Pekka Kuusisto Plays Mozart
- April 2, 2016
When the principal second violinist of the Esterházy Orchestra, Johann Tost, made plans to start a music distribution enterprise in Paris, Haydn offered him two new symphonies plus a dozen string quartets to resell. Tost, alas, was a bit of a scoundrel; he tried to pass off a symphony by Adalbert Gyrowetz as a third work by Haydn, and he was later implicated in a scheme to pirate, behind the composer’s back, Haydn’s manuscripts held in the Esterházy collection.
The Symphony No. 88 exhibits grandeur and breadth to match the preceding “Paris” symphonies. As in most of Haydn’s late symphonies, a slow introduction sets the stage; here, the dotted rhythms (a short-long pattern) of the opening chords suggest the character of French overtures from an earlier era. In the Allegro body of the movement, the violins begin with a figure suggestive of hunting horns, establishing material that lends the movement an al fresco air.
The Largo second movement, constructed as a theme with variations, holds the biggest surprise of this symphony. The opening statement, featuring solo oboe and cello, establishes a chamber-music intimacy. Then, forty measures into the movement, a fortissimo entrance by the entire ensemble adds the piercing force of two trumpets and timpani, whose absence in the first movement makes this point of arrival all the more thrilling.
The Menuetto also holds back a surprise. To complement the boisterous dance music of the main section, the contrasting trio introduces a rustic, droning texture, which supports exotic melodies in unusual modes. Closing the symphony on a high note, the finale hardly ceases its bouncing eighth-note pulse, and even its minor-key episodes exude buoyant charm.
Aaron Grad ©2012