Franz Joseph Haydn (1732-1809) Symphony No. 58 in F major, Hob. I:58 (1774) 00:00 - Allegro 06:43 - Andante 14:16 - Menuet & Trio alla zoppa 17:06 - Finale. Presto L'Estro Armonico, dir. Derek Solomons (1982) "Symphony No. 58 is a typically Austrian chamber symphony, whose delicate string writing and sophisticated (but sparing) use of the wind instruments are reflected in many products by Austrian composers of the period, such as Leopold Hofmann (Cathedral Chapel Master of St. Stephen's Cathedral in Vienna), Carl Ditters von Dittersdorf or Carlos d'Ordoñez (an official in the Lower Austrian Law Courts) -- all three composers who were well known to Haydn. The comparison also suggests that, at least in its first two movements, this Symphony is hardly different from the products of his contemporaries. As in the Quartets, Op. 9, this period shows Haydn's art in a state of flux: bursts of inspiration side by side with more ordinary, even uninspired, products. In the second movement, Haydn reverts to earlier practice and omits the wind parts entirely, thus accentuating the chamber musical atmosphere: the writing itself is also rather baroque, very often in just two parts, the harpsichord player being expected to fill in the missing harmonies. The third movement is a most original 'Menuet alla zoppa e trio' (Un poco allegretto) -- literally 'limping', which Haydn accomplishes with a dotted rhythm that is deliberately pushed into all sorts of asymmetrical patterns. The Trio is a curious contrast, rather as if a group of slightly sinister Gypsies had suddenly entered into the feast: in a moment we are moved far into the world of the Balkans. In the fast-moving Finale (Presto), we would point out one passage of great harmonic daring which occurs twice, once at bars 47ff., and again at bars 138ff., where Haydn leaps into a bold unison which is violently out of key: it is the same effect that one finds at the beginning of the development in the Finale of Mozart's Symphony in G minor, K. 550." - H. Robbins Landon Painting: Portrait of Mlle Louise Jacquet, Jean-Étienne Liotard