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Haydn – Symphony no 99 in E-flat major, Hob.1:99
Notes:
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Program Notes:
Franz Joseph Haydn (1732 – 1809)
London Symphony No. 99
Two years after the death of Mozart, Haydn wrote his Symphony No. 99, the first of the second set of “London” symphonies. It was premiered in London at the King’s Theatre in 1794. Though he was 61 at the time, Haydn was hardly an old dog. Indeed, he was in command of his compositional powers, and even ready to learn some new tricks. Between Mozart and Haydn, we usually think of Haydn as the elder symphonist, but this work actually shows the likely influence of Mozart on Haydn. Haydn was fond of the clarinet and had used it extensively in his concertos, operas, and several of his symphonies. Symphony No. 99 is the first time Haydn used clarinets in a symphony.
This symphony epitomizes the four-movement classical symphonic form which Haydn helped to establish. The first movement begins with a slow introduction (Adagio). Haydn deviates from standard practice immediately at the first major cadence, moving to a foreign key for a few moments before returning to the home key of E-flat major for lively yet reserved Vivace assai. This continual playfulness and reluctance to “stay within lines” of accustomed harmonic practice are a fingerprint of the mature composer’s style.
The Adagio second movement carries through the harmonic amusement, being set in the relatively unexpected key of G major. Some scholars consider the first hymn-like melody, marked with the instruction cantabile (Italian for “singing” or “songlike”), to be one of Haydn’s most inspired. Listen particularly in this movement for the interplay between woodwinds – flutes, oboes, clarinets, and bassoons – and the strings. This movement is also noteworthy because Haydn includes timpani, not ordinarily used in his slow movements.
The Menuet immediately brings to mind the graceful dance form, with a few dramatic pauses to add interest and with a more boisterous accompaniment from time to time. The surprising harmonic underpinnings continue a subtle and amusing entertainment for the harmonically inclined listeners.
The Finale further confirms the master composer’s uncommon ability to create whimsical and entertaining music within the reserved and stately court style of the classical era. Nothing too emotional, too desirous, or too upsetting here: simply orderly delight and delectation that can transport one from the untidiness of real life.
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