Symphony No. 58 (Haydn)

Symphony No. 58 in F major, Hoboken I/58, is a symphony by Joseph Haydn, composed probably around 1767 but certainly not after 1774, after which time the traits of this symphony were outmoded.^[1]

Symphony No. 58 was probably written by Haydn in 1767. At that time he worked as Kapellmeister for Prince Nikolaus Esterhazy. If we compare Symphony No. 58 with Symphony No. 35, also written in 1767, No. 58 has the opposite structure. Ludwig Finscher described the two works:

Symphonies No. 58 in F major and 35 in B-flat major can be considered (...) as if it were a mirror pair of works: the symphony in F major moves from a leisurely, working performance with comic contrasts of the head part to a harmless andante to a completely eccentric one with the wildest contrasts, the finale, played out in a limited space; between them is the famous "Minuet alla soppa" (...). The symphony in B-flat major goes the opposite way: from the very dramatic headpiece, already in the exposition, to the melancholic andante and the finale, in which the notes of buffa sound.^[2]

Instrumentation

The symphony is scored for two oboes, two French horns, two violins, viola, cello, double bass. Modern performers continue to debate whether a bassoon, and, most crucially, a harpsichord should be added.^[3]

Performance time

The performance takes about 20 minutes (depending in part on which of the written repeats are taken).

Movements

1. Allegro, ³
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2. Andante, ²
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3. Menuet alla zoppa - Trio. Un poco allegretto, ³
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4. Finale: Presto, ³
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The unique distinction alla zoppa on the Menuet literally means "limping" which Haydn accomplishes with a dotted rhythm pushed into all sorts of asymmetrical patterns.^[4][5] This movement was also used in Haydn's Baryton Trio in D major (Hob 11/52).

A. Peter Brown has noted how the character of the first movement is very reminiscent of a minuet, and can be regarded as an "expanded Minuet". Brown has also commented that the overall nature of the work highly resembles a suite where all four movements are dance-like in nature.^[6]

References

1. David Wyn Jones (ed.), Oxford Composer Companions: Haydn (Oxford: Oxford University Press, 2002), p. 446.
2. Ludwig Finscher: Joseph Haydn und seine Zeit. Laaber-Verlag, Laaber 2000, ISBN 3-921518-94-6, S. 184, 265, 266.
3. Beispiele: a) James Webster: On the Absence of Keyboard Continuo in Haydn's Symphonies. In: Early Music Band 18 Nr. 4, 1990, S. 599–608); b) Hartmut Haenchen: Haydn, Joseph: Haydns Orchester und die Cembalo-Frage in den frühen Sinfonien. Booklet-Text für die Einspielungen der frühen Haydn-Sinfonien., online (Abruf 26. Juni 2019), zu: H. Haenchen: Frühe Haydn-Sinfonien, Berlin Classics, 1988–1990, Kassette mit 18 Sinfonien; c) Jamie James: He'd Rather Fight Than Use Keyboard In His Haydn Series. In: New York Times, 2 October 1994 (Abruf 25. Juni 2019; with presentation of various positions by Roy Goodman, Christopher Hogwood, H. C. Robbins Landon and James Webster). Most orchestras using modern instruments currently (2019) employ no harpsichord continuo. Here are some recordings that use the harpsichord continuo: Trevor Pinnock (Sturm und Drang-Sinfonien, Archiv, 1989/90); Nikolaus Harnoncourt (Nr. 6–8, Das Alte Werk, 1990); Sigiswald Kuijken (u. a. Pariser und Londoner Sinfonien; Virgin, 1988 – 1995); Roy Goodman (z. B. Nr. 1–25, 70–78; Hyperion, 2002).
4. H. C. Robbins Landon, Haydn: Chronicle and Works, 5 vols, (Bloomington and London: Indiana University Press, 1976-) v. 2: "Haydn at Eszterhaza, 1766-1790", ^{[page needed]}.
5. John Weeks Moore, Complete Encyclopedia of Music^{[full citation needed]}
6. A. Peter Brown, The Symphonic Repertoire (Volume 2) (Bloomington and London: Indiana University Press, 2002) (ISBN 0-253-33487-X), pp. 116–17.