May there be many summer mornings when,
with what pleasure, what joy,
you enter harbors you’re seeing for the first time
—C. P. Cavafy, Ithaka
for Barbara Asch
No matter how many visits one makes, Innisfree Garden is always a harbor seen for the first time. Here are a few photographs from June 9 & 10.
Franz Joseph Haydn, Symphony No. 41 in C Major Hob.I:41 (1768) (The Academy of Ancient Music, conducted by Christopher Hogwood)
While in Academy Records not long ago, I spotted volumes 5 (the “Entertainment” symphonies) and 7 (Climax of the “Sturm und Drang” symphonies) of Hogwood’s cycle of Haydn symphonies. Volume 6 (the early “Sturm und Drang” symphonies) is on the way.
Symphony No. 41 is a current favorite—it’s the flute in the Andante that seems to seal the deal each time.
The delicate and subtly expressive Andante features an elaborate flute solo, supported for much of its course by the other winds (the first oboe also has real melodic stature). It is one of Haydn’s first slow movements to include the horns, and to mute the violins (both soon became standard practice). [Hogwood, v.5, liner notes, p. 23]
The symphony is in four movements, Allegro con spirit, Un Poco Andante, Menuet & Trio, Finale: Presto. The instrumentation typically includes flute, 2 oboes, 2 horns (C-alto, basso), 2 trumpets (C), timpani, strings (bass and bassoon ad libitum). Hogwood, however, omits the trumpets and timpani:
[T]he evidence strongly suggests that (except occasionally in church) neither trumpets nor timpani were regularly used at the Esterhazy court until 1773 (in operas) or 1774 (in symphonies). Hence it is virtually certain that Haydn’s original versions of [this] work did not employ them (indeed there is no evidence that he ever authorized them). We therefore omit them . . .. [Hogwood, v. 5, liner notes, p. 17]
Credits: The quotations are from the sources cited in the text. The photographs, as always on the blog unless indicated otherwise, are mine.