Touring Haydn's First 60 Symphonies

One of my New Year's resolutions was to listen to all of the symphonies of Franz Joseph Haydn in order.  Haydn is some considered "the father of the symphony" (and the "father of the string quartet"). This is not hyperbole.  While there were a few symphonies composed earlier by others, it was definitely not a widespread mode of composition.  No other composer explored this musical art as a form like Haydn.  He is a truly towering historical figure in that respect.

Since January, I have listened to the first 60. I was pleasantly surprised by much that a heard. Years ago when I surveyed what I considered to be my “great” symphonies, Haydn finished 4th on my list behind Mahler, Beethoven and Mozart.  But, honestly, I focused more on his later symphonic works at that time. After all, he composed an astonishing 106 symphonies (104 numbered) and I couldn’t be attentive to all of them in equal measure while I was trying to sketch the work of numerous other favorite composers.

In that post, I highlighted No. 45 as his first “great” symphony, along with several that came later in his life.  Now that I have listened to each of his earlier works more attentively, I realize I short-changed the master composer.  There are numerous wonderful movements to hear.  Masterful allegros, calming and beautiful adagios, little touches of humor and surprise that can cause a smile or even a chuckle.  Haydn is so rich with drama, beauty, emotion, precision and humor that it is easy to listen to any of his symphonies.  Not a bad note in the bunch as far as I can tell.  He composed them all between 1757 and 1795.

I used to frequently listen to Mozart's piano concertos, particularly at work.  You could appreciate their complexity if you listened attentively, but you could also just have them as pleasing background music that, for me, facilitate concentration at work.  With few exceptions that always called attention to themselves, the movements of all the concertos melded together in my mind as I worked.  They seemed like one long, magnificent composition enveloping my office.  

So it is with listening to several dozen Haydn symphonies through the course of many consecutive days.  I was not working, of course, I was listening and discovering, a luxury retirement affords.  Though the first 60 meld together to me similarly to Mozart's concertos, all are so enjoyable to hear.  The extraordinary sonic moments are numerous.  But, for me, eight of these first 60 symphonies really stand out.

Having transferred my CD collection to MP3's, I can give some general facts more readily.  Counting his unnumbered “A” and “B” symphonies (106 in all) he has 411 total movements of music.  The longest movement in Haydn's symphonic output is an 11-minute Adagio assai in No. 54.  The shortest is the minute and a half finale to his brilliant No. 60, which I will comment on below.  There are only three movements that are less than 2 minutes in length.  Only four are over 10 minutes.  99 movements are between 4 and 5 minutes in duration, the most common time frame.  

I have since learned much about the times in which Haydn began composing. Back in the mid-18th-century, there was not much of a public classical music scene outside of what was performed in churches. Instead, secular classical music was almost exclusively the domain of wealthy aristocrats who maintained their own private orchestras as a matter of prestige.

These orchestras were small by today's standards, generally containing less than 30 musicians (27 seems to be the most common number). While everyone had competent string sections, the availability and number of other instruments was inconsistent between orchestras.  One aristocrat might employ great trumpet players, for example, while another would have no trumpets at all.   Additionally, the performance quality of the musicians varied among aristocrats.

It was into this world that Haydn emerged. He was employed by Prince Paul Anton Esterházy for most of his lifetime.  But the make-up of the prince's orchestra and other orchestras for which Haydn may have composed changed over time. His compositions had to match the qualities of the varying orchestras, which is one reason his early symphonies are a special variety mix, accentuating different instruments to match the available talent.  He worked with what he had.

Haydn was distinctive and soon garnered renown for this compositions. Many of them received various nicknames because they were so well-liked. He composed symphonies for special occasions (usually referred to as “festive” works) as well as routine pieces for just a standard afternoon or evening’s entertainment.

It is noteworthy that despite his prolific number of symphonies, the symphonic form was not particularly a favorite format of his.  His numerous piano trios, for example, are fantastic, as are most of his string quartets. He wrote many excellent concertos.  His keyboard sonatas were highly influential.  Basically, Haydn explored all aspects of what were then new forms of classical music with equal zeal.  

Late in his life Haydn was most committed and prideful of his great religious oratorio, The Creation. He began composing symphonies later in his life than most composers and he ceased to compose them 14 years before his death. Basically, he only composed symphonic works for a little over half his life while other forms were a lifelong pursuit.

Be that as it may, what we have is frequently brilliant. Listening to the first 60 reveals a great diversity of talent, though admittedly a lot of them are not especially distinctive and sound more or less alike.  Still, there are several that caught my ear.  Far more than I expected.  The 45th is definitely among them.  But I discovered much magnificence that eluded me in my original post about his symphonies, simply because I devoted more time and focus for this tour.

A note on chronology.  No one really knows the exact order of Haydn's first 60 symphonies.  Haydn himself believed his No. 1 was, in fact, number one, but beyond that we have some rather sloppy record-keeping.  Recent research has revealed that many of those numbered in the 30's actually were composed before some listed in the 20's.  Symphony No. 18 was composed before No. 6.  There is a lot of that sort of thing until you get to late Haydn.  It isn't a big deal but I find it rather interesting that there was so much confusion about such a great composer when it came to numbering his compositions.

Once again, I am not a musically trained person.  I cannot explain technically why I enjoy a piece of classical music (except for themes and instrumentation) but I know what I like when I hear it.  Most of the named symphonies in this first 60 (actually 62, counting “A” and “B” which were not as impressive) had wonderful parts and movements but they were not as enjoyable in their totality.  I listened to every symphony at least once.  Some I re-listened to particular movements two or three times.  

But I was most positively affected by Nos. 6, 13, 21, 32, 35, 45, 53, and 60 in their entirety.  For me, each of these works created a distinctive flow throughout the entirety of piece. So let's run through each of those and I'll try to explain why I enjoyed them and a bit about what I learned of their history.

Symphony No. 6 was a totally unexpected treat.  It was the first of a trio of symphonies (Nos. 6, 7, 8) which were intended to evoke the feeling of a time of day – the morning, noon, and night.  I expected these earliest symphonies would be routine reflections of a young composer getting his footing with the art form.  Instead, what I experienced was wondrous.  

Haydn entitled the trilogy himself and they were perhaps intended to be played in three audiences throughout a given day, an entertaining and innovative approach to the art form.   One of the many interesting things about these early compositions is that Haydn did not settle on the four-movement standard for his symphonies until after No. 30.  Many were offered in three movements.  No. 6 takes the more mature four-movement approach.

Also noteworthy is that he begins No. 6 with a slow movement Adagio, which is an infrequent choice for an opening in the classical world, though it quickly evolves into a splendid Allegro, the more traditional choice for a first movement.  Haydn continued to offer Adagios to open his works throughout his life.  The movement can be taken as representing the contrast between the predawn sky and the coming of the sunrise.  It is inspiring and memorable with stirring strings along with strong solo parts for flutes and winds with a harpsichord accompaniment.  This opening is one of the most memorable I enjoyed throughout this tour and I returned to it repeatedly, definitely one of the best movements overall.

To follow an Adagio opening (however brief) with yet another Adagio in the second movement is even more unusual.  This piece offers a simple, gorgeous sentimentality, often of a stately nature that is gorgeous to my ear.  Possibly my favorite of all his movements I have listened to so far in this tour.  It is so hauntingly beautiful, a joy to behold.  Haydn's go-to on most third movements is a Minuet trio.  The finale is a traditional Allegro to allow the piece to end in an expected note.  This one is a masterful flurry as are most of his movements in this mode.  Very accessible and appealing.

Symphony No. 13 is an invigorating work even though it seems to be one of the lesser known of my preferences.  It opens with a bold sweeping theme carried chiefly by the strings with a nice flute accent.  It is a tune that I kept coming back to hear again.  The Adagio is contemplative though is calls no attention to itself.  The trio movement is one of my favorites of these through all the symphonies reviewed here.  Really excellent.  Once more, a sweet solo flute plays off the strings.  The finale features a strong part for four horns which seems to be a rarity for Haydn (probably due to the availability of musicianship).  The finale has a wonderful, almost sneaky, rhythm that is playful and humorous.

Symphony No. 21 is both elegant and joyful.  This is an example of Haydn's church-sonata style, with a somewhat reverent Adagio opening made poignant by featuring a splendid oboe.  But the following Presto throws all reverence to the wind, exchanging it for thrilling dexterity.  Strong horns are included here. The trio is stately and sets up an exciting dash to the finish carried mainly by the strings.  A stirring, elevated sonic experience.

Symphony No. 32 is another bold and proud effort.  The horns are strong from the beginning of this one, even triumphant.  This is the most unique sound of any of the movements I have listened to so far.  It is a splendid example of Haydn's “festive” symphonies; compositions for some sort of special occasion, likely involving a party or celebration.  It keeps things lively and fun.  Interestingly, the Minuet trio is the second movement here and is dance-like, again with strong horns.  The third movement Adagio is also a distinctive placement.  I could easily see a stately dance to this one as well.  It is not contemplative so much as effortlessly regimented.  Likewise, the Presto finale is dance-like and playful.  The most uplifting work I've reviewed so far.

Haydn allows the the oboe and horns to exhibit some virtuosity in the opening of Symphony No. 35.  This gives the composition a distinctive feeling of grandeur.  The Andante that follows is one Haydn's best among of that mode considered here.  It gently brings us down from the grand heights and allows the Minuet to be simply dignified.  The fourth movement Presto is really just showing off.  An opportunity for the entire orchestra to shine.

This brings us to No. 45, which is still “great” in my book, with Nos. 6 and 60 giving it the most competition in this post.  Though I find all eight of these symphonies to be well worth spending time with, those three are required, in my opinion.  The addition of two more “great” symphonies would not alter Haydn's position on my “master” list (he would still be in fourth place, one point behind Mozart) but it would make the competition between them neck and neck.

It is nicknamed the “Farewell” Symphony and the story behind it is as fascinating as listening to the piece.  Prince Esterházy was extending his stay at his summer palace in 1772.  This meant that the musicians were away from their families for longer than was expected, irritating much of the orchestra.  So, for one evening's entertainment, Haydn composed a symphony in which, in turn, each section of the orchestra stopped playing throughout the finale.  Instead of ending on a happy or climatic note, this symphony ends with the last two violinists playing and, finally, Haydn playing by himself. It is an extraordinary and unique experience to see an orchestra slowly exiting the stage as the piece finishes.  Watch the video above.  You've never seen anything like it in the classical world!

Ever the showman, Haydn had each musician blow out the candles flanking their sheet music as they ceased to play.  One by one the sound diminished and the lights went out.  This was a somewhat humorous nudge, telling the Prince that it was high time to get everyone back home.  Hence, farewell.  It worked.

The opening is multilayered and dramatic, carried largely by the strings.   The Adagio is the longest movement considered in this post, allowing for many pleasant variations on the theme.  The Minuet is standard stuff but the fourth movement is largely spirited and strong, leading one to expect a triumphant conclusion.  Then Haydn pulls the rug out from under your feet and has his orchestra simply fade away over the final two minutes.  A surprising, if subdued, effect.

Symphony No. 53 is called “Imperial” for its rather regal tone. The first movement is a Vivace which I find particularly compelling.  It begins slowly but soon shifts into a recurring heroic theme, that is one of the more memorable movements in all that I have listened to so far.  The Andante is stately and lyrical as is the Minuet that follows.  Another dexterous Presto completes the experience with very challenging parts for the strings.  Apparently, this was one of Haydn's most popular symphonies and was widely performed.  The scoring is features fine parts for flute, bassoon, two oboes and two horns.  It reflects Haydn's evolution into more sophisticated instrumentation.

Then there is the magnificent Symphony No. 60.  How did I miss this one back when I was originally considering his symphonic works?  It contains an unusual six movements and was apparently expanded upon after its initial, highly favorable reception.  Evidently, it was composed for the wedding of a princess to Prince Esterházy's steward a couple of years before No. 53. The symphony features music that is meant to represent the absent-mindedness of the steward in various humorous situations.

The opening Adagio is another wonderful discovery for me.  It seems to be going nowhere at all when, about a minute and half in, we are treated to a very catchy, proud and appealing  theme which recurs.  This might be the best of all the Adagios considered in this post.  The Andante reminds me of the later Haydn and is a preview of where his music would ultimately lead.  It is a strong follow-up to the engrossing opening movement.  The Minuet is rich and full of lovely subtleties.  The following Presto is standard but interesting as it is based upon a Slavonic Dance.  Then we come to a second Adagio which is an emotive lamentation that eventually and abruptly gives way to a great brass and military drum outburst which ends the work with the shortest movement he ever composed.  It's wonderful!

I always enjoy listening to music of the Haydn – Mozart (Viennese Classical) period.  While the early Romantic composers (Beethoven, Schubert, Schumann) offer a larger, richer, emotive and intellectual pallet, the symphonies I have mentioned here are simply delightful and always put a smile in my heart and on my face.  There is depth here if one cares to be more attentive to the works but that is not as necessary as it often is with the great Romantic composers that Haydn inspired.  

There are 44 symphonies to go including the magnificent “London Symphonies” of which I am much more familiar.  I look forward to revisiting these after so many years as well as no doubt discovering something exalting that I've never heard before as I complete my tour of the unparalleled Haydn symphonic cycle.