Symphonies 92 & 101  

Joseph Haydn
Symphonies 92 & 101

Jan Caeyers, conductor
Beethoven-Academie, orchestra

VOL GR 061

Price for one CD : 4.90 €


Listen all tracks :

Track, Title Listen Caddy
Symphony n° 92 in G major
01. Adagio - Allegretto spiritoso (7:53) 0.69
02. Adagio (7:06) 0.69
03. Menuet - Allegretto (5:37) 0.69
04. Finale. Presto (5:40) 0.69
 
Symphony n° 101 "The clock" in D major
05. Adagio - Presto (8:33) 0.69
06. Andante (8:41) 0.69
07. Menuet - Trio - Allegro (7:38) 0.69
08. Finale. Vivace (4:59) 0.69

Total Time 56:07

Symphony Nr. 101 was composed during Joseph Haydn’s second trip to London and was performed for the first time on 3 March 1794. Because of the regular pendulum movement in the slow andante, this symphony is known as the " Clock ".

The Oxford Symphony is probably Hadn’s most interesting Symphony, because it breaks away from the distinction between chamber music and orchestral music that was prevalent in the 18th century. Wheras orchestral music, with its eye on the general public, is full of effects and surprises, chamber music is composed primarily for the private use of the performer. Chamber music is therefore distinguished by a higher artistic and technical level, and clearly presents a greater intellectual challenge, both for the audience and for the performers.

The Symphonies Nos. 92 and 101 are good exemples of this duality. In the London Symphonies, Joseph Haydn likes to surprise the listeners. He is extremely inventive when it comes to defying expectations, and the larger sound apparatus he uses here is also aimed at impressing the audience.

The Symphony Nr. 92 " Oxford " is one of an entirely different order, both intellectually and from the point of view of technique and composition. The first movement is especially significant : instead of distinct, Classical articulation with a clearly demarcated introduction, a principal theme, a second theme, and final bars, all the parts are linked to on another by one and the same motif. The slow and harmonically inconclusive introduction, which prefigures the full musical material, is followed by a motif of four bars, the so-called ‘pricipal theme’. There is no sign of classical predictability here either, and the motif appears seven times, each time in a different guise, with a constantly changing harmonisation, orchestration and function. The orchestra reveals itself as an incredibly refinded apparatus. After what is already a free-floating introduction of the main themes, and their intriguing variations in the developement, the reexposition and the coda can only be even more complex. Thus, with ultimate refinement, Joseph Haydn surpasses the expectations of the audience. The Oxford Symphony is the first example of a far-reaching emancipation of orchestral music, in which the accomplishments of chamber music are imbedded with great genius (Menuet - Trio - Allegro).