Herausgeber: Andreas Friesenhagen; Reihe I, Band 14; 2010, G. Henle Verlag München
Hob.I:89 Symphony in F Major
Symphony No. 89, also composed in 1787, has always stood in the shadow of its disproportionately more popular G major sister, No. 88. Reserved, cool and conceptually flawless, it is reminiscent of the consummate form of porcelain figures of that era, according to
H. C. Robbins Landon. When it is said Joseph Haydn opened the doors to the 18th century salon to let in a bit of fresh air, then for No. 89 he temporarily shut them again. This impression is evoked above all by the sections Haydn reworked from other pieces of music: the andante and the finale are based on the second and third movements of the Fifth Concerto for Two “Lire organizzate” (F Major, Hob. VIIh: 5), which Haydn composed for King Ferdinand of Naples in 1786. In both cases Haydn even retained the key. While he rewrote almost only the instrumentation for the symphony’s andante movement, his measures for the final rondo were more drastic, due specifically to a newly composed F-minor episode which allows a dramatic and passionate accent to interrupt the rococo atmosphere. The opening movement need not understate itself, however. Though with all its momentum of superior reserve, it affords the luxury of a thoroughly transformed reprise in which the elements of exposition return in a new combination.
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
Hob.I:22 "Der Philosoph"
Hob.I:48 "Maria Theresia"
Hob.I:64 "Tempora mutantur"
Hob.I:63 "La Roxelane"
Hob.I:85 "La Reine"
Hob.I:83 "La Poule"