Cheap Haydn: Symphonies Nos. 41, 58 and 59 "Fire" (Music) (Franz Joseph Haydn, Helmut Muller-Bruhl) Price
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| ARTIST: | Franz Joseph Haydn, Helmut Muller-Bruhl |
| CATEGORY: | Music |
| MANUFACTURER: | Naxos |
| TYPE: | Classical, Orchestral & Symphonic |
| MEDIA: | Audio CD |
| UPC: | 747313209224 |
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Customer Reviews of Haydn: Symphonies Nos. 41, 58 and 59 "Fire"
The Complete Haydn Symphony Series on Naxos Continues It's hard to believe that this CD is Volume 26 in the ongoing Haydn symphony series coming to us from Naxos. On this disc are three symphonies from 1768/69, composed back-to-back (in spite of their non-consecutive numbers).
The first of these, No. 41 in C major, is a celebratory piece that includes trumpets and drums, a rarity in Haydn. The four movements include an Allegro in 3/4 time, a little unusual, and with trumpet fanfaress and drum flourishes. The Andante surprisingly begins with muted strings - a nice touch - and then brings in a flowery solo flute; the trumpets and drums are tacit here. The Minuet has high horns, trumpets, drums framing a Trio that has elaborate horn calls. The Presto final movement is propelled by eighth-note triplets to a brilliant finish.
Symphony 58 in F has more usual scoring - strings, double oboes and horns, and a bassoon doubling the basses. The first movement Allegro is fairly standard sonata form in triple time again, like the first movement of the previous symphony. The Andante second movement is scored for strings alone. The Menuet alla zoppa ('lame menuet') is so-called because of the limping rhythm of the main tune; this is one of Haydn's most charming inventions, particularly with the lyrical Trio section. Yes! The Finale, with occasional musette effects, brings the whole to a bustling close.
Symphony 59 in A is nicknamed the 'Fire Symphony' because its movements were probably used as intermezzi during a dramatic presentation at the Eszterhazy palace theater. The name of the specific drama seems to be lost, but the epithet stuck to the symphony itself. For me the high point is the Menuet, again with a Trio for strings alone.
These performances, conducted by Helmut Muller-Bruhl, are played by the fine Cologne Chamber Orchestra. This group played on period instruments for many years up until about 1988, then began playing on modern instruments but using performance techniques more commonly heard from period orchestras. I happen to like this combination of modern instruments and Baroque performance-practice, and indeed more and more 'modern' orchestras are adopting this style of playing. The playing is bracing, crisp, alert, nuanced.
Another triumph at budget prices.
Scott Morrison