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Time for a confession that you will probably find weird: having heard every one of Haydn's authentic symphonies, I have noticed that I find his D major symphonies especially agreeable. This symphony is one of the reasons.
The first movement begins with one of those slow introductions that, in turn, begin with a strong, unison gesture; in this case, a descending broken triad (D-A-F#), first in the major but repeated in the minor. These powerful gestures touch off phrases of sensitive music that, in the context of their time - one might have to immerse oneself in music of that period to appreciate it now - must have been regarded as deeply touching. As this slow passage winds down you repeatedly hear a pattern of four repeated notes. The first theme of the subsequent fast sonata movement begins with this same repeated-note pattern.
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The tripartite slow movement begins with a lilting tune like a slow dance, in G major. This develops into something much more forceful and energetic before subsiding to its original lightness. The minor-key second section is more serious, even passionate; then the first section is repeated, complete with its ascending triad (D-G-B-D) opening that one could analyze as an inversion of the notes that opened the first movement. The movement ends with an extended coda based on this first section, including a charming solo for (unless I mistake) the cello.
Movement III is the inevitable Menuetto & Trio. As in the "Oxford" symphony, Haydn makes the most of juxtaposing phrases of constrasting length and mood to create an effect of wit and variety within a form that could all-too-easily fall prey to a tedious sameness. The Trio features the oboe in a sweet little tune that contrasts well with the overall blusteriness of the surrounding Menuetto; and, again, dynamic contrasts and sudden pauses improve a simple tune to the point of being worthy of a great symphony.
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From its opening shades of seriousness and tenderness, through moods of joy, wit, and passion, Haydn's 96th is a beautifully crafted symphony that brings extremes (moderated, of course, by classical restraint) into balance. It may not have saved lives at its first performance, but it does, I think, add to the goodness of life today.
IMAGES: Haydn; London's Hanover Square Rooms, where this symphony had its premiere; a gas chandelier.
1 comment:
I had not heard that story before. Now I'll always glance a wary eye at the chandaliers in concert halls!
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