Franz Joseph Haydn (1732–1809)
Symphony No. 104 in D major, “London” (1795)
Haydn became known as the father of the symphony and the string quartet, although he invented neither of them.
Born in Rohrau, Austria, in 1732, Franz Joseph Haydn’s father was a wheelwright and his mother a cook. Musically gifted early on, Haydn learned to play violin and keyboard. He had such a beautiful singing voice that at age 5 he entered the Choir School of St. Stephen’s Cathedral in Vienna.
The choirmaster thought Haydn should be castrated to ensure his talent. His father disagreed and Haydn’s ethereal voice broke at age 16. The Habsburg Empress groused: “That boy doesn’t sing, he crows!” Haydn, a bit of a rascal, hacked off the pigtail of one his fellow choirboys and received a public caning. He remained full of mischief and humor throughout his life, as did his music.
After a period of freelancing his music, in 1761 Haydn found a position that gave him job security, overseeing a small house orchestra owned by the wealthy, noble Esterházy family, whose patriarch, Prince Paul Anton, loved music.
Much of Haydn’s career was spent at the remote, backwoods estate, near what today is still a rural corner of Hungary. As conductor, Haydn directed all instrumental, stage, and secular vocal music, and was responsible for the staff musicians and instruments.
When Paul Anton died the next year, his brother, Nikolaus (even more passionate about music), took over the estate. Haydn’s musical output escalated and he composed about 25 symphonies, taking the genre to new heights.
Haydn wrote: “There was no one near to confuse me, so I was forced to become original.” Inspired by a form of heightened emotionalism, “Sturm and Drang” (storm and stress), his music grew more bold, varied, and unique to him. He mixed newer styles and expanded the rules of tensions, dramatic effects, dynamics, and tempo.
By the 1770s, Haydn’s reputation had spread and he was receiving commissions from abroad. When Nicholas died in 1790, his son Anton II (who had little interest in music) became the new crown prince. Haydn, now 59, found his contract terminated. He headed to London at the invitation of German violinist, impresario, and orchestra director, Johann Peter Salomon. With use of much larger orchestra, Haydn wrote 12 symphonies.
For his sophisticated London audiences, Haydn was “interested in surprising the public with something new.” His Symphony No. 94, “Surprise,” included a sudden loud chord during the slow movement that startled the audience, drawing gasps.
Haydn’s last of the 12 symphonies was Symphony No. 104 in D major, the “London.” More immense than “Surprise,” it also included moments of Haydn’s wit and earned greater critical acclaim. The work demonstrated variation and flexibility, with contrast in everything: keys, mood, dynamics, instrumental sonorities, rhythms, thematic material, and tempo. At the top of his game, his trademark became the unexpected.
“London” begins slowly, grandly, with the violins singing the melody. Two portentous D-minor episodes bookend a smaller one in F major. The dark drama transitions by storming forth with a joyous Allegro. The formula then reverses and the Adagio begins with a lilting G-major melody in the first violins which darkens stealthily as the other strings arrive. The winds change it up by playing a lament before the entire orchestra suddenly rages in minor-key.
The second movement, Andante in G Major, is only moderately slow with the main theme in the strings. Clarity and complexity balance each other out and the woodwinds sweep the listener off on a beautiful, emotional journey.
Next is a fresh take on the traditional form of the Menuetto and Trio (in D Major). Normally graceful, this minuet is straight-forward and not as refined. The jolly trio is a sophisticated version of the Ländler (a rustic dance featuring hopping and stamping), led by solo oboe and bassoon. The trio ends by returning to the dominant of the main key and the minuet. Haydn’s humor surfaces during the sudden break and pause when the entire orchestra plays a laughter-like quavering passage.
The boisterous finale, Spiritoso, in fast tempo and sonata form, has a simple Croatian folk-dance theme (from Slavonic folk tunes that Haydn heard at Esterházy), featuring a melody over a drone bass (think: bagpipes). This movement recalls Haydn’s Symphony No. 100, the “Military.”
Haydn’s “London,” which premiered on May 4, 1795 at King's Theatre in London, Haydn conducting, raised the bar on the genre.
After a brief return to Esterházy due to illness, Haydn retired in 1804 in Vienna, where on May 31, 1809, he died in his sleep. One of the most prolific and renowned composers of the Classical period, Haydn wrote 107 symphonies and ever so much more.
He became known as the father of the symphony and the string quartet, although he invented neither. But by merging new principles of musical form, he forged a new, intrepid path for western classical music.
Jayce Keane, who began her career as a journalist for The Rocky Mountain News, has been working in the orchestra industry and writing about music for 18 years. A longtime resident of California, she now lives in Colorado.
