Written by Anna Vorhes

Born
March 31, 1732, Rohrau, Austria

Died
May 31, 1809, Vienna, Austria

Instrumentation
two oboes, two horns, strings (sometimes performed with continuo of harpsichord and bassoon as well, which we will hear)

Duration
17 minutes

Composed
Approximately 1768 

World Premiere
Not known, probably soon after composition

Something interesting to listen for:
The themes of each of the movements of this symphony are very clear.  The first and fourth movements are constructed in sonata form.  The second and third movements might be considered minuets in contrasting character, with the first one in a more serious mood than the second.  If you are someone who enjoys listening for form in large compositions this symphony is a good one to hone that skill.  The sonata form of the first and last movements involves two important themes presented to the audience.  The first theme is the first movement is in the key of they symphony, and the second theme in a related key.  In this symphony there is a rhythmic drive to the first theme, though it pauses for a few seconds before continuing as it started.  There are two possible second themes, both of which express the new key.  In the classical era the presentation of the themes, called the exposition, was repeated.  The the composer played with those themes in a section called the development, shortening or lengthening them, interweaving them, and changing the keys for short moments.  This playing with accidentals makes the theme sound not quite right but intrigues our ears.  Finally, the original themes return in the section called the recapitulation.  The energetic first theme is clearly back to announce the recapitulation.  This time the contrasting melodies are similar to their first appearance except they both appear in the key of the first theme.  Haydn in his manuscript indicated that the recapitulation be repeated as if he wanted to be sure we could hear how he resolved the conflict of keys presented in the exposition.

Program Notes

Haydn wrote this symphony in the middle period of his life, while he was actively working for the Esterhazy family.  The number assigned to it came from a later catalogue created by Hoboken and doesn't reflect its order of composition.  As far as musicologists can tell this was written in 1768.  We don't have a premiere date since Haydn's full-time job was producing compositions and directing performances for the Esterhazy court.  There is no definitive record of what was performed on specific dates.  It was an exciting, busy and fulfilling time in the life of the composer as he was able to hire the best musicians he could find and prepare and conduct what fit the court events.  From 1766-1775, Haydn was at Esterhazy where he was extremely prolific.  While many of us would find the demands of an active court and its prince somewhat constricting, Haydn himself reflected on his life to his friend Griesinger, who would become his biographer:
"My prince was content with all my works.  I received approval, I could, as head of an orchestra, make experiments, observe what created an impression, and what weakened it, thus improving, adding to, cutting away, and running risks.  I was set apart from the world, there was nobody in my vicinity to confuse and annoy me in my course, and so I had to become original."

This is the world that led to this symphony.  The numbers assigned to Haydn's symphonies are not accurately tied to the time of composition or of publication.  Many of Haydn's works were not published in his lifetime.  The symphonies were originally numbered in 1908 by Eusebius Mandyczewski according to what was known then about the order of composition.  Beginning in 1934, Anthony van Hoboken set out to catalogue all of Haydn's works, beginning with the symphonies as catalogue one.  He kept Mandyczewski's numbers even though the chronology was known to be incorrect in places.  In general, usage of Haydn's works are referred to by Hoboken's numbers, making this symphony Hob. 1/59, catalogue 1, number 59. (Hoboken finished his work ni 1978 with a third catalogue.)

The nickname this symphony bears, Fire, was not on the original score.  It grew from a theatrical production at Esterhaza of Gustav Friedrich Wilhelm Großmann's play, Die Feuersbrunst ("The Conflagration"), at the Esterházy palace in 1774.  Parts of this symphony were used as incidental music for the theatrical production.  Thinking about the artists working for Prince Nicholas, it's easy to imagine a number of ways the music and the play got attached.  Haydn was known for being pleasant to work with, and he may have chosen the selections.  The Prince may have sent the playwright to see if Haydn could help with enhancing the theater project.  The theater director could have chosen the selections.  We don't know.  What we do know is the symphony was used to produce incidental music, and the orchestra work existed sometime before without the nickname.  It's likely Mandyczewski based number 59 from the 1774 date, though the music was actually created five or more years earlier.

As mentioned earlier, Symphony No. 59 uses forms standard in Haydn's time.  The first movement is a clear sonata form.  The opening theme is energetic to the point of almost being frenetic.  The movement is not long but is very engaging.  The second movement is similar to a minuet, though Classical era second movements are usually slow and in a simple form like ABA.  This one is slower than a typical minuet and is in the key of A minor.  Until close to the end the strings are the only players involved.  as the movement comes to a close the horns and oboes present the second theme, now in A major.  The third movement, an actual minuet, stays in the key of A major.   The first few notes of the movement are the same as the notes of the second movement now in a faster tempo.  Listening closely will demonstrate Haydn's ability to use an earlier theme in new ways.  The relationship between the second and third movements is a close one.

The final movement begins with the horns and oboes and continues in an energetic fashion.  The sonata form serves the composer well.  The joyful energy of the movement satisfies listeners.