I first listened to this symphony last week while waiting for a book club meeting to start (we read “No Country for Old Men”). I loaded the dishwasher, got a tea brewing, then sat down to eat a red popsicle. To refresh my memory, I listened to it again today while packing for a trip we’re about to take to Glacier National Park.

According to James Webster, Symphony No. 14 is the first of this series that seems to date to the period when Haydn was a court composer for the Hungarian Esterházy family. Up till now, they were most likely composed for Count Morzin in Bohemia.

Haydn

The first movement (‘Allegro molto’) had what I can only describe as a particularly “classical” feel. It almost feels like one of those classical pieces I’ve heard a million times before, but I’m sure it isn’t. The main refrain (this being the very first notes, repeated at 0:52, 3:13, etc) is stark and forceful and seems to stick confidently out in a way many of the recent symphonies haven’t.

The second movement (‘Andante’) was mainly characterized by little runs of notes up and down interspersed throughout the main string melodies. It’s pleasant and playful, but a bit stately and boring.

The third movement (‘Menuetto e trio - Allegretto’) caught my attention on the second listen with a minor-key oboe-led section around 1:16. But the more upbeat sections that bookend this part don’t do much for me.

The fourth movement (‘Allegro’) is a short energetic finale as has become custom. This was one among the better ones of those, if only because I especially liked the mood of the descending notes that occur at 0:51, 1:16 and elsewhere — it seems to somehow convey the sound of something ending, which is appropriate.

This was a little better than the average Haydn symphony so far, especially compared to the recent run, but it still didn’t strike me as particularly interesting.

Version listened to: Academy of Ancient Music/Christopher Hogwood, Philharmonia Hungarica & Antal Dorati
Length: 16:20
Next up: Symphony No. 15.