Adagio - Allegro
Allegretto
Menuet: Moderato
Finale: Presto

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 "Military" symphony was written for Haydn's second London visit in 1794, and was first performed on the 31st March that year. It was, if anything, even more successful than its predecessors. A London newspaper wrote that "the rapture it gave cannot be communicated by words, to be known it must be heard", while an audience member, whose programme has survived, simply noted "Grand but very loud". The reason for their enthusiasm was Haydn's unprecedented use of the bass drum, triangle and cymbals in the second and fourth movements of the symphony, a combination known in the 18th century as "Turkish" or "Military" music. This colourful and noisy feature gave the symphony its nickname.

The other movements, however, are no less original. After a coaxing, graceful introduction, the first Allegro leads off with a bright melody for unaccompanied flute and oboes, an explosive full orchestral entry, and a second subject which sounds at first asif it's about to turn into the "Radetzky March"! The Allegretto is not really a slow movement but an elegant French Romanza, whose peace is shattered by the first entry of the "Military" instruments. Some see this movement as Haydn's response to the revolution in France, which was at its height in 1794. Certainly the sudden trumpet call and ominous drumroll near the end of the movement strike a note of tragic drama. Haydn restores order with one of his stateliest Menuets , coupled with a whimsical Trio. The Finale starts as a playful jig-like rondo , Haydn constantly teasing the listener with sudden silences, unexpected reprises and even a timpani solo. So when the Military instruments return, as the movement gallops towards its close, they no longer seem threatening but bring the symphony to an end on a note of exuberant and joyful celebration.

R. G. Bratby, 1996


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