Album insights
The early symphonies of Haydn are still shrouded in mysterious darkness today, with scarce handwritten manuscripts and few contemporary reports. The known numbering system developed by Eusebius Mandyczewski in 1907 has further contributed to the confusion surrounding the exact composition years of these works. For instance, the five symphonies in this recording appear to have been composed in the order 18, 19, 20, 17, and 21 over a span of approximately seven years, providing a captivating insight into Haydn's early works in this genre, from his earliest pieces to the development of his inspiration for the Esterháza compositions.
Haydn's early works are surrounded by confusion, exemplified by his claim near the end of his life that he wrote his first symphony in 1759 for Count Morzin, the same year he was appointed as music director. However, the documentation reveals discrepancies in dating, showing that at least one of the later symphonies can be traced back to 1758, leading to speculation about their true chronology. Despite assumptions that Number 1 was his actual first symphony, evidence suggests otherwise, hinting at earlier compositions. The circumstances surrounding Haydn's early employment opportunities and the conflicting dates add to the enigma of his early works.
Of the five recorded symphonies, numbers 18, 19, and 20 likely date back to the years between 1757 and 1761. Symphony number 17, on the other hand, was possibly composed for either Morzin or Haydn's subsequent employer, Prince Esterházy, post-1761, showing stylistic inclinations towards the former.
The Morzin family, whether led by the widowed father or the son, spent their winters in Vienna and summers at their Lukawitz castle near Bohemian Pilsen. A small orchestra and a wind band were assembled on occasion, comprising about twelve players (string and bass instruments) and a set of wind instruments. Haydn's scores for the Morzin symphonies were straightforward, generally requiring a small string group with a basso continuo, pairs of oboes and horns, except for Symphony 20, which included trumpets and timpani. Notably, these early works shed light on Haydn's development and the simplicity of the orchestration.
Symphony 18 adopts an antiquated form, drawing inspiration from the Church Sonata structure and omitting the traditional finale, offering a distinct exploration of composition. Conversely, Symphony 19 exhibits a typical three-movement structure, showcasing a motivic and robust Allegro followed by a melancholic Andante and a vigorous finale.
Symphony 20 stands out due to the inclusion of trumpets and timpani, marking a departure from preceding works and pointing to its probable origin within the Morzin period. Additionally, the festive use of these instruments reflects a shift towards grander compositions, providing a precursor to Haydn's later symphonic norms.
Symphony 17 highlights Haydn's adept use of wind instruments as harmonic support while focusing thematic elements on the strings, hinting at his evolving symphonic approach despite the conventional orchestration. The symphony demonstrates a blend of motifs and brief thematic ideas held together by continuous eighth notes in the first Allegro and features a measured Andante and a concise finale.
Moving into a slightly later period, Symphony 21, possibly dated to 1764, showcases a refined approach, introducing more complex wind arrangements and independent solos for the oboes within the orchestral setting. This work, structured similarly to a Church Sonata, embraces a full four-movement layout, contrasting with Symphony 20 and indicating Haydn's growth in compositional techniques and orchestration as he navigated his tenure under Esterházy.