Joseph Haydn

Haydn's Military Symphony adds bass drum, cymbals and triangle to the orchestral sound familiar from his London concerts. Their conspicuous entry transforms the second movement, whose melody had an earlier life in a...

Haydn's Clock Symphony takes its nickname from the ticking accompaniment in the slow movement. That steady pattern supports a sequence of changing textures and moods, including moments when the expected regularity is...

Haydn composed the 102nd during his second London stay. A slow introduction leads into a forceful Allegro, while the Adagio gives prominent attention to the cello and delicate orchestral colours. Its premiere is...

Haydn begins his penultimate symphony with an unaccompanied timpani roll, followed by a dark introduction in the low instruments. That introductory world returns within the first movement instead of simply...

Haydn's last numbered symphony belongs to the twelve he wrote for London. A slow D-minor introduction creates a weighty opening before the main movement turns to D major. Contrasting variations, a minuet, and a...

Two English horns, rather than oboes, give this early Haydn symphony a distinctive wind sound. It opens with a slow movement in which horns and English horns exchange phrases over steady strings. Three further...

Haydn wrote the Hornsignal Symphony for an orchestra with four horns, making that enlarged group immediately audible. The finale is a set of variations that features different instrumental soloists, including the...

The opening of Haydn's Forty-third balances a gently moving violin melody against firmer orchestral responses. Muted strings colour the Adagio, while pauses and interruptions complicate the finale's apparent ease....

Haydn places the minuet second in this four-movement symphony, before the Adagio. The minuet is built as a canon, with different instrumental lines entering in imitation. The outer movements emphasize concentrated...

Haydn ends this minor-key symphony with an unexpected slow section in which players stop playing and leave until only two muted violins remain. The gesture is associated with the Esterhazy musicians' wish to return...

Haydn's Forty-eighth Symphony is especially recognizable for its high horn writing and ceremonial C-major sound. Its four movements contrast that brilliance with more restrained slow music and a lively finale. The...

Haydn's Forty-ninth begins with a full slow movement rather than a short introduction. A fast movement, minuet and quick finale follow, all maintaining close links to the home key. This older slow-fast sequence gives...

Haydn's Fifty-third circulated widely and survives with alternative finales. Its tuneful Andante also traveled beyond the symphony in arrangements for other performing forces, showing how individual movements could...

Haydn's Sixty-seventh makes striking use of solo strings inside an orchestral symphony. The minuet trio reduces the texture to two violins, one using an altered tuning. The finale interrupts its fast opening with a...

Haydn's Seventy-ninth belongs to the group of symphonies numbered 79 to 81. Its slow movement begins as an Adagio cantabile but changes course into much quicker music, an unusual disruption of the expected movement...

The Bear belongs to the six symphonies Haydn wrote for Parisian concerts in the mid-1780s. Its large-scale public gestures suit the orchestra available there. The nickname comes from the finale's droning...

Haydn's Hen Symphony is one of the six works commissioned for Paris. Its opening G-minor gestures contrast with a lighter theme whose repeated notes and oboe interjections later suggested a clucking hen. The nickname...

One of Haydn's six Paris symphonies, La Reine takes its familiar name from an association with Marie Antoinette. Its slow movement varies the French song La gentille et jeune Lisette, placing a recognizable melody...

Haydn's Eighty-eighth follows the Paris symphonies and precedes his London visits. Trumpets and timpani are held back from the first movement, making their entrance in the Largo especially conspicuous. The slow...

The Oxford Symphony acquired its nickname through performances associated with Haydn's honorary doctorate in 1791. The music had been written earlier for his continental patrons and Parisian concert connections. A...

Haydn wrote the Ninety-third during his first London visit, though its numbering does not mean it was the first composed of the London group. In the slow movement, a conspicuous low bassoon note interrupts the...

The famous loud chord interrupts an otherwise quiet phrase in the second movement of Haydn's Surprise Symphony. The movement continues as a set of variations, so the joke is only one element of a larger design....

Haydn's Ninety-fifth is the only minor-key member of the twelve London symphonies and begins directly, without a slow introduction. Its second movement contains variations with a prominent cello contribution. The...

Haydn's Ninety-sixth was among the first symphonies written for his London concerts. Its four movements move from a slow introduction to a bright Allegro, an Andante, minuet and quick finale. The Miracle nickname...

Haydn wrote the 97th Symphony during his first London visit. The slow introduction sets up a vigorous C-major opening movement, while later movements exploit precise changes of articulation and instrumental colour....

Haydn's 98th Symphony begins in B-flat minor before establishing the major-key movement that follows. Its finale contains an unusual keyboard solo, recalling Haydn's own role directing London performances from the...

Haydn wrote the Ninety-ninth for his second London visit. It was the first of his symphonies to include clarinets, enriching the wind group alongside the existing flutes, oboes and bassoons. A slow introduction leads...