This is one of those "festive" C Major symphony, a line that runs like "a bright silver thread" through Haydn's creative output (to use H.C. Robbins Landon's excellent phrase). The symphony appears to have been written in 1769 without the trumpet and timpani (the evidence is an authentic manuscript by Haydn's staff copyist on watermarked paper associated with 1769). However, by 1771 it was circulating with authenticated timpani and trumpet parts. This leads Landon and other Haydn scholars to conclude that it was likely included in the magnificent Fest at Kittssee in July 1770, when virtually the entire Imperial court was hosted by Prince Nicolaus Esterhazy. Haydn was authorized to lay on extra trumpet players and other musicians and is known to have performed symphonies of his.

The secret of these "festive" symphonies is that Haydn not only brings in "C" trumpets (the most martial-sounding of the natural trumpets then in use) but has the horns use crooks that caused them to sound as written, also. (i.e., in "C alto"). This thrilling sound of horns "in alt" with trumpets and timpani is virtually unique to Haydn.

The opening movement is in three-four time. (Landon points out that Symphonies no 50, 56, and 60, which also are "festive C Major " symphonies) also begin in this meter, not counting slow introductions). This one has clearly distinct first and second subjects. Haydn invents a new sound for him, doubling the first violins in rushing passages not with the second violins but with the violas, making a fuller, more "sweeping" sound. There is a very witty false recapitulation, a bit of musical humor that would have been noticed by the highborn and musically aware audience. As is the case with the third and forth movements also, the movement is scored for the brass and drums already discussed, plus two altos and strings. Due to the full texture of the orchestration, harpsichord continuo is not desirable.

The second movement, however, occupies a different sound world. Here a bassoon should double the continuous bass line, a flute is added, and the horns switch down to the more mellow and normal C basso crooks. Moreover, Haydn has the violins muted throughout. Thus the sound is mellow. The noble oboe melody is decorated by arabesques from the flute. The sound is strikingly beautiful.

The minuet has trills and triplet figures, echoing the pomp of a French dance movement. To contrast it, the trio section is like a folk song from the Austrian Tyrol. The finale is a whirlwind moto perpetuo. In summary, this symphony is one of Haydn's greatest symphonic achievement in the period before 1775.



© All Music Guide