A Brilliant First Impression at the Esterházy Court
Upon his appointment as Vice-Kapellmeister to the fabulously wealthy Prince Paul Anton Esterházy in 1761, Joseph Haydn was keenly aware of the opportunity before him. He was no longer a freelancer scrambling for commissions but the director of a permanent, professional orchestra filled with top-tier musicians. His new patron was a knowledgeable music lover who had requested that Haydn compose a set of symphonies depicting the times of day, a popular programmatic theme in the Baroque era. Seizing the moment, Haydn conceived a brilliant strategy: he would not only fulfill the Prince's request but also use these symphonies as a vehicle to individually flatter the virtuoso players under his new command. The resulting trilogy—No. 6 "Le Matin" (Morning), No. 7 "Le Midi" (Noon), and No. 8 "Le Soir" (Evening)—was a masterstroke, and "Le Matin" served as the dazzling opening statement of his long and fruitful tenure.
A Programmatic Trilogy
The idea of depicting nature or a scene in music was not new. Composers like Antonio Vivaldi had famously done so in The Four Seasons. Haydn’s trilogy, however, is less about literal storytelling and more about capturing a mood and an atmosphere, while simultaneously exploring sophisticated musical structures. "Le Matin" is filled with touches of pictorialism, from the famous sunrise opening to the flute’s bird-like calls. These programmatic elements are seamlessly woven into a structure that is forward-looking, a bridge between the old Baroque concerto grosso and the emerging Classical symphony.
The Symphony as Concerto Grosso
The most striking feature of "Le Matin" is its instrumentation. Haydn structures much of the work in the style of a Baroque concerto grosso, a form perfected by composers like Arcangelo Corelli. This means that in addition to the full orchestra (ripieno), there is a small group of soloists (concertino) who are given prominent, virtuosic parts. Throughout the symphony, the principal flute, oboe, violin, and cello step into the spotlight. Most surprisingly, Haydn even writes a challenging solo for the double bass in the trio section of the Minuet, a witty and unprecedented gesture that must have delighted the player and the Prince alike.
First Movement: Adagio – Allegro
The symphony begins with one of the most evocative openings in the orchestral repertoire. A six-measure Adagio paints a hushed, atmospheric picture of a sunrise. From a unison G in the horns and cellos, the violins slowly and quietly ascend, growing in volume in a gradual crescendo that perfectly captures the first rays of dawn breaking over the horizon. This moment of stillness is shattered by the main Allegro, a brilliant and energetic movement propelled by driving rhythms from the horns and strings. The music is soon interrupted by a graceful, virtuosic solo for the flute, which presents the lyrical second theme, followed by a brilliant solo for the oboe. The movement is a whirlwind of orchestral color and soloistic display.
Second Movement: Adagio – Andante – Adagio
The slow movement is a masterpiece of intimate chamber music set within a symphonic frame. It begins and ends with a solemn Adagio, but the central Andante section is a beautiful and expressive duet for solo violin and solo cello. The writing is lyrical and operatic, a wordless aria that showcases the expressive capabilities of the two string soloists. The principal violin part is particularly demanding, ascending into the high register with virtuosic passage work. This movement demonstrates Haydn’s early mastery of creating music of deep feeling and refined elegance.
Third Movement: Minuet and Trio
The Minuet is a robust and stately courtly dance, featuring the full orchestra. Its character is formal and grand. The surprise comes in the central Trio section. Here, the texture thins dramatically to feature a dialogue between a solo bassoon and a solo viola, creating a wonderfully rustic and comical effect. As if this were not unusual enough, Haydn then gives the spotlight to the solo double bass, which plays a charming, albeit clumsy-sounding, melody. This was a clever way for Haydn to acknowledge every section of his orchestra, and the inclusion of a solo for the typically supportive double bass is a classic example of his famous musical wit.
Fourth Movement: Finale – Allegro
The symphony concludes with a brilliant and buoyant Finale. Like the first movement, it features extensive solo passages that create a concerto-like feel. The solo flute is once again prominent, presenting a charming and bird-like melody. The solo violin and cello are also given opportunities to shine with rapid and technically demanding passagework. The movement is filled with a sense of joy and youthful energy, bringing the symphony to a dazzling and high-spirited close.
A Bridge Between Eras
Symphony No. 6, "Le Matin," is a pivotal work in Haydn’s early career. It looks back to the Baroque era with its use of a continuo (harpsichord), its concerto grosso format, and its programmatic theme. At the same time, it looks forward to the Classical era with its developing four-movement structure, its masterful orchestration, and the sophisticated thematic work that would become a hallmark of Haydn’s style. It is a work of immense charm, wit, and brilliant invention, a musical sunrise that heralded the dawn of a new symphonic age.
