Adagio - Presto
Andante
Menuet: Allegretto
Finale: Vivace

Haydn was born in Rohrau, Hungary, the son of the village wheelwright. After singing as a boy chorister in the Imperial chapel in Vienna, he learnt his craft as a jobbing street musician before being engaged, in 1761, into the service of the powerful Prince Paul Eszterhazy. Provided with a 25-strong orchestra, he was to spend the next 29 years at the Eszterhazy palace of Eisenstadt developing every aspect of his art. For the Prince's private concerts he wrote some 75 symphonies, 50 string quartets, 21 operas and countless other works, bringing the Symphony and String Quartet to an unprecedented height of originality and expressiveness. But it was his retirement in 1790 that marked the start of the most fruitful and remarkable period of his career. Hired by the impresario Johann Salomon, Haydn travelled to London, where he was contracted to write six symphonies for Salomon's subscription concerts. The visit was a great success, and, thrilled by his warm reception, Haydn returned to England again in 1794 to write a further six symphonies. These twelve symphonies, now known as the "London" symphonies, marked the peak of Haydn's career as an orchestral composer and brought him fortune and honours. Returning to Austria in 1796, he spent his final years as a celebrity, composing choral and chamber music for as long as he had strength. At his final public appearance, in 1808, the 38-year old Beethoven knelt before him to kiss his hand; when France invaded Austria the following year, Napoleon himself gave the order that a guard of honour be posted outside the dying composer's house in Vienna. Haydn died there on May 31st 1809 at the age of 77.

The "Clock" symphony was written for Haydn's second London visit in 1794. It was first performed on the 3rd March that year and proved an immediate popular success, rapidly gaining the ultimate accolade from the English musical public - a nickname. The first movement opens, like all save one of the "London" symphonies, with a slow introduction - a som,bre, chromatic Adagio in D minor. It yields, in the Presto, to what must surely be the gayest symphonic theme ever penned - rapidly followed by Haydn's trademark fortissimo for full orchestra. One of his most closely-argued first movements ensues. The Andante reveals the origin of the symphony's nickname. The bass instruments "tick" constantly away while a quirky melody above them ("exquisitely kittenish" is how Donald Tovey describes it) tiptoes its way from major through stormy minor and back to a tranquil close. A grandiose Menuet for full orchestra sweeps by; in the Trio section the string accompaniment becomes repeatedly jammed while the solo flute struggles to get things moving again. The Finale, a broad sonata-rondo Vivace , races from a quiet opening through blustering fortissimos, a tempestuous minor-key section and a delicate fugato , allowing itself a brief wistful look back at the opening before speeding to a jubilant close, drums and trumpets blazing.

R. G. Bratby, 1996


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