France Itinéraire Baroque 2023 III – Les Symphonies Parisiennes: Amsterdam Baroque Orchestra / Ton Koopman (conductor/organ). Eglise Abbatiale de Cercles, France, 3.8.2023. (CC)
Haydn – Symphonies: No.83 in G, ‘The Hen’; No. 85 in B flat, ‘The Queen’; No.2 in C, ‘The Bear’; Concerto in C, Hob.XVIII:1
The closing concert of this year’s Itinéraire Baroque was an all-Haydn affair, performed, as is by now traditional by Ton Koopman’s own ensemble, the Amsterdam Baroque Orchestra. Three symphonies; with the added luxury of a keyboard concerto, performed on the organ by Koopman himself.
The three ‘Paris’ symphonies received performances of the very highest calibre. The first movement of the Symphony No.83 in G minor (the so-called ‘The Hen’) was positively visceral in effect, its opening full of fire, textures vital, live, raw – and supremely together. Clucking good, one might say. Talking of which, the ‘hen’ aspect was beautifully done, raising a smile as surely Haydn intended. Exposition repeats duly observed, there were several aspects of this performance that ran through the entire concert: an X-ray approach to detail, always lovingly delivered, a core of energy (and humour) and – vitally, but usually not so – tutti rests counted to perfection. Hearing the string lines of the Andante so together, linking woodwind descents so perfectly judged, was indeed a privilege. Molto grazioso seemed to be the intent, and yet the movement contained great dynamic contrasts. How rustic the Menuetto, how beautifully the flute and violins were together in the Trio. Perhaps a touch of faulty ensemble was present in the Vivace finale – but it was just a touch; and Koopman’s understanding of Haydn’s fragmentation techniques was complete.
Drama was another aspect of Koopman’s Haydn – a core trait of the Symphony No.85, billed here as ‘La Reine’. Koopman plunged us into the deepest minore; the bassoon’s reedy timbre seemed a vital component for Haydn’s scoring. And as for the ghostly, disjointed dance late in the first movement, we suddenly heard Haydn in all his modernity. Everything seemed newly minted. At one point, violas, cellos and double basses moving in parallel almost created the sound of a new instrument. The second movement is a Romance, here gentle and gallant, decorated supremely by the flute, a fine contrast to the rapid Menuetto, with the Concerto Amsterdam relishing the off-beats. A small ensemble problem at the onset of the Trio was no matter; the finale, a true Presto, carried us all with it.
It was the concerto that was the draw for this commentator. How often does one hear Haydn concertos? There are two for horn, there are those for violin and for keyboard. And here was the C major Organ Concerto of 1756, Hob.XVIII:1, played on the small organ used for the Itinéraire’s opening concert. Nice to see Koopman joining in the exposition (he made it sounds as if he was improvising). Along with some works by Handel, this has to be some of the happiest of organ music, the organ’s sound gilding the violins with gold. To be fair, there is some padding in this first movement, and Koopman did his best to provide interest during those stretches. The central Largo is almost operatic in scope; interestingly, Koopman delivered the vocal-like melody with a touch of severity, then delivered a mesmeric cadenza. The finale, though, boasted a bright-eyed statement of the outgoing main theme from the orchestra, with Koopman’s riposte just as energetic. At nearly 80, Koopman exudes indefatigable energy.
He certainly had enough energy left to deliver a remarkable Symphony No.82, ‘The Bear’. If there is one quibble, a little more definition from the timpani would not have gone amiss; but there was no doubt the fire from the first half was well and truly back. Detail was again paramount in the Allegretto second movement (excellent, robust fast second violins for example) while the Menuet boasted a Trio blessed with the finest bassoon playing (Bernat Gilli).
The finale begins with a fabulous drone over which woodwind pipe. Hilariously, Haydn had the last laugh in his false ending to the finale – applause echoed out as the players continued on. So, as an encore, Koopman played the movement again (no pre-emptive clapping this time!).
A joyous concert, and the finest ending to the festival imaginable.
Colin Clarke