Haydn Symphony 96 The Miracle, Sheet Music, Program Notes and recordings

Brilliant Lightness and Dazzling Virtuosity

The legend is irresistible. At the 1791 London premiere of Haydn’s Symphony No. 96, a massive chandelier plunged from the ceiling of the Hanover Square Rooms, crashing into the auditorium. In what was hailed as a miraculous act of Providence, not a single person was injured, as the adoring crowd had just surged forward to the stage to get a better look at the great composer. The symphony was instantly christened "The Miracle. " It is a wonderful story, a perfect metaphor for the near-miraculous effect Haydn had on the London public. There is only one problem: modern musicology has shown that the event almost certainly happened four years later, at the premiere of Symphony No. 102. Yet, the nickname has clung tenaciously to No. 96, perhaps because the music itself, with its dazzling brilliance, delicate grace, and seemingly effortless perfection, feels like a small miracle in its own right. It is one of the most refined and exquisitely crafted of all the "London" Symphonies.

The First London Triumph

Composed in 1791, Symphony No. 96 was the work that opened Haydn's very first concert for the Salomon series, and its success was immediate and overwhelming. It perfectly showcases the grand and brilliant style he developed for his new English audience. The key of D major, associated with festive ceremony, and the full orchestra with trumpets and timpani, create a sound of thrilling splendor. However, the true genius of the work lies not in its power, but in its astonishing lightness and transparency. It is less a monumental statement and more a piece of exquisite, jewel-like craftsmanship.

A Symphony of Soloists

One of the most remarkable features of "The Miracle" is its extensive use of solo instruments. The work has a distinct concertante quality, with numerous passages that highlight the virtuosity of the principal players in the London orchestra. The woodwinds, in particular, are treated with extraordinary delicacy and prominence. The principal oboist is given several beautiful and demanding solos, and the flutes and bassoons are also featured in elegant dialogues. This focus on individual instrumental color gives the symphony a wonderfully varied and chamber-like texture, even in its grandest moments.

First Movement: Adagio – Allegro

The symphony begins with a brief but dramatic slow introduction. A solemn, fanfare-like gesture from the full orchestra is answered by a gentle, lyrical phrase in the strings, creating a sense of anticipation. This leads directly to the main Allegro, a movement of sparkling energy and brilliant invention. The main theme is a light, almost skipping tune, full of rhythmic vitality. The movement is a masterpiece of thematic development, as Haydn takes his simple material and transforms it with incredible wit and sophistication. The scoring is a marvel of clarity, with brilliant writing for the entire orchestra.

Second Movement: Andante

The slow movement, in a serene G major, is a thing of exquisite and gentle beauty. The main theme is a graceful, almost pastoral melody, presented by the strings. The movement unfolds in a ternary (A-B-A) form. The central section is a dramatic episode in G minor, featuring a powerful theme punctuated by forceful interjections from the trumpets and timpani. This moment of storm and stress is followed by the return of the serene opening theme, now beautifully decorated by two solo flutes. The movement concludes with a remarkable coda featuring virtuosic solos for the two principal oboes, a final touch of delicate poetry.

Third Movement: Menuetto: Allegretto – Trio

The Minuet is one of Haydn's most robust and popular. It has a cheerful, rustic character, a lively Austrian Ländler that is full of stomping rhythms and infectious high spirits. The central Trio section provides a charming contrast and another showcase for the principal players. The melody is a lovely, lilting tune played by the solo oboe, accompanied by pizzicato strings. It is a moment of pure, pastoral grace before the boisterous Minuet returns to conclude the movement.

Fourth Movement: Finale – Vivace assai

The Finale is a brilliant and witty conclusion, a dazzling rondo that sparkles with energy from start to finish. The main theme is a quiet, mischievous tune, introduced by the strings and punctuated by a little three-note fanfare that becomes a recurring joke throughout the movement. The contrasting episodes are full of brilliant passagework and surprising harmonic shifts. Just before the end, Haydn brings the music to a complete halt, creating a moment of suspense before a final, thrilling rush to the finish line. It is a tour de force of humor and virtuosity, a perfect and joyful conclusion to this most elegant and brilliant of symphonies.

A True Miracle of Craftsmanship

Whether a chandelier fell or not, Symphony No. 96 is a true miracle of the composer's art. Its perfect balance of grand gestures and delicate details, its brilliant orchestration, and its infectious, good-humored spirit made it the perfect introduction for Haydn to his adoring London public. It remains a timeless masterpiece, a work of seemingly effortless perfection and pure, unadulterated joy.