Franz Joseph Haydn (born in Lower Austria in 1732 and died in Vienna in 1809) is commonly known as the father of the classical symphony.

Because he had the luxury of consistent financial security, and the opportunity to work with quality musicians over a long period of time, he was able to develop slowly and methodically as a composer and craftsman.

Haydn spent the years of 1761 to 1790 in the employ of Esterhazy family – first with Paul Anton, and after his death, his brother Prince Nicolaus. Nicolaus (who had the longer tenure) loved music, and was very supportive of Haydn and his efforts. He employed excellent musicians and singers, which gave Haydn a marvelous laboratory to develop and sharpen his compositional skills.

The Esterhazy estate, which was described by a French traveler as “having no place but Versailles to compare with for magnificence,” became a center for excellent music making and productions.

At first Haydn’s orchestra was small (his early symphonies generally used few winds and a small string compliment), but over time the size of the orchestra grew, as did the proficiency of its players. Haydn’s composing mirrored these changes. The complexities and the lengths of his symphonies increased, and he made more technical demands on his players. Over this time frame, the typical four-movement classical symphony format became formalized, largely because of the development of his compositions.

Haydn’s fame spread across Europe, and after the death of his patron Prince Nicolaus, he was very much in demand. He was brought to England by the impresario Johann Peter Salomon, who commissioned two sets of six symphonies. These twelve symphonies (numbers 93-104), which are referred to as the London Symphonies, or the Salomon Symphonies are considered to be the pinnacle of the classical symphonic form, and the best of Haydn’s enormous symphonic output.

Many of these symphonies have nicknames, somehow related to the musical content. Examples include the Surprise because of the sudden loud noises in the slow movement, or the Drumroll (heard on this set of concerts) because of the opening roll in the timpani. Other symphonies have specific associations, such as the Clock because of the constant “ticking” sound of the regular rhythm in the second movement.

Titles on symphonies were also good marketing tools. An excellent case in point is the Miracle symphony – number 96. Stories (rumors) circulated that during the premiere of this work, a chandelier crashed from the ceiling to the floor of the concert hall. Fortunately, before the crash, the audience had rushed to the stage to see the famous composer, and consequently, there were no injuries caused by the falling fixture. The lack of injuries was called a miracle, which led to the nickname. Although this is a great story, reality tells a different tale. According to historical records, a chandelier did fall during a concert, and no one was injured. But it was during the premiere of Haydn’s symphony number 102, not 96. So even though the numbers did not work, the story stuck, the nickname caught on, and to this day it has been associated with the wrong symphony.

—Jay Fishman

 


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