Haydn - Symphony No. 52 in C Minor Hob. I/52

Within the symphonic output of the prolific Josef Haydn there are symphonies of his middle period that fall under the label of Sturm und Drang, (storm and stress). These are dramatic works, reflecting the same dramatic elements that were found in contemporary German literature. Examples of these dramatic symphonies are Number 44 (Trauer) and Number 49 (La Passione)  and perhaps the most dramatic of all, number 52 in C minor.

The symphony is scored for two oboes, one bassoon, two horns, strings and continuo. It is in four movements:

I. Allegro assai con brio -  Haydn begins the first movement straight away with a theme full of energy and biting accents. The second theme is in a major key and is in great contrast to the first. This initial contrast sets the pace for a movement that is full of tension and mood swings.

II. Andante - A stately, easy dance-like theme is interrupted periodically by darker moments, in keeping with the overall tension of the symphony.

III. Menuetto e trio - Allegretto -  Haydn transforms the courtly dance by using accents and mild dissonance into a subdued stomp. The underlying tension is broken temporarily by the bright trio, but the stomp has the final word.

IV. Finale - Presto - Haydn maintains tension by continuing the strong accents and tones in the minor key. The strings chatter away, and the symphony ends in the minor.

Haydn - Symphony No. 103 'Drum Roll'

Joseph Haydn began his career as a composer just as the Baroque era of music was winding down. He was one of the composers of the time that was exploring different techniques and sounds for musical expression. In his years as a composer there was a steady increase in complexity and richness in his music. His two trips to London, England enriched his technique even further. The set of twelve symphonies he wrote for his London visits are the culmination of his symphonic style. Indeed, Haydn wrote no more symphonies after his 104th, the last in the London series. Maybe Haydn himself realized that he had reached as far as he could go in the form.

But the London symphonies are not merely more difficult and rich. They are surely that, but they are also more  accessible to the listener. Haydn not only could compose learned and valid 'classical' music, but music that  was popular. The Symphony 103 is a good example.

The symphony earns its nickname from the drum roll for timpani that opens the introduction to the first movement.  It is slow and solemn,  and after a few bars leads into the first theme which is the opposite of the introduction as the tempo quickens and the mood lightens. The music of the introduction appears once again near the end of the movement and is whisked off by the first theme and horns.  The second movement is in variation form. There are two contrasting themes, the first in C minor, the second in C major, so this is actually a double variation. Each tune is heard in succession in variations.  The third movement is a Minuet with a heavy accent on the first beat which gives it more of an impression of a peasant dance than a refined, courtly dance. The last movement begins with a call from the horns, a pause, and the music proper begins. The horn call motif is heard throughout the movement, and it comes to a close.

Haydn - Symphony No. 92 ' Oxford '

Symphony 92 by Joseph Haydn is known by the subtitle of 'Oxford' because Haydn conducted the symphony when he was given an honorary doctorate from Oxford University in 1791.  But Haydn had no time to complete the symphony he meant to play at the ceremony, so he played another which was originally written in 1789 and performed for a Paris concert.  Haydn was 58 years old and this was his first trip outside the Austrian Empire.

Haydn wrote 106 symphonies, his first in 1759 and the last in 1795.  His last 12 were written for two visits to London that Haydn made. His first trip in 1791-1792 saw the English greeting him enthusiastically and Haydn wrote six symphonies and other music that was very popular. By the time he left London in 1792 he was even more famous than when he had arrived.  This prompted him to make another trip to England in 1794-1795, write six more very popular symphonies to even greater acclaim.

In London Haydn had the opportunity to work with and write for a large orchestra. He was used to writing for the small chamber orchestra of his patron the Esterhazy family.  Haydn took full advantage of the opportunity and wrote arguably his most forward-looking symphonies for his London visits.

Symphony 92 was a precursor of the London Symphonies (numbers 93-104). It was also an extension of his expanding of the form that was seen with the six Paris Symphonies (numbers 82-87).  From its slow introduction that leads to the jaunty tunes of the first movement to the giddy last movement, Symphony 92 shows the expertise of a master of the orchestra.

Joseph Haydn - Symphony No. 49 'La Passione'

Joseph Haydn ( 1732 - 1809 ) was a innovator in musical form of his time. He helped to codify the forms of the symphony and string quartet especially.  The forerunner of the symphony was the Opera Sinfonia also known as Italian Overture. These works were in three sections with the temp scheme of fast-slow-fast. Many symphonies of the 18th century followed this scheme. C.P.E. Bach and Johann Christian Bach composed their symphonies in this form as did Mozart and Haydn in their earlier symphonies.

Mozart and Haydn both added a fourth movement to their symphonies, another fast movement, thus making the scheme fast-slow-fast-fast.  La Passione (The Passion) symphony of Haydn however, does not follow this pattern but follows the older form of the Sonata da chiesa or Church sonata that had the tempo scheme of slow-fast-slow-fast. It was the last time Haydn used this form for any of his symphonies.

The symphony was written in 1768 during Haydn's Sturm und Drang  (Storm and Stress) period.  All the movements are in F minor except for the Trio of the Menuett (3rd movement) which is in F Major. The symphony is in four movements:

1. Adagio
2. Allegro di molto
3. Menuet & Trio
4. Presto

Haydn's Symphony No. 49 'La Passione' :