Clark, Jonnathan

Musical Epigrams and Double Reward in Haydns London Symphony

Joseph Haydn is known as a sort of musical jokester and remembered as one of the most

creative composers to ever live. Examples of his wit are most often referenced in the so-called

Surprise Symphony No. 94 in G major and the Joke String Quartet Op. 33 in E-flat major. It is

precisely this reputation that captivated audiences in the major cultural cities of Europe during his

lifetime.

Before venturing to London, in 1790 Haydn had begun to capitalize on the new opportunities he

found as a freelance musician in Vienna. Haydn remained as the official Kapellmeister to the

Esterhazy but was under no obligation to remain in exclusive service to his patron. Shortly after,

the composer found himself in London under a contract to compose an opera, six symphonies,

and other miscellaneous works. In Vienna, Haydn only had to concern himself with the musical

preferences of Prince Esterhazy. In London, however, Haydn had to reach a varied and divided

public and compete with an array of other public concerts happening regularly in the vibrant

city. This meant that if his upcoming performances were to be successful, the music would have

to appeal to a broader audience. Fortunately, Haydns astuteness allowed him to create a number

of tasteful musical epigrams that turned each of the twelve London Symphonies into a brilliant

success.

Symphony No. 104 London stands as a culmination of Hayden's late style and although his

audiences changed dramatically, his was successful due to his ability to adapt to his new

environment engaging and amusing his new public.

Clark, Jonnathan

This work encompasses all the forces Haydns wit could muster. For example: The fourth

movement incorporates elements of both, sonata-allegro form, and rondo form. This astute idea

provides the perfect balance for both the knowledgable audiences and amateur aduiences to have

a rewarding experience. This double reward became integral to Hayn's late style. Rondo form is

what a general audience would expect, a simple form that depends on repetition of familiar

material. In contrast, sonata form provides the connoisseur with the engaging and stimulating

development of said material.

On a smaller scale, the thematic material consisting of a simple folk melody is masterfully

developed to achieve a double reward. What's more, Haydn adds constant accents that disturb the

natural tendency of the melody. In essence, these are purposeful syntactical errors that make

otherwise simple phrases come alive with humor.

The Finale begins as any audience member wouldve expected. The begginning material A ( P)

consists of a very memorable folk-like melody entering at mm. 2. It is possible to speculate that

the average concert goer would have expected to hear a Rondo (ABACABA). The B (S) material

arrives as expected on mm. 84 to offer great contrast. On mm. 123the A (P) material arrives

once again but this time in a completely unexpected key. The expected convention is for this

material to always return in the tonic key. Instead, the material returns in the dominant and

begins the sonata-allegro procedure of development. By mm 141. this development settles in the

key of F-sharps minor followed by the development oof the B (S)material with an extension, The

recapitulation then returns with the A (P) material in tonic and the B material in the dominant.

The A material returns one last time in the form of a coda to complete the sonata form but also

giving closure to the rondo form as the last refrain. This is the perfect example of an epigram
Clark, Jonnathan

encompassing the entire structure of the movement since it sets up expectations for both

amateurs and connoisseurs while tricking them but ultimately fulfilling and resolving both

expectations.

Bibliography

Brown, A. Peter. The first golden age of the Viennese symphony: Haydn, Mozart, Beethoven, and

Schubert. Vol. II. The Symphonic Repertoire. Bloomington, IN: Indiana University Press,

2002.

Taruskin, Richard. Music in the seventeenth and eighteenth centuries. Vol. 2. The Oxford History

of Western Music. Oxford: Oxford University Press, 2010.