Haydn Symphony No.17 [9] in F major Hob.I:17 (c1760-61)
Haydn’s 17th symphony, in the key of F major, was actually the ninth to be composed, so around the years 1760 to 1761, when Haydn was employed by Count Morzin. If one was not aware of the date the character of the piece would easily draw one to a similar conclusion. Cast in three short movements, and with the orchestral parts reflecting the composition of players Haydn had at his disposal, this is as close to generic of early Haydn as one might get. That’s not to say the music is without charm and grace.
The opening Allegro is fresh and inventive, with the themes coming quickly and displaying a genial air. It’s music that is meant to entertain and there’s a feeling that Haydn was more intent on trying out ideas of structure and nuance rather than profoundity. The second movement is marked Andante ma non troppo and starts gracefully enough. There is however a hint of something deeper as the movement progresses and towards the final bars one has the sense that Haydn has, just beyond his fingertips, something deeper in mind. The tempo marking is an interesting point for reflection; adding ma non troppo inevitably brings the mood closer to an adagio, while the steady step of the bass line hints at either comtemplation or something more mournful. This is one of those movements when it is possible to imagine very different characteristics coming out in performance, depending on the interpretations of the players. Again, as before, we are missing a Minuet and Trio; Haydn closes the symphony with a brisk Allegro molto that is brief and flighty.
With these symphonies from Haydn’s time with Count Morzin I am progressively coming to the conclusion that they are better served by smaller groups of strings. When the number of players is spare the various lines and small shades of rhythm and interplay take on a whit and charm that a larger orchestra cannot manage so easily. For a composer of Haydn’s skills it is clear that in composing music he would have had in mind the forces at his disposal and would have cut his cloth to suit. For the listener, being able to get closer to the music in its original form and weight brings the pleasures of a subtle touch, almost like chamber music.
muchwhat 