In the late 1780s, after many years of relative obscurity at the court of Prince Nicolaus Esterházy, Franz Josef Haydn would become quite a celebrity throughout Europe. The six so-called "Paris" Symphonies (Nos. 82-87), composed on a commission from the Loge Olympique Concerts in Paris in 1785 and 1786, had been big hits, and Haydn was soon to embark on the first of the London trips that would seal his fame. Claude-François-Marie Rigoley, Count d'Ogny had helped to get Haydn involved in the Loge Olympique Concerts, and he commissioned three further symphonies (Nos. 90-92) in 1788 or 1789. The Symphony No. 92 might have received its premiere at the Loge Olympique, but no one knows for sure.

When Johann Peter Salomon brought Haydn to London at the beginning of 1791, one of the compositions Haydn took with him was the Symphony No. 92, which he conducted at his first London concert on March 11, 1791. The work was reprised "by particular Desire" in concerts later in March and April. Haydn was quickly becoming the most famous musician in England, and his fame led to the receipt of an honorary doctorate degree from Oxford University. For his degree he had to compose a canon and conduct three concerts at the University. Haydn had wanted to present a new symphony to the Oxford audience, but he arrived rather late to the proceedings and, lacking rehearsal time, had to substitute a work that the orchestra's musicians already knew. So he conducted the Symphony No. 92 at the July 7, 1791 concert at Oxford's Sheldonian Theatre at which he received his degree, which he apparently valued more than any of the other awards and distinctions he received in his long lifetime. By the early nineteenth century No. 92 had received its nickname, the "Oxford."

The strings open the symphony with a tranquil melody. A vigorous Allegro spiritoso follows, its propulsive development taking some brief turns into the minor mode. The varied recapitulation features added commentary from the winds; throughout the movement, the woodwinds offer delicate coloring. The main melody of the second movement (Adagio) is peaceful, with a touch of nobility; the purposeful stride of the central section leads to the touching return of the opening tune. Particularly noteworthy is the way the melody tentatively interrupts itself towards the end; then, once it gets going again, an ensemble of woodwinds has a short cadenza. The third movement is a sturdy and whimsical, rather quirky Minuet. In the exciting Finale, the two main themes are developed polyphonically after a series of pauses, and the movement closes in exuberant fashion.

© All Music Guide