Royal Elegance and Popular Charm
When Joseph Haydn was commissioned to write a set of six symphonies for the Parisian public in the mid-1780s, he was composing for one of the most sophisticated audiences in Europe. The resulting "Paris" Symphonies are a magnificent display of his mature genius, and none captured the specific tastes of the French court more perfectly than Symphony No. 85 in B-flat Major. The work’s grace, elegance, and lyrical beauty so charmed the French Queen, Marie Antoinette, that it became her personal favorite, earning it the enduring nickname "La Reine" (The Queen). The symphony is a masterpiece of the high Classical style, a work that brilliantly balances majestic, courtly splendor with the wit and popular touch—including the use of a beloved French folk song—that made Haydn the most revered composer of his time.
A Symphony for a Queen
The report of Marie Antoinette’s fondness for Symphony No. 85 comes from several sources, including the composer's own biographer, Griesinger. The Queen was a keen musician and patron of the arts, and Haydn's music was frequently performed at Versailles. The symphony’s character seems perfectly tailored to a royal sensibility: it is grand without being bombastic, elegant without being superficial, and profound without being overly academic. Its poise, charm, and beautifully crafted melodies would have appealed immensely to the refined tastes of the French aristocracy.
The French Connection: A Familiar Tune
Haydn’s cleverest move in "La Reine" was his decision to use a well-known French folk song, "La gentille et jeune Lisette" ("The gentle and young Lisette"), as the theme for the second movement. This was a brilliant gesture. By incorporating a melody familiar and beloved by his Parisian audience, Haydn created an immediate point of connection, transforming the symphony from a formal Austrian import into a work that spoke with a charming French accent. This use of popular tunes was a technique Haydn often employed to delight and engage his listeners.
First Movement: Adagio – Vivace
The symphony opens with a solemn and majestic slow introduction, a grand portal that sets a tone of regal formality. This Adagio, with its powerful, searching harmonies, creates a sense of immense anticipation. The mood then shifts dramatically with the arrival of the main Vivace. The theme is a wonderfully light and energetic melody, full of grace and forward momentum. The movement unfolds in a masterfully constructed sonata form, showcasing Haydn’s genius for thematic development. He takes his simple, elegant material and develops it with incredible wit and sophistication, creating a movement that is both intellectually satisfying and thrillingly alive.
Second Movement: Romance: Allegretto
This is the famous movement that so enchanted the French court. Marked "Romance," an indication of its simple, song-like character, the Allegretto is a set of variations on the French folk song "La gentille et jeune Lisette. " Haydn first presents the gentle, graceful melody in a straightforward setting. He then proceeds with a series of four exquisite variations. The first features elegant ornamentation in the first violins. The second is a more forceful variation in the minor key. The third is a beautiful showcase for the solo flute, followed by a final, beautifully orchestrated variation for the full ensemble that leads to a quiet, thoughtful coda.
Third Movement: Menuetto: Allegretto – Trio
The Minuet is robust and dignified, a stately and powerful courtly dance. Its character is grand and assertive, with strong, clear rhythms that would have been perfectly at home in the ballrooms of Versailles. The central Trio section provides a moment of charming and rustic contrast. It features a graceful, Ländler-like melody that highlights the woodwinds, with the first violin echoing the phrases of the flute and oboe. It is a moment of pastoral ease before the grand and powerful Minuet returns.
Fourth Movement: Finale – Presto
The symphony concludes with a brilliant and witty Finale. It is a highly original movement that masterfully blends the structures of rondo and sonata form. The main theme is a quiet, bubbling figure, introduced by the first violins, that seems to contain a coiled spring of energy. Haydn brilliantly plays with the listener's expectations, developing this theme with surprising twists and turns and sudden, powerful outbursts from the full orchestra. The movement is a tour de force of compositional brilliance and high spirits, bringing this most elegant and regal of symphonies to a joyful and dazzling close.
A Work of Consummate Grace
Symphony No. 85, "La Reine," is a perfect encapsulation of Haydn’s mature Classical style. Its blend of regal grandeur, lyrical beauty, and witty popular charm made it an overwhelming success in Paris and has secured its place as one of the most beloved of the twelve "London" and "Paris" symphonies. It is a work of supreme confidence and poise, a symphony whose grace and elegance are indeed fit for a queen.
