Day 24: In Narnia

HaydnCD24When I arrived at the Panera near my office this morning, I had to park so far from the back door that it reminded me of the scene from C.S. Lewis’ classic book The Lion, the Witch and the Wardrobe.

Lucy felt a little frightened, but she felt very inquisitive and excited as well. She looked back over her shoulder and there, between the dark tree-trunks, she could still see the open doorway of the wardrobe and even catch a glimpse of the empty room from which she had set out. (She had, of course, left the door open, for she knew that it is a very silly thing to shut oneself into a wardrobe.) It seemed to be still daylight there. “I can always get back if anything goes wrong,” thought Lucy.

NarniaDoor2Lewis, C. S. (2008-10-29). The Lion, the Witch and the Wardrobe: The Chronicles of Narnia (Kindle Locations 95-98). HarperCollins. Kindle Edition.

All I could see was the dot of the door, beckoning to me.

It’s a good thing it wasn’t the dead of winter,  otherwise the scene from Narnia would have been complete.

Only without Mr. Tumnus to guide me through the woods.

Symphony No. 79 in F, composed in 1784, is the first of another trio of symphonies that includes Symphony No. 80 in D Minor and Symphony No. 81 in G. Haydn was 52.

The first of the trio opens with a bold Allegro con spirito that truly lives up to its name. It is very much con spirito, quite lively, rather multi-faceted and layered. It’s the kind of symphony that, if I was a conductor, I’d surely enjoy conducting. I can just see all the arm gestures, the mane of hair flying, the sweat dripping from furrowed brow.

There’s a bit of lightness, a comical element, to Movement I of Symphony No. 79. It sounds like incidental music in a 1940s or 1950s Cary Grant movie.

According to its entry on Wiki:

The 79th Symphony is characterized by a strong and joyful opening theme as well as varied rhythms throughout all four movements, especially in the minuet. The wind section alternated throughout the symphony either doubling the string section, enriching the tempo and solos void of virtuosity. Of note are long rests which were uncommon in early classical symphonies.

I can hear that.

Movement III (“Menuetto & Trio: Allegretto”) is delightfully vibrant. And Movement IV (“Vivace”) brings Symphony No. 79 to a rousing end, with the strings shining particularly brightly throughout.

I think Symphony No. 79 in F may be another in my category of my Favorite Haydn Symphonies.

Symphony No. 80 in D Minor (remember: Nigel Tufnel calls D Minor the “saddest of all keys…people weep instantly when they hear it” in the legendary movie This is Spinal Tap), was so-so.

Perhaps I’m being too harsh about this symphony. But compared to the previous one (Symphony No. 79) it wasn’t particularly compelling to my (admittedly untrained) ears. I usually dig the “Menuetto & Trio” of Movement III, but not this time. And the Presto of the fourth and final Movement didn’t even stir my blood this time.

Symphony No. 81 in G opens with a Vivace Movement I and is immediately
captivating. I like it. Lots of lively violin passages. Movement II (“Andante”) features one of the sounds I really enjoy when I encounter it: violins played Pizzicato (plucked rather than bowed).

I just realized that there seem to be fewer horn or oboe and bassoon solos in Haydn’s later symphonies. Maybe I haven’t been paying enough attention. But Haydn’s symphonies in his later years seem more dominated by strings. Even the timpani seem less frequently used.

I wonder if this is true, or if I’m merely imagining it. Hmm. I’ll have to ponder this, pay very close attention to the next few symphonies.

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