The Boston Symphony Orchestra’s recent program offered a perfect blend of classical gems, a testament to carefully curated programming. While the orchestra didn’t consult the writer for the lineup, it couldn’t have been more tailored to their preferences.
In a niche online community of Haydn enthusiasts (or “Haydnistas”), the inclusion of two Haydn symphonies is a rare and thrilling occurrence. This particular concert also marked the Boston Symphony’s debut performance of Haydn’s Symphony No. 48, “Maria Theresia.” The program notes pointed out that it’s unclear when the first U.S. performance of the symphony took place—this fact is not unique to this particular symphony.
Contrary to popular belief, the symphony’s nickname doesn’t quite reflect its true origin. Initially, it was thought that Haydn composed Symphony No. 48 for a 1773 visit by the Holy Roman Empress Maria Theresa. However, scholars have since discovered that the symphony was actually composed in 1769, making it unlikely that it was written for the Imperial visit. Despite this, the symphony’s name has stuck.
The Symphony No. 48 opens with a majestic horn fanfare, reflecting Haydn’s appreciation for fine horn players. Under the capable leadership of guest conductor Alan Gilbert, the orchestra performed the piece with a sensitivity and grace typical of chamber music, making it a delight for the ear.
Following this, Stravinsky’s Violin Concerto offered a stark contrast. The concerto’s opening triple-stop—a phrase that Samuel Dushkin, the violinist and composer’s close consultant, mistakenly claimed was impossible to play—was far removed from the grandiose, romantic violin concertos of the time. Stravinsky, having studied a range of concertos, deliberately avoided the lush, sweeping style typical of the genre.
The concerto’s structure and writing for the violin set it apart from traditional violin concertos, offering instead a chamber-like experience. The four movements of Stravinsky’s concerto—“Toccata,” “Arias I & II,” and “Capriccio”—evoke a Baroque influence, making it a perfect pairing with the Haydn symphony.
Violinist Isabelle Faust delivered an expressive and energetic performance, particularly in the outer movements, which occasionally evoked the spirit of Stravinsky’s earlier L’histoire du soldat. She excelled in the “Arias,” a section filled with tenderness and moments of dryness and even sharpness, characteristic of Stravinsky’s style. The “Capriccio” provided an opportunity for playful rhythmical experimentation, with a particularly fun passage for the trombones and a quirky tuba part.
One memorable moment in the concerto was the duet between Faust and First Associate Concertmaster Alexander Velinzon. The joy of their performance was palpable, reminding the audience of the pure joy of making music together. The audience responded with enthusiasm, bringing Faust back to the stage twice. She honored the tribute with an exquisite performance of a lesser-known piece, the Fantasia from Ayres for the Violin, Book 2 by Nicola Matteis the Elder.
After intermission, Gilbert and the orchestra returned to Haydn with Symphony No. 99 in E♭. Composed in 1793, Haydn’s 99th Symphony is his first to feature clarinets and marked the beginning of his second set of “London” symphonies. The Boston Symphony Orchestra first performed this piece in 1886 under Wilhelm Gericke.
The second theme of the first movement, Vivace, has an endearing charm, which the Haydnistas humorously liken to a cat rubbing against one’s trousers. For those who haven’t yet come up with a formal method to assign new nicknames to Haydn symphonies, this one would surely deserve the title “The Cat.”
In this symphony, Haydn’s brilliance shines through, and the Boston Symphony, under Alan Gilbert’s guidance, collaborated with precision and flair. If the orchestra invites Gilbert back for another performance with Haydn on the program, the writer would certainly be in attendance.
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