HAYDNS LONDON VOYAGES AND THE RESULTING LONDON SYMPHONIES

Broderick Lemke
MUSI 267: Comprehensive Musicianship III
November 30, 2015
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While he was not born in London, Haydn dominated the English musical scene in the

last decade of the 1700s. He came to London on a commission from a concert master after

his previous position ended, and during this time he created his twelve of over one hundred

symphonies. His symphonic style reached a high point during his two voyages to London,

and his music continued to evolve throughout these works. Haydns London voyage was a

competitive offer which gave him a reprieve from his working for a noble family, one that

resulted in twelve symphonies; symphonies that grew his popularity in England and brought

him to the forefront of the musical scene from 1791 through 1795.

The year 1790 brought an end to Haydns work in Vienna under the rule of Prince

Nicholas Esterhzy. He had served the prince and his princess for thirty years in Hungary,

writing many pieces for sacred purposes as well as for the princes own enjoyment. However

after the princess passed away the prince was plunged into a state of depression and only

survived her for half a year, dying in late September.1 Prince Nicholas was succeeded by his

son Anton I Esterhzy, who was concerned with political importance over musical pursuits

likes his father had been. As a result he laid off a majority of the courts musicians, and only

kept a small wind band and a small collection of church musicians. 2 The sudden decrease in

his workload was noticed by other patrons who began offering Haydn positions to work for

them.

Haydn was offered three main positions which all had benefits and drawbacks. Prince

Anton Grassalkovies, a son-in-law of his former patron. Haydn was hesitant to accept this

position because it was not as big as his former one, as well as the fact that he was hesitant

to work in a situation similar to his last patron in which he had to give up personal

freedoms.3 The second position offered to him was serving under King Ferdinand IV of

Naples. Although Haydn enjoyed traveling, and had been denied opportunities to travel in

1 H. E. Jacob. Joseph Haydn: His Art, Times, and Glory. (Westport, Connecticut:
Greenwood Press, Publishers, 1971), 166.
2 Great Composers: An Illustrated Companion to the Lives and Works of the Most
Celebrated Composers. (Secaucus, New Jersey: CHARTWELL BOOKS, INC., 1989), 73.
3 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 78-79.
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his former patrons later life,4 he now was not sure he wanted to travel to Italy for his work.

Italy was the cultural hub of opera at this time, and Haydn felt that he could not compete

with his close friend Wolfgang Amadeus Mozart in composing operas. 5 Rather, he felt that his

strength was in his instrumental compositions. The final offer came from Johann Peter

Salomon who was a German born violinist and London concert promoter. 6 He had heard

some of Haydns work earlier and when he heard of the passing of his former patron came to

offer Haydn a large commission that would bring him to London.

Salomons offer was for Haydn to travel to London to conduct twenty concerts, each

of which would include a first performance of one of Haydns own compositions. 7 The full

commission comprised for being paid 300 for a new opera, 300 for six new symphonies,

200 for the copyright of these works, 200 for his participation in the concerts, and an

additional 200 for a guaranteed benefit performance.8 This offer was enticing enough for

Haydn with the money alone, but the adventure of the traveling thrilled him even more.

Haydn knew that Londons instrumental music scene was thriving, and even though he did

not speak English, and crossing the English Channel was a risk, 9 the promise of adventure

and the personal freedom led him to accept this offer. He finished settling his affairs and set

off by sea to England with Salomon on the 15th of December 1790.10

One of the first major events for Haydn in London was receiving an honorary degree

of Doctor of Music from Oxford. Haydn was exhausted from his travels and had not yet had

the chance to put together a new instrumental work and rehearse the orchestra for the

4 H. E. Jacob. Joseph Haydn: His Art, Times, and Glory. (Westport, Connecticut:
Greenwood Press, Publishers, 1971), 165.
5 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 79.
6 Great Composers: An Illustrated Companion to the Lives and Works of the Most
Celebrated Composers. (Secaucus, New Jersey: CHARTWELL BOOKS, INC., 1989), 73.
7 Ibid.
8 Ibid.
9 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 79.
10 Great Composers: An Illustrated Companion to the Lives and Works of the Most
Celebrated Composers. (Secaucus, New Jersey: CHARTWELL BOOKS, INC., 1989), 73.
 3

occasion, so for his thesis he submitted his 92nd Symphony.11 This symphony became known

as the Oxford symphony, and is sometimes considered a thirteenth London symphony,

even though it was not part of the commission from Salomon. Haydn was often known as

being very proud of his degree from Oxford, but during the ceremony was terrified he may

be asked to speak in English, as he did not know much. To his relief, during the ceremony he

was able to bow his head silently as his cap was placed on his head. 12 He felt that his music

was a universal language that others would understand, which was showcased as he

attended the performance of his 92nd symphony that evening to great applause and

reception.13

The first of his commissioned London Symphonies is No. 93, in D major. This piece

was composed in 1791, and even though it falls in the background like some of the other

symphonies in this set, it begins showing some of Haydns exploration and techniques he

would use in later symphonies. In this symphony as well as Nos. 94, 95, 100, 101 and 102

Haydn combines both Rondo and Sonata form, two popular forms in creating symphonic

movements. In each piece he comes at the challenge of combining these two forms in

unique ways, and these combinations show his mastery of musical form in his later years. 14

In addition to this form development, this Largo movement of this symphony should be

noted as containing a spiritual exaltation15 which Haydn reused in his later Oratorio The

Creation. Haydn would often reuse ideas and themes from earlier works later in his pieces,

another great example of which is seen in his Symphony No. 102 in B-flat major, in which the

Adagio movements theme would be used later for his Piano Trio in F-sharp. 16

11 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 100.
12 H. E. Jacob. Joseph Haydn: His Art, Times, and Glory. (Westport, Connecticut:
Greenwood Press, Publishers, 1971), 194.
13 Ibid., 195.
14 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 286.
15 David Ewen, The Complete Book of Classical Music (Englewood Cliffs, New Jersey:
PRENTICE HALL, Inc., 1965), 203.
16 Ibid., 206.
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His second symphony, No. 94 in G major, from his first commission in London is

perhaps the most well-known of the set. Several of Haydns symphonies have come to be

known by nicknames that surround legends and lore around the pieces premiers and

elements of the pieces themselves. The symphony No. 94 is more commonly known as the

Surprise symphony, and is named as such after the second movement of the piece. This

theme was successful enough that like the previous themes mentioned was reused in his

Oratorio The Seasons.17 The success of this theme was partially due to Haydns use of wit

and humor in his musical works. This was not the first piece in which he experimented with

humor, but it is perhaps the most popular as it opens with a soft tune that is repeated once.

However, after the second repetition the theme is followed by a fortissimo chord played by

the entire ensemble. This piece has been rumored to have been written because Haydn

thought people fell asleep during his slow movements and he wanted to wake them from

their slumber18, however this is not true. Biographer Georg Auguest Griesinger interviewed

Haydn as asked if the symphony was intended to wake people from their slumber, to which

Haydn replied:

No, but I was interested in surprising the public with something new, and in making a
brilliant debut, so that my student Pleyel, who was at that time engaged by an
orchestra in London (in 1792) and whore concerts had opened a week before mine,
should not outdo me. The first Allegro of my symphony had already met with
countless Bravos, but the enthusiasm reached its highest peak at the Andante with
the Drum Stroke, Encore! Encore! sounded in every throat, and Pleyel himself
complimented me on my idea.19
This quote from Haydn himself explains two concepts that were keys to his time in London

while simultaneously dispelling this rumor. Haydn was concerned with exploration and

surprise in his development in these symphonies, as well as competition.

Although not mentioned until this point, Haydns journey and work with Salomon was

met with opposition by some in London. While Salomon had commissioned Haydn, many

17 Ibid., 203.
18 Ibid.
19 Lszl Somfai, The London Revision of Haydns Instrumental Style. Proceedings
of the Royal Musical Association 100, (1973-1974): 159, accessed December 6, 2015,
http://www.jstor.org/stable/766181.
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other rival musical companies in London sought to corner the market on instrumental works

and premiers. One such group was The Professional Concert, which rivaled Salomons

organization and had been around longer. In an attempt to pull attention away from Haydn

they published rumors in newspapers that the composer was beyond his prime and unable

to conduct or compose. 20
In addition to spreading this rumor The Professional Concert also

attempted to hire Ignaz Pleyel to rival Haydn. Pleyel had been a student and friend of Haydn,

and although he initially agreed to the offer, when he realized that he was being drawn into

a competition he backed out, not wanting to compete with a master and great friend. 21

Instead the two spoke with each other often and attended premiers of each others works.

The competition between other companies and Haydn still continued, but not at as great a

level as Haydn dominated the London scene with the premiers of his symphonies.

The success of his symphonies was not only due to their musical value, but also

because he was not afraid of musical exploration. In his symphony No. 99 Haydn began

experimenting with new instrumentation and added two clarinets to all of his symphonies to

follow except for No. 102.22 This development showed himself pushing his style and his

attempts at taking in the new advances happening around him. Symphony No. 99 is also

important to note as it was the first symphony that he wrote after he was commission for a

second set of six symphonies by Salomon, based on the success of the previous trip. Other

symphonies are known for their dramatic experimentation like symphony No. 103 which is

often called the Drumroll Symphony. In this piece Haydn begins with a timpani roll in the

first measure which was later repeated in this piece. 23

This was a dramatic development that

had not been used often before and much like the Surprise symphony kept the London

audience on their feet and never knowing what to expect next. He was able to take these

20 Brian Redfern. Haydn: A Biography, with a Survey of Books, Editions & Recordings.
(Hamden, Connecticut: The Shoestring Press INC., 1970), 24.
21 Ibid.
22 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 289.
23 David Ewen, The Complete Book of Classical Music (Englewood Cliffs, New Jersey:
PRENTICE HALL, Inc., 1965), 206.
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risks due to his popularity in London and was set up for success in a way that he was almost

too famous to fail.24

Some of his experimentation was not as humorous, but was still unexpected. In

symphony No. 98 he began with an introduction in Bb minor, which anticipated the main

subject in the following allegro in Bb major. This practice was adopted afterwards by many

composers in the romantic era.25 This symphony was also various serious and had a hymn-

like structure that was unusual for Haydns style of the time, although after the first two

movements it moved back to his typically fun-loving style.26 His Symphony No. 100 also

used a flute and two oboes in the opening trio, which was unusual as he normally scored

high winds to play independently.27

Despite this constant evolution and quality of surprise Haydn still managed to be a

composer of habit. His Symphony No. 95 presented a departure to previous styles with its

slow introduction, contrary to most of his works of the time. 28 This symphony moves on

however in the Andante to use a variation style that is comparable to the Surprise

movement of Symphony No. 94.29 This symphony shows a tremendous blending of

innovation as well as tested and true techniques of the past. This continues on in the

Symphony No. 97 in the Minuet movement. Instead of writing out each section once he

wrote out the repeats and added in small variations.30 This allowed him to use an old musical

form while keeping it fresh and varied.

His symphonies gained massive popularity in London thanks to his mastery of

musical forms, and the nicknames they received were part of this popularity. Some

24 Lszl Somfai, The London Revision of Haydns Instrumental Style. Proceedings

of the Royal Musical Association 100, (1973-1974): 159, accessed December 6, 2015,
http://www.jstor.org/stable/766181.
25 Karl Geiringer, Haydn: A Creative Life in Music (New York, New York: W.W. Norton &
Company, Inc., 1946), 289.
26 Ibid.
27 Ibid.
28 Ibid., 287.
29 Ibid.
30 Ibid., 288.
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symphonies are given names based on their instrumentation such as symphony No. 100 the

Military symphony that used instruments commonly called for in 18 th century military

music.31 Others gained their popularity through their musical content such as symphony No.

101 the Clock symphony which is named after the steady pulse in the second movement

that reminds the listener of a ticking clock. 32 As there were myths and rumors surrounding

his visits and intentions, it is no surprise that the nickname of one of his symphonies from

his London visits is shrouded in confusion. Symphony No. 96 is commonly referred to as the

Miracle symphony as it is rumored that Haydns music caused the audience to rush to the

orchestra in applause, and while they were out of their seats a chandelier fell and landed

where they had been sitting. It was seen as a miracle that his music had been so good as to

save them, and although it seems like it may not be grounded in truth, this event actually

did happen, however, not after Symphony No. 96. It was at the premier of symphony No.

102 which played host to this event, however the reason Symphony No. 96 adopted the

nickname is thought to be because it followed Symphony No. 102 on the program that

evening and the event was misappropriated to happening during that piece instead. 33

His final symphony during his London visit, and the end of his symphonies was No.

104, which came to be known as the London Symphony. It is not well known why this

symphony out of the twelve commissioned for these two trips came to take on this name.

However, it is interesting to note some possible influences on Haydn from his stay in

England which can be shown in this symphony. Haydn often quoted and paraphrased

musical themes such as the second movement of Symphony No. 103 in which he quotes the

Croatian song Na Travniko.34 The fourth movement of No. 104 quoted another Croatian

folksong Oj Jelena, but also resembles the street cries in London of pastry makers selling

31 David Ewen, The Complete Book of Classical Music (Englewood Cliffs, New Jersey:
PRENTICE HALL, Inc., 1965), 205.
32 Ibid.
33 Ibid., 204.
34 Piet Kee, Haydns Last Symphony: Input from London? The Musical Times 147,
(Winter, 2006): 57, accessed December 6, 2015, http://doi.org/10.2307/25434422
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Hot cross buns.35 The bigger English influence comes in the first movements main theme.

Not on the first phrase, but also the second quote the tune Rocking-ham from Edward

Millers work The Psalms of David.36 This was a sacred work that Haydn most likely heard in

English churches, and by including it he was adding a bit of a London accent to his final

symphony.

The flair with which Haydns humor, intellect and musicality were received in London

is a contributing factor to the musics success. The ability to hear the premiers of pieces was

not limited to the wealthy as the price to attend was only ten shillings, which was around the

price of a turkey.37 This audience expected to be entertained which can be expected of most

audiences and was part of the reason for the humorous explorations in Haydns symphonies.

On the other hand, art, theater and written works of the time were exploring taste and

morality in England and creators of art were expected to form themes of these deeper

messages in music.38 Audiences could easily see the connections between moral values and

operas and oratorios, but many discounted the idea of instrumental works being able to

explore these concepts. Haydn, however, likely saw that his symphonies could serve a

similar purpose, and set out to constantly evolve his writing. He realized which works were

the best received and abandoned approaches that didnt create his desired effect. 39 His

works evolved so deeply that the public began to appreciate the way he brought the subject

of morality into his music, and this lead to him being called the Shakespeare of music. 40 To

us this may sound like a complement that just called him the master of a genre, but many of

the prominent writers on morality including Holcroft and Samuel Johnson believed

Shakespeares play having questions of morality present in all of his plays. This complement

shows the value of the London audience during the enlightenment in which they placed a

35 Ibid., 61.
36 Ibid., 58-60.
37 David P. Schroeder, Audience Reception and Haydns London Symphonies,
International Review of the Aesthetics and Sociology of Music 14, no. 1 (Jun., 1985): 58,
accessed December 6, 2015, http://doi.org/10.2307/836462
38 Ibid., 59.
39 Ibid.
40 Ibid.
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high precedence on morality, and the true level of respect and appreciation they held for

Haydns instrumental works.41

Haydns London journeys were brought to an end when he was written by the new

Prince Esterhzy to return back as his Kapellmeister. Haydn was given a year to finish his

contract with Salomon before returning to his previous home. Upon returning home he

served in the Princes court, writing for a rehired small orchestra and composing mainly

church music for the rest of his life.42 This return brought a close to his symphonic

instrumental writing which brought him popularity and great praise through one of his final

musical stages. Haydns twelve London symphonies and his compositional style developed

immensely because of the trips, and his music would not have evolved the same way if not

for these travels. These pieces brought a great conclusion to Haydns London writings and

changed the way we view the composer, and leave us with a few, sometimes startling,

surprises.

41 Ibid.
42 Brian Redfern. Haydn: A Biography, with a Survey of Books, Editions & Recordings.
(Hamden, Connecticut: The Shoestring Press INC., 1970), 32.
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HALL, Inc., 1965.

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Company, Inc., 1946.

Great Composers: An Illustrated Companion to the Lives and Works of the Most Celebrated
Composers. Secaucus, New Jersey: CHARTWELL BOOKS, INC., 1989.

Jacob, H. E. Joseph Haydn: His Art, Times, and Glory. Westport, Connecticut: Greenwood
Press, Publishers, 1971.

Kee, P.. (2006). Haydn's Last Symphony: Input from London?. The Musical Times, 147(1897),
5762. http://doi.org/10.2307/25434422

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from http://www.jstor.org/stable/738736

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