Notes on Haydn's Symphonies

NOTES ON HAYDN SYMPHONIES

Symphonic Output

The first chronological list of authentic symphonies prepared by Mandyczewski for Breitkopf & Härtel included 104 works, with Symphony No. 104 in D Major (1795) given as his last symphony. The total number of symphonies now attributed to Haydn is 108. (See the work list in New Grove.) Nos. 105-108 were written prior to 1795: of these, No. 105 is designated a Symphony Concertante; only the first movement of No. 106 is extant; and No. 107 has also been attributed to Wagenseil. Because of the rarity of Haydn’s autographs and the vast numbers of inauthentic copies and prints, the problem of false attribution, which began in the 18th century, has continued into the 20th, despite efforts of musicologists to make new lists of “doubtful” or “spurious” works, including symphonies (see Hoboken catalog and Landon appendices). Over 100 symphonies have been falsely attributed to Haydn over the years.

“Overture” or “Sinfonie”?

By 1782 and probably before, Haydn made a clear distinction between the terms. In a letter dated Oct. 20, 1782, he requested that his publisher Artaria should “use the title Overture instead of Sinfonie” for six overtures to operas soon to be published. (The publisher ignored his wishes, titling the set as “Sei Sinfonie a gran orchestre opera XXXV.”)

Haydn’s Orchestras

Esterházy court (1761-1784): In Haydn’s early years at the court of Prince Esterházy, the orchestral players numbered approximately 12. In the 1780s, the orchestra numbered approximately 25 musicians. However, the differences between personnel (as documented in payroll lists, etc.) and performing forces must be noted, taking into account a number of factors which could affect orchestral size or make-up: e.g., many orchestral musicians played two or more instruments and part-time players were often added.

Paris (1787): Six symphonies were commissioned by and performed at the Concert Spirituel by the Parisian concert organization, Les Concerts de la Loge Olympique, which featured a large orchestra--including 40 violins, 10 double basses, and paired woodwinds (according to Landon).

London (1791-92; 1794-95): Twelve symphonies were commissioned by the London impresario Salomon and performed on his concert series in the Hanover Square Rooms. According to New Grove, the orchestra of 1791-93 consisted of 16 violins, 4 violas, 4 cellos, 4 double basses, 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and keyboard (fortepiano). Six of Haydn’s 12 were scored for clarinet.

Periods of Haydn's Symphonic Writing (after Landon)

Earliest Symphonies: Landon includes nine symphonies written in the years before Haydn's Eisenstadt-Esterháza employment, all containing 3 movements: Allegro (C, 3/4), Andante (2/4), and Presto (3/8). The finale of No. 4 in D is a Tempo di Minuetto in 3/8. The andantes are often in V, IV, or I; the outer movements in I. The instrumentation is: 2 oboes, 2 horns, strings, continuo. Wind instruments are omitted from andantes. The first movements are in "rudimentary sonata form"; andantes in hybrid binary-ternary form; finales in ternary or rondo. Basic features compare to pre-Classic Viennese symphonists and their Italian predecessors. New Grove dates only No. 1 (1759) before 1760, but gives dating options for No. 20 as early as 1757. (See New Grove work list.)

Symphonies of 1761-1765:
Early years as Vice-Kapellmeister at the Esterházy court. The first symphonies, Nos. 6-8, composed for the Prince form a trilogy with the titles (considered authentic or "probably" authentic): Le Matin, Le Midi, Le Soir, suggesting a programmatic basis. Landon also includes Nos. 9 (?), 12, 13, 14, 18, 20-25, 28-31, 33, 36, 72. In many of these works, Haydn incorporates features from the concerto (division of orchestra into concertino and ripieno elements), opera or cantata (instrumental recitative), French overture (slow, dotted-rhythm introduction), etc. Nos. 6-8 are scored for flute, 2 oboes, bassoon, 2 horns, and strings, but of this group Haydn designated two solo violins, ripieno violins, solo cello and violone (contrabass); he also gives the bassoon solo passages. Nos. 6 & 7 begin with a slow intro; minuets are introduced into each of the three, and are included in most symphones from here on out. Symphonies following the trilogy include those with a typical ordering of movements (with or without minuet); Nos. 18, 21, 22, which begin with a slow movement, in a sonata da chiesa mold; and hybrid types such as No. 31 (the Hornsignal).

Symphonies of 1766-1770:
Landon includes only 9 symphonies during this period: Nos. 26, 34-35, 38, 41, 49, 58-59, and a lost symphony. (See New Grove work list to compare.) Began writing symphonies in minor keys, including No. 26 in D Minor (Lamentatione), No. 39, and No. 49. No. 34 begins with a slow movement in D Minor, followed by 3 movements in D Major. No. 26 is noteworthy for its use of church melodies. In many finales of this period, there is more variety of expression than in earlier works.

Symphonies of 1771-1774:
Haydn reaches his full maturity by 1771. During these years, he wrote Nos. 42-48, 50-52, 54, 56, 64-65, which display a great variety of form and character. Those symphonies in minor keys, Nos. 44, 45, 52, along with those from his 1766-70 period, best represent Haydn's Sturm und Drang writing. Features of first movements include unison opening themes, wide range of thematic material, double statement of main theme, adoption of the regular, 8-m. period, use of false recapitulation. He gives a new character to the slow movements, using muted violins in most and including wind instruments. General characteristics of this period include an increase in harmonic breadth (with greater use of major/minor alternations), increased dynamic range, skillful use of counterpoint, and use of syncopated patterns.

Symphonies of 1774-1784
Works include Nos. 53, 55, 57, 60-63, 66-71 (written 1774-1780) and Nos. 73-81 (c. 1780-1784). Particularly in symphonies up to 1780, Haydn moved away from Sturm und Drang style, away from fiery expression, harmonic freedom, and contrapuntal developments. Most symphonies are in major keys (7 symphonies of these years are in D Major); those few in minor end in the tonic major. Cheerful themes are more evident, and theme-and-variation form is frequently used in the slow movements. (Landon attributes changes of this period to Prince Esterházy’s objections to the style of his Sturm und Drang works.) In Symphony No. 77 in Bb Major (1782), he casts the fourth movement in a hybrid Sonata-Rondo form for the first time (the rondo technique of returning to the principal A section, plus a real development and recapitulation). Landon cites some influence of Mozart in the frequent use of chromatic passing tones in Nos. 79-81 (particularly in the slow movements).

Symphonies of 1785-1788
Haydn wrote the so-called “Paris” symphonies, Nos. 82-87 (commissioned for the Parisian concert organization, Les Concerts de la Loge Olympique); the two “Tost” symphonies, Nos. 88 and 89 (commissioned by violinist Johann Peter Tost to use as an “introduction” to Paris); and Nos. 90-92, commissioned by Comte d’Ogny, a French nobleman. Of the Paris symphonies, only three, or possibly four, were newly written after the commission. These works have been judged as ones closest to the classic ideal: in Landon’s words, “he now combines the popular style with intellectuality, technical devices with inspiration, humour with the most Mozartean spirituality.” Of the Paris symphonies, only No. 86 calls for trumpets & timpani; No. 82 gives an option between horns or trumpets, plus timpani; none are scored for clarinet.

Haydn writes a slow introduction, usually marked Largo or Adagio, in all but three (Nos. 82, 89, 95) of his last 21 symphonies. In most sonata form allegros, the principal theme is given twice, the second time reorchestrated or with an additional part; in the recapitulation, he often enhances themes with new subordinate parts. Haydn’s “second theme” is often related to the first theme or is a repetition of the first in the dominant; subsidiary themes are often related to the principal theme by melodic or rhythmic elements.

Symphonies of 1791-95
The 12 “London” (or “Salomon”) symphonies, Nos. 93-98/99-104, were written for London performances of 1791-92 and 1794-95. (See Landon’s documentary account of the first performances of these symphonies in London, Ch. 12 in Symphonies.)