Symphony No. 7 in C Major, "Le midi"
for 2 flutes, 2 oboes, bassoon, 2 horns, solo violin I, violins I, solo violin II, violins II, viola, cello obbligato, double bass solo, basso continuo (cellos, bass, bassoon, harpsichord)
Adagio - Allegro
Recitativo - Adagio
Menuetto
Finale: Allegro
Program Notes by Martin Pearlman
Haydn's brilliant symphony Le midi is the second of a trilogy of symphonies titled "Morning," "Midday" and "Evening." He composed all three in 1761, when he was 29 years old and newly established at the court of the Esterházy family, where he would work for most of his career. It is said that Prince Paul Anton himself suggested the idea of depicting the times of day. If so, he may well have been inspired by Vivaldi's Four Seasons, which was in the Esterházy library. The performance must have been a triumph for the young composer, and Haydn seems to have had a particular affection for this work. It was one of the few youthful works for which he kept his own copy of the score throughout his life.
This youthful symphony for "Midday" incorporates elements of the Baroque concerto grosso in contrasting a small group of soloists -- two solo violins, cello and, in the last movement, also a flute -- against the full orchestra. That in itself is unusual for a symphony, but even more so are some of Haydn's experiments with the form, including a recitative for solo violin that opens the slow movement and a lengthy cadenza for violin and cello soloists.
Boston Baroque Performances
Symphony No. 7 in C Major, "Le midi"
November 1, 1997
NEC’s Jordan Hall, Boston, MA
Martin Pearlman, conductor
Soloists:
Daniel Stepner, violin
Julie Leven, violin
Karen Kaderavek, cello
Christopher Krueger, flute
April 20, 1979
NEC’s Jordan Hall, Boston, MA
Martin Pearlman, conductor
Soloists:
Daniel Stepner, violin
Anthony Martin, violin
Ruth Rubinow, cello
Nancy Joyce, flute