A Grand and Witty London Debut
In 1791, after nearly thirty years of loyal service to the Esterházy family, the 59-year-old Joseph Haydn was finally granted his freedom. Liberated from his duties by an appreciative new prince, he was immediately lured to England by the brilliant violinist and impresario Johann Peter Salomon for a series of public concerts. Haydn’s arrival in London was a major cultural event. He was hailed as the greatest living composer, and the anticipation for his new music was immense. The first symphony he composed for his debut season, No. 93 in D Major, is a magnificent work that perfectly encapsulates the grandeur, brilliance, and wit of his late style. It is a work of supreme confidence, a grand statement from a master at the height of his powers, complete with a famous musical joke designed to captivate and charm his new English audience.
The London Concerts: A New Frontier
London in the 1790s was the musical capital of the world, boasting large, professional orchestras, a discerning and enthusiastic public, and a thriving concert life. For Haydn, this was a world away from the relative isolation of the Esterházy court. He was now writing for a paying public in a massive concert hall, the Hanover Square Rooms. This new context inspired him to compose on his grandest and most brilliant scale. The twelve "London" Symphonies are the triumphant culmination of his career, characterized by their powerful orchestration, their profound emotional depth, and their sophisticated, often daring, musical language.
The Famous Bassoon Joke
Haydn was keenly aware of the English public's love for both sublime music and robust humor. He cleverly catered to both tastes in Symphony No. 93. The second movement, a beautifully lyrical Largo cantabile, is a masterpiece of elegant, high-minded sentiment. However, towards the end of the movement, as the music reaches a moment of extreme delicacy and quiet, Haydn shatters the mood with a loud, fortissimo C played by the solo bassoon in its lowest, most comical register. The effect is startling, unexpected, and undeniably funny—a moment of pure burlesque that must have caused an uproar of delight at the premiere.
First Movement: Adagio – Allegro assai
The symphony begins with a powerful and majestic slow introduction, a signature feature of the London symphonies. This Adagio, with its strong, unison fanfares, serves as a grand and dramatic call to attention. This solemn portal opens onto a brilliant and energetic Allegro assai. The main theme is a lively, dance-like tune, full of high spirits and rhythmic vitality. Haydn develops this material with breathtaking skill and ingenuity, creating a movement of thrilling momentum and brilliant orchestral color. The writing for the full orchestra, with its powerful brass and timpani, is perfectly suited to the grand scale of the London concert hall.
Second Movement: Largo cantabile
This is the symphony's famous slow movement. The key shifts to a warm G major, and the mood becomes one of serene and noble beauty. The strings present a simple, hymn-like theme, which is then treated to a series of four exquisite variations. The music is a masterpiece of lyrical expression and delicate orchestration. Then, at the movement's quietest point, comes the famous interruption from the bassoon. After this comical outburst, the music quietly and gracefully resumes, as if nothing had happened, bringing the movement to a peaceful and elegant close.
Third Movement: Menuetto: Allegretto – Trio
The Minuet is a robust and energetic German dance, full of rustic charm and stomping, off-beat accents. Its character is cheerful and vigorous, a perfect contrast to the high-minded elegance of the preceding Largo. The central Trio section is a brilliant display of orchestral color. It features a series of triumphant, ceremonial fanfares for the horns and trumpets, punctuated by powerful timpani rolls, creating a mood of festive, almost military, splendor before the energetic Minuet returns.
Fourth Movement: Finale – Presto ma non troppo
The symphony concludes with a brilliant and witty Finale that masterfully blends the structures of sonata and rondo form. The main theme, introduced by the strings, is a catchy, almost giddy tune derived from a simple rising scale. Haydn playfully tosses this theme between the different sections of the orchestra, developing it with his trademark humor and surprise. The movement is a whirlwind of high spirits, featuring sudden pauses, unexpected key changes, and a thrilling sense of forward momentum. It is a tour de force of compositional brilliance, bringing this grand and endlessly entertaining symphony to a joyful and triumphant conclusion.
A Triumphant Statement
Symphony No. 93 was a resounding success and the perfect work to launch Haydn’s legendary London residency. It demonstrated to his new public that he was a composer of immense power, profound beauty, and, most importantly, irresistible charm and wit. It remains one of the greatest and most beloved of the "London" Symphonies, a timeless masterpiece that perfectly captures the excitement and genius of this final, glorious chapter in Haydn's career.
