We’re into something interesting now.

The first symphony on Haydn CD 25 is Symphony No. 82 in C “L’ours” (The Bear). It is the first of six symphonies often referred to as “The Paris Symphonies.” It was composed in 1786. Haydn was 54.

Symphony No. 83 in G Minor “La Poule” (The Hen) was composed in 1785. Haydn was 53.

Symphony No. 84 in E Flat, also composed in 1786, is sometimes referred to by the subtitle In Nomine Domini (in the name of the Lord).

Because these symphonies are part of something bigger — somewhat like a story arc in a TV series — I won’t comment on each one at length. One, however, stands out to me.

From the Wiki entry for Symphony No. 84:

Like the other Paris symphonies, Symphony no. 84 was written for the largest orchestral ensemble that Haydn had written for up until that time, including reinforced woodwind parts and a large string section. Unlike the other Paris symphonies (save No. 87), in No. 84 greater “prominence [is] given to woodwind instruments.”Despite its number, the symphony was actually one of the last of the six Paris symphonies to be composed. It was completed in 1786.

I can most definitely hear “the largest orchestral ensemble” in these symphonies. They are big, textured, and complex — not complex in the way a song from prog-rock legends Yes circa The Yes Album is complex. Or Genesis circa Lamb Lies Down on Broadway. (That’s not complex. Let’s face it; that’s obtuse.) Or Dream Theater circa Six Degrees of Inner Turbulence is complex.

When I write complex, I mean multi-layered, not exhibiting a single theme, not written for just a couple of instruments.

Movement I (“Vivace assai”) of Symphony No. 82, for example. It’s big. Right out of the chute. Lots of instruments. Lots of depth. Full-orchestra sound.

Incidentally, if I had to choose one of these symphonies as my favorite, I’d pick Symphony No. 82. It is deliciously lively. The first Movement and the last Movement (“Finale: Vivace”) are exceptional. From its entry on Wiki:

The symphony has long been popularly referred to as “the Bear”. As with the nicknames of all Haydn’s symphonies, it did not originate with the composer. Instead, the name derives from a recurring feature from the last movement (including its famous opening), in which Haydn intimates the tonality of a bagpipes or Dudelsack: a low sustained drone,  accentuated by a grace-note on the downbeat. This curious tonality prompted an 1829 piano arrangement of the symphony to be entitled “Danse de l’Ours,” the earliest known printed appearance of the nickname.This is a reference to the music used to accompany dancing bears — a popular form of street entertainment.

Today’s CD was wonderfully entertaining.