Haydn Symphony-63-La-Roxelane Sheet Music, Program Notes and Recordings

Theatrical Charm and Artful Recycling

In the bustling artistic world of the Esterházy court, Joseph Haydn was a man of many hats: composer, conductor, administrator, and musical director for the opera and theater. With a relentless demand for new music, it is no surprise that he became a master of artful recycling, often adapting and repurposing his own best material for new occasions. Symphony No. 63 in C Major, "La Roxelane," is a brilliant testament to this practical genius. Assembled around 1779, it is a "pastiche" work, a charming and elegant symphony built around a stunning slow movement that began its life as incidental music for the stage. Its nickname refers to Roxelane, the clever heroine of Charles-Simon Favart’s play Soliman der Zweite (Soliman the Second), and the music Haydn wrote for her forms the heart of this unique and wonderfully entertaining symphony.

From the Stage to the Concert Hall

The story of the symphony begins with the Esterházy court's theatrical season of 1777, which featured a German version of Favart’s popular play. Haydn, in his official capacity, composed a suite of incidental music to accompany the action. He was clearly quite taken with the sweet, folk-like melody he created to represent the character of Roxelane, a beautiful European woman in the Turkish sultan's harem. Rather than let the tune languish in a theatrical score, he decided to give it a second life. He used this melody as the theme for a new set of variations and placed it as the second movement of a symphony. To complete the work, he reached back to his own catalogue, adapting the overture from his 1777 opera Il mondo della luna (The World on the Moon) to serve as a brilliant and energetic first movement.

A Symphony in Two Versions

Adding another layer to its history, the symphony exists in two distinct versions. The first, more intimate version is scored for a smaller orchestra of flute, oboes, bassoons, horns, and strings. A later, more festive version adds the ceremonial brilliance of two trumpets and timpani. This second version is the one most commonly performed today, and its grander sound aligns perfectly with the majestic key of C major. This flexibility shows Haydn adapting his music for different performance circumstances, a common practice in the 18th century.

First Movement: Allegro

The first movement, repurposed from the overture to Il mondo della luna, is a brilliant and fiery Allegro. It begins with a driving, energetic theme in the strings, full of the bustling excitement of Italian comic opera. The movement is concise and powerful, a whirlwind of activity that immediately grabs the listener's attention. Its theatrical origins are palpable; one can easily imagine it as the curtain-raiser for a lively operatic comedy. It serves as a perfect, high-energy introduction to the more charming and subtle movement that follows.

Second Movement: "La Roxelane" – Allegretto (o più tosto allegro)

This is the famous movement that gives the symphony its name and its heart. The form is a set of double variations, alternating between a theme in C minor and a related theme in C major. The C minor theme, representing Roxelane herself, is a simple, graceful, and slightly exotic-sounding folk melody, played by the muted strings. The contrasting C major theme is a brighter and more assertive tune. Haydn then presents a series of four charming variations that explore these themes with delightful ingenuity, decorating them with elegant ornamentation and showcasing different sections of the orchestra, particularly the solo flute and oboe. The movement is a masterpiece of grace and wit.

Third Movement: Menuetto e Trio

The Minuet is surprisingly robust and rustic, a sturdy and energetic dance that provides a strong contrast to the delicacy of the "La Roxelane" movement. The rhythm is firm and the melody straightforward and memorable. The central Trio section is a more gentle and refined affair, featuring the oboe and bassoon in a graceful, pastoral dialogue. It is a moment of calm before the robust Minuet returns to conclude the movement with cheerful finality.

Fourth Movement: Finale – Presto

For a time, it was believed that Haydn had written a different finale for this symphony (the one now attached to Symphony No. 53), but modern scholarship has confirmed that the intended conclusion was this brilliant and concise Presto. Some early versions of the symphony omitted the finale entirely, ending with the Minuet. When it is included, this movement provides a thrilling burst of energy. It is a fast, light, and witty "hunting" style finale, full of high spirits and driven by a breathless, perpetual-motion rhythm in the strings, bringing the symphony to a joyful and satisfyingly brilliant close.

A Symphony of Practical Genius

Symphony No. 63, "La Roxelane," is a fascinating window into Haydn’s working methods. It shows a composer who was not a remote artist, but a practical craftsman creating music for specific occasions and audiences. The symphony’s assembly from pre-existing parts does not detract from its quality; rather, it showcases Haydn’s genius for seeing new possibilities in his own creations. The result is one of his most charming and immediately appealing symphonies, a work that successfully bridges the worlds of the theater and the concert hall.