Sinfonien um 1761-1765
Herausgeber: Ullrich Scheideler; Reihe I, Band 2; 2012, G. Henle Verlag München
Symphony No. 72 in D major
This 'four-horn' symphony resembles No. 31, 'Hornsignal' from 1765. Both use the horns in virtuoso/concertante fashion, include 'concerto' slow movements, and end with a finale based on an identical concertante principle.
The opening of No. 72 is astonishing: in the eighth bar Haydn sets all four horns loose with virtuoso flights rarely heard before, and never since. This virtuosity sets the tone for the entire symphony, even though these passages recur only at the recapitulation and (more briefly) in a concluding fanfare. Although the slow movement is yet another example of pastoral - G major, 6/8, solo flute in this case the bass discreetly subverts the Arcadian mood: except for the section-ending cadences, it plays almost exclusively on beats 'two' and 'three' of each half-bar, leaving the main melody notes on "one" unsupported.
In the minuet the horns again open the proceedings and frequently 'echo' other events, including the final cadence; in between, Haydn reverts to a vigorously galant style. The trio is for the winds alone. The finale is a set of concertante variations on a binary theme for strings alone. The variations feature, in turn, solo flute, solo cellos, solo violin, solo double bass, the two oboes, and the full orchestra. Then a brief transition leads unexpectedly to a brilliant Presto coda in 6/8. Could this turn have had an extramusical association, as it unquestionably did in the related "Hornsignal" symphony?
Analysis of the movements
Due to the unclear time of origin of most of Haydn’s symphonies - and unlike his 13 Italian operas, where we really know the exact dates of premieres and performances - detailed and correct name lists of the orchestral musicians cannot be given. As a rough outline, his symphony works can be divided into three temporal blocks. In the first block, in the service of Count Morzin (1757-1761), in the second block, the one at the court of the Esterházys (1761-1790 but with the last symphony for the Esterház audience in 1781) and the third block, the one after Esterház (1782-1795), i.e. in Paris and London. Just for this middle block at the court of the Esterházys 1761-1781 (the last composed symphony for the Esterház audience) respectively 1790, at the end of his service at the court of Esterház we can choose Haydn’s most important musicians and “long-serving companions” and thereby extract an "all-time - all-stars orchestra".
|Flute||Franz Sigl 1761-1773|
|Flute||Zacharias Hirsch 1777-1790|
|Oboe||Michael Kapfer 1761-1769|
|Oboe||Georg Kapfer 1761-1770|
|Oboe||Anton Mayer 1782-1790|
|Oboe||Joseph Czerwenka 1784-1790|
|Bassoon||Johann Hinterberger 1761-1777|
|Bassoon||Franz Czerwenka 1784-1790|
|Bassoon||Joseph Steiner 1781-1790|
|Horn (played violin)||Franz Pauer 1770-1790|
|Horn (played violin)||Joseph Oliva 1770-1790|
|Timpani or Bassoon||Caspar Peczival 1773-1790|
|Violin||Luigi Tomasini 1761-1790|
|Violin (leader 2. Vl)||Johann Tost 1783-1788|
|Violin||Joseph Purgsteiner 1766-1790|
|Violin||Joseph Dietzl 1766-1790|
|Violin||Vito Ungricht 1777-1790|
|Violin (most Viola)||Christian Specht 1777-1790|
|Cello||Anton Kraft 1779-1790|
|Violone||Carl Schieringer 1768-1790|
33 CDs, aufgenommen 1970 bis 1974, herausgegeben 1996 Decca (Universal)
Austro-Hungarian Haydn Orchestra
33 CDs, aufgenommen 1987 bis 2001, herausgegeben 1996
Academy of Ancient Music
10 Doppel- und Triple-CDs aufgenommen und herausgegeben 1990 bis 2000 Decca (Universal)