no 73 “La Chasse” with its blasting finale. But the 75th symphony has its own qualities. The great performance by the Heidelburg Symphony Orchestra, leaded by Thomas Fey on Hänssler Classic, makes it an enjoyable listening.
Symphony no 75 in D major: Grave – Presto (play or download)
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The twelve London symphonies are Haydn at his best. Not only they show diversity but they keep a high level of quality, complexity and humor. In my opinion, the finale from the symphony no 104, nicknamed “London” and composed in 1795, is the best in the series. It has a catchy theme, possibly of Croatian origin, and is highly energetic. The Orchestra of the 18th Century, under Frans Brüggen, delivers a great performance on this Philips Classics double CD (good value here).
Symphony no 104 ‘London’ in D major: Finale (spirito) (play or download)
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Le Concert des nations / Jordi Savall / Alia Vox
Le Concert des nations/ Jordi Savall / Alia Vox
Kraus, born in Miltenberg, in Franconia, studied both music and the law (parental wish). He left for Stockholm in 1778 to apply for a job at the court of King Gustav III. After unsuccessful attempts, he became vice-Kapellmeister of the Royal Swedish Opera and director of the Royal Academy of Music in 1781. Then, for about 6 years, he traveled Europe, at the king’s expense, to learn about the theatre. It is during this long journey he met, in Vienna, Christoph Willibald Gluck and Joseph Haydn. He also attended the George Frideric Handel Festival in 1785 in London. In 1787, he came back to Stockholm and became Kapellmeister of the Royal Swedish Opera. His protector, the king, was assassinated in 1792. The same year, Kraus died of tuberculosis.
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