Joseph Haydn (1732-1809)
Symphony No.85 in B Flat Major "La
Reine"
Symphony No.92 in G Major
"Oxford"
Symphony No.103 in E Flat Major "Drum
Roll"
Joseph Haydn was as prolific as any
eighteenth century composer, his fecundity a matter, in good part, of the
nature of his employment and the length of his life. Born in 1732 in the
village of Rohrau, near the modern Slovak capital of Bratislava, the son of a
wheelwright, he was recruited to the choir of St. Stephen's Cathedral in Vienna
at the age of eight, later making a living as best he could as a musician in
the capital and winning useful acquaintances through his association with the
Court Poet Metastasio and the composer Nicola Porpora.
In 1759, after some eight years of
teaching and free-lance performance, whether as violinist or keyboard-player,
Haydn found greater security in a position in the household of Count Morzin as
director of music, wintering in Vienna and spending the summer on the Count's
estate in Bohemia, where a small instrumental ensemble was available. In 1760
Haydn married1he eldest daughter of a wig-maker, a match that was to bring him
no children and no great solace, and by the following year he had entered the
service of Prince Paul Anton Esterházy, as deputy to the old Kapellmeister
Gregor Werner, who had much fault to find with his young colleague. In 1762
Prince Paul Anton died and was succeeded by his brother Prince Nikolaus, who
concerned himself with the building of the great palace of Esterháza. In 1766
Wernerdied and Haydn assumed the full duties of Kapellmeister, spending the
larger part of the year at Esterháza, relatively isolated on the Hungarian
plains, and part of the winter at Eisenstadt, where his first years in the
service of the family had passed.
Haydn's responsibilities at Esterháza were
manifold. As Kapellmeister he was in full charge of the musicians employed by
the Prince, writing music of all kinds, and directing performances, both
instrumental and operatic. This busy if isolated career came to an end with the
death of Prince Nikolaus in 1790. From then onwards Haydn had greater freedom,
while continuing to enjoy the title and emoluments of his position as
Kapellmeister to the Prince's successors.
Release from his immediate
responsibilities allowed Haydn in 1791 to accept an invitation to visit London,
where he provided music for concerts organised by Johann Peter Salomon. His
very considerable success led to a second visit in 1794. The following year, at
the request of the new Prince Esterházy, who had succeeded his elder brother in
1794, he resumed some of his earlier duties as Kapellmeister, now in Eisenstadt
and in Vienna, where he took up his own residence until his death in 1809.
Haydn may have been isolated for much of
his life from the major musical centres of Europe, although there were always
occasional visits to Vienna. His reputation, however, was international and by
the time of the commissioned symphonies for Paris, Nos. 82 to 87, he was
already very well known there. The six new symphonies were written in 1785 and
1786 for a young French nobleman, the Comte d'Ogny, for the Concert de la Loge
olympique, for which there was a much larger orchestra than the two dozen
musicians who served Haydn at Esterháza. The orchestra for the Loge olympique concerts
included forty violinists and ten double basses. The symphonies were performed
in 1787, when Queen Marie Antoinette expressed her preference for the Symphony
in B flat major, thereafter known as La Reine.
The symphony opens with all the
instruments playing in unison, according to established French custom, with a
dotted rhythm that recalls the French overture. This introduction is followed
by a Vivace started by the strings, the bass descending in accompaniment to an
initial held note, taken over by the oboe in the abbreviated second subject.
The slow movement is a set of variations on a French folk-song, La gentille
et jeune Lisette, followed by a French-style Minuet, with the opening of
its Trio entrusted at first to violin and bassoon, later taken up in turn by
oboes and flute. The bassoon doubles the violins in the announcement of the
main theme, which dominates the final sonata-rondo movement.
During his first visit to England Haydn
was given the degree of doctor of music by the University of Oxford, an honour
that Dr. Burney induced him to accept. The ceremony took place in July 1791 in
Sir Christopher Wren's Sheldonian Theatre. Symphony No.92, later to be
known as the Oxford Symphony, was played at the second of the concerts
arranged, since the score had not been available for earlier rehearsal. The
first half of the programme included excerpts from Handel and a song composed
by Mozart's friend Stephen Storace and sung by his sister, Nancy, Mozart's
first Susanna in Vienna. Franz Clement, who was later to give the first
performance of Beethoven's violin concerto in Vienna, played a solo, and
Michael Kelly, another of Mozart's Figaro cast, sang an Italian aria, and so
the concert continued with a medley of items, interspersed at regular intervals
by compositions by Handel.
The Oxford Symphony had been written in
1789, with the Esterháza orchestra in mind rather than the Paris forces of
Comte d'Ogny, to whom it is dedicated, or, indeed, those under Cramer at the
Oxford performance. The symphony opens with a slow introduction, played at
first only by the strings, who also open the ensuing Allegro with a theme
derived from the first section. The slow movement unusually includes in its
scoring the trumpets and drums and in its concluding section a passage for wind
instruments. The Minuet and Trio that constitute the third movement are
followed by a characteristic final movement, its main theme announced by the
first violin over a repeated cello obligato octave. The symphony marks the end
of a period in Haydn's career as a composer, his last symphony for Esterháza
and at the same time his last symphony for the ancien regime in Paris.
Haydn wrote the Symphony No.103,
the so-called Drum-Roll, in 1795 during the course of his second visit
to London. Here he could include clarinets in the scoring, as well as a second
flute, instruments not available to him at Esterháza. The symphony was first
performed at the King's Theatre on 2nd March at an Opera Concert, part of a
series that had replaced the earlier London concerts organised by Salomon.
According to custom the symphony opened the second half of the evening in a
remarkably mixed programme. The slow introduction of the first movement starts
with a drum-roll, followed by a long-drawn theme from cellos, double basses and
bassoons, hinting at the Dies irae of the Requiem Mass, its final
dynamic contrasts leading to a lively Allegro, towards the close of which the
drum-roll and mysterious Adagio re-appear. The second movement is a set of
double variations, its first C minor theme announced by the strings, joined by
oboes, bassoons and horns for the second theme, in C major, both of which are
apparently of Balkan folk provenance and are then varied in turn with all the
subtlety of which Haydn was a master. The Minuet has a companion Trio that
allows the London clarinettists a dangerous prominence. French horns introduce
the Finale, remarkably based on one theme and as original as anything Haydn
wrote.
Capella Istropolitana
The Capella Istropolitana was founded in
1983 by members of the Slovak Philharmonic Orchestra, at first as a chamber
orchestra and then as an orchestra large enough to tackle the standard
classical repertoire. Based in Bratislava, its name drawn from the ancient name
still preserved in the Academia Istropolitana, the orchestra works in the
recording studio and undertakes frequent tours throughout Europe. Recordings by
the orchestra on the Naxos label include The Best of Baroque Music, Bach's
Brandenburg Concertos, fifteen each of Mozart's and Haydn's symphonies as well
as works by Handel, Vivaldi and Telemann.
Barry Wordsworth
Barry Wordsworth's career has been
dominated by his work for the Royal Ballet which started when he played the
solo part in Frank Martin's Harpsichord Concerto, a score used by Sir Kenneth
MacMillan for his ballet, Las Hermanas. In 1973 he became Assistant Conductor
of the Royal Ballet's Touring Orchestra and in 1974 Principal Conductor of
Sadlers Wells Royal Ballet.
In 1987 while retaining his connection
with both Royal Ballet companies as guest conductor, Barry Wordsworth also
worked with the Royal Liverpool Philharmonic Orchestra, the Royal Philharmonic,
the Philharmonia, the Ulster Orchestra, the BBC Concert and the London
Philharmonic Orchestra. For the Naxos label Wordsworth has recorded a number of
Mozart and Haydn symphonies, works by Smetana and Dvorak and for the Marco Polo
label works by Bax.