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Haydn: Symphony No. 59 in A major "Fire Symphony" (with Score)

Franz Joseph Haydn: Symphony No. 59 in A major, Hob. I/59 "Fire Symphony" (with Score) Composed: 1768 Orchestra: Academy of St Martin in the Fields Conductor: Sir Neville Marriner 00:00 1. Presto (A major) 04:39 2. Andante o più tosto Allegretto (A minor – A major) 09:39 3. Minuet (A major) – Trio (A minor) 13:17 4. Allegro assai (A major) Haydn composed his Symphony No. 59 in A major, for two oboes, two horns, and strings, during a period in which he was primarily occupied with writing operas. The symphony exhibits an unusual power and is quite strange in some places. These traits, and other such "evidence," have led some historians to suggest that the music was originally intended for the stage. A note inscribed on a manuscript now in the northern German city of Schwerin tells us that the music was written for use between acts of the play, Die Feuersbrunst (The Conflagration), by Gustav Friedrich Wilhelm Grossman (1746-1796), performed at the Esterházy palace in 1774 by Carl Wahr's traveling theater troupe. This performance did indeed take place in 1774, but plenty of manuscript and other evidence shows clearly that the symphony dates from, at the latest, 1769, before the play was even published. Therefore, it is likely that Haydn used the existing work for the play in 1774 and this association may be the source of its nickname, "Feuersymphonie" (Fire Symphony). It is, in any event, a fiery work, with many traits placing it in the composer's so-called Sturm und Drang (Storm and Stress) group of symphonies. Without introduction, the Presto first movement opens with a theme of great intensity consisting of falling and rising scales accompanied by a driving rhythm in the violins. Wide dynamic contrasts animate a transition begins that reaches the dominant (E major) only shortly before the end of the exposition. The secondary theme, built of triplet figures in the violins, is just as intense as the first and closes over a drawn-out dominant pedal. The tension continues through the relatively brief development section, which focuses on motives from the transition and second themes, again stressing wide dynamic contrasts. When the second theme arrives in the recapitulation it occurs on the tonic with the familiar triplet figures, but the melody is completely altered; the texture and overall sound suffice bring the passage to mind. The movement ends abruptly with no coda. Marked Andante o più tosto Allegretto, the second movement is almost entirely for strings. It features an unusual harmonic scheme, with a transition from A minor to A major over the course of the movement via excursions to C minor and C major. Haydn's lighthearted Minuet is not unusual except that, in its second strain, he reverses the traditional order of events, placing the old material first and the new second. The Trio, for strings only, is in A minor. The woodwind instruments are the stars of the Finale, a curt, sonata-form movement marked Allegro assai. Both themes are short, as is the development section, which avoids the first theme. The first theme does receive some treatment, however, in the short coda. As in the first movement, Haydn surprises the listener with sudden contrasts in dynamics and orchestration. All Music Guide (https://www.allmusic.com/composition/...) Wikipedia article (https://en.wikipedia.org/wiki/Symphon...) Haydn107 (https://www.joseph-haydn.art/en/sinfo...) International Music Score Library Project (IMSLP) (https://imslp.org/wiki/Symphony_No.59...)