Album insights
Eusebius Mandyczewski's chronological list for Breitkopf and Härtel's Haydn Complete Edition pointed out a significant error in Symphony No. 72. It was confirmed later that this symphony was composed during Haydn's early days in Eisenstadt, suggesting an opus number between 10 and 20 was more fitting than one exceeding 70, which would have taken over 15 years.
Haydn spent his initial years at Prince Nikolaus Esterházy's service forming an orchestra with some of the finest musicians of his time. His earliest Eisenstadt symphonies showcased the virtuosity of the court solo string players and highlighted the horn players' skills. The addition of two new horn players, Franz Reiner and Karl Franz, in April 1763 expanded the horn section to four members, a rarity at that time in the evolution of the modern orchestra. Symphony No. 72 was composed by Haydn to showcase his new horn quartet, followed shortly by Symphony No. 31, both pieces demonstrating his skillful orchestration.
Karl Franz, one of the new hornists, showed exceptional virtuosity and was highly esteemed by Haydn, who convinced him to stay when he considered leaving in 1769. The horn parts in Symphony No. 72 were quite demanding, particularly for the first horn player (Franz), involving challenging tonal ranges. Haydn often treated the horn quartet as a group of soloists, as seen shortly after the opening. While the horns were silent in the slow movement, a duet featuring solo violin and flute emerged, engaging the previously unheard flute. The minuet reintroduced the horns, notably using echo effects in the trio section, suggesting Haydn initially placed the two horn pairs on opposite sides of the orchestra. The horns played a minor role in the finale, a variation sequence on an Andante theme with a march-like pace, showcasing various instruments before concluding with a spirited Presto Coda featuring hunting horn embellishments.
Three years after the creation of Symphony No. 72, Prince Nikolaus' ambitious construction project to rival Versailles was completed. The new summer palace, Eszterháza, became Haydn's primary residence, hosting regular opera performances and concerts, cementing the court's reputation as one of the most cultured in Europe. However, a fire broke out in November 1779, destroying the opera house and threatening the cultural life of the palace. Despite the setback, a ceremony was held a month later to lay the foundation for a new, grander opera house, inspiring Haydn to compose Symphony No. 70 in D major for the occasion.
Acknowledging special circumstances, Haydn tailored Symphony No. 70 to suit the event, featuring an optimistic overture-like first movement. The second and fourth movements showcased his contrapuntal skills, notably in a double canon Andante section. The finale, primarily in D minor, showcased an intricate triple fugue structure, demonstrating Haydn's mastery of counterpoint. Symphony No. 71 likely composed in 1780, while lacking the adventurous spirit of No. 72 or the boldness of No. 70, exemplified the simpler Eszterháza symphonies with a delightful Allegro beginning and a peaceful Andante and buoyant finale.