Music reviews for music published any time during the decade of the 1770s.
1. Joseph Haydn: String Quartets, Op. 20 ‘ Sun’ (10/10)
2. Joseph Haydn: Symphony No. 45 in F-sharp Minor ‘Farewell’ (10/10)
The “Farewell” symphony is just an incredible thing. The opening is out there for the time period (at least to my ears though apparently it is a pretty traditional form otherwise). And the middle parts are pretty traditional. But the finale is bonkers: it’s slow, for one thing, but it also features a gradual dimunition of instruments, till it’s down to
just the violins. On stage, the orchestra apparently leaves the stage (and even blows out candels). It’s impossible to hear that obviously, but it’s still a rather radical act (and the sound of the orchestra decreasing is as well). Apparently Haydn was sending a message to his patron, which is pretty funny. Knowing little about this period, I am hard pressed to think of something comparable.
3. Joseph Haydn: Keyboard Sonata No. 40 in E-Flat Hob.XVI:25 (10/10)
The 40th is really whacky and out there, for it’s time anyway. I love this kind of thing where it skirts along, threatening to break rules but never quite breaking them. In the showy parts you almost, almost lose the melody. Really great.
4. Joseph Haydn: Symphony No. 46 in B major (9/10)
The 46th symphony strikes me as a lot less daring than the 45th at first. But there are subtle little devices he uses to make it relatively unconventional for its day. It’s only in the finale when it gets really weird for its time. And again, it’s a bit of a stand out.
5. Joseph Haydn: Symphony No. 44 in E minor ‘Trauer’ (9/10)
The “Trauer” is pretty good. The first movement doesn’t really fit the symphony’s nickname but is interesting and engaging. The second movement is where it gets interesting, with almost like a concerto gross type effect, only with a split between the strings and with the group playing off the beat (or whatever you call that in Classical). The third
movement is the first time you really get a sense of “mourning”, at least to my ears, but even then, it really doesn’t seem to quite fit the nickname. Maybe it’s later stages. It must have meant something more to him, as he asked it to be played for his funeral. The final movement is upbeat again, but it relatively unconventional. This is probably one of his better middle symphonies with enough interesting stuff going on to keep you interested.
6. Joseph Haydn: Keyboard Sonata No. 39 in D Hob.XVI.:24 (9/10)
The 39th is a gorgeous piece of music. Very, very Classical, but still interesting enough (and clearly difficult) that it isn’t just a simple melody.
6. Joseph Haydn: Keyboard Sonata No. 41 in A Hob.XVI:26 (9/10)
The 41st starts off sounding really traditional but there are still lots of moments for the player to show off. This one is pretty playful actually. I like it.
6. Joseph Haydn: Keyboard Sonata No. 48 in C Hob.XVI:35 (9/10)
The 48th is very jaunty in the style you would really associate with this era. However, again Haydn shows that he’s not just any old composer. He varies the left hand from phrase to phrase, and that’s before the piece really takes off about a minute in. Good stuff.
9. Christoph Gluck: Iphigenie en Tauride (8/10)
10. Joseph Haydn: Symphony No. 47 in G major ‘The Palindrome’ (8/10)
The 47th is pretty conventional to my ears. Apparently one of the movements is half backwards, but
I guess I’m not expert enough to hear that.
11. Joseph Hadyn: Keyboard Sonata No. 49 in C-sharp minor Hob.XVI:36 (8/10)
The 49th is rather dark compared to the others in this collection (that I first heard it on), but that’s because of the key, obviously. It’s still not Romantic dark, but it’s borderline (which reminds me of a number of his late symphonies).
It might be my least favourite of the group (of other sonatas from this era), though. Just a little too straightforward.