Haydn Symphonhy 99 Sheet Music, Program Notes and recordings

A Rich New Sonority and Masterful Craftsmanship

Upon returning to Vienna after his first triumphant London tour, Joseph Haydn immediately began composing new works for his second visit, scheduled for 1794. Having been captivated by the large, professional orchestras of London, and particularly by the sound of an instrument his own court orchestra lacked—the clarinet—he set to work on his next symphony with a new, richer orchestral palette in mind. The result was Symphony No. 99 in E-flat Major, the first of his symphonies to include clarinets and the magnificent work that would open his next London season. Composed in 1793, it is a symphony of immense warmth, profound beauty, and sophisticated craftsmanship. The addition of the clarinets seems to have inspired Haydn to new heights of woodwind writing, resulting in one of his most richly colored and sonorous orchestral masterpieces.

The "Discovery" of the Clarinet

While the clarinet was not a new invention, its inclusion as a standard member of the symphony orchestra was still a relatively recent development, one championed by Haydn’s late friend, Wolfgang Amadeus Mozart. The Esterházy court orchestra for which Haydn had composed for decades did not include clarinets, so it was in the grand orchestras of London that he truly experienced their full potential. He was immediately taken with their warm, liquid tone and their versatility, and he integrated them into his scoring with the skill and confidence of a master, using them not as a novelty but as an essential part of the orchestral fabric.

The Warmth of E-flat Major

Haydn’s choice of E-flat major is significant. It was a key he often associated with music of noble warmth, solemnity, and lyrical depth. This particular key, combined with the newly enriched woodwind section, gives Symphony No. 99 a uniquely mellow and sonorous quality. It is less about brilliant, festive display and more about profound, heartfelt expression and sophisticated instrumental dialogue.

First Movement: Adagio – Vivace assai

The symphony begins with one of Haydn’s most magnificent and harmonically daring slow introductions. This Adagio is a work of great solemnity and power, its searching harmonies creating a sense of immense scale and anticipation. The clouds part with the arrival of the Vivace assai, a movement of brilliant energy and effortless grace. The main theme is a quiet, almost understated tune, which Haydn then develops with astonishing ingenuity. The movement is a masterpiece of his mature sonata form, full of witty exchanges between the instrumental sections and brilliant writing for the full orchestra.

Second Movement: Adagio

The Adagio is the sublime heart of the symphony and one of the most beautiful and deeply moving slow movements Haydn ever composed. The key shifts to a serene G major, and the music takes on the character of a noble, solemn hymn. The scoring for the woodwinds in this movement is breathtaking. Haydn creates a rich, organ-like sonority, with the newly added clarinets blending beautifully with the flutes, oboes, and bassoons to create a choir of sublime warmth. The movement features a dramatic central section in the minor key, full of powerful emotion, before the serene, hymn-like music returns to bring the movement to a peaceful and deeply satisfying close.

Third Movement: Menuetto e Trio: Allegretto

The Minuet is surprisingly light and graceful, with a cheerful, almost comical character. The main theme is a simple, jaunty tune, punctuated by witty off-beat accents. Its mood is one of relaxed, good-humored charm. The central Trio section provides a more lyrical and elegant contrast. It features a beautiful, flowing melody led by the solo oboe. It is a moment of pure, pastoral grace before the cheerful and witty Minuet returns.

Fourth Movement: Finale – Vivace

The Finale is a brilliant and exhilarating conclusion that masterfully blends the structures of rondo and sonata form. The main theme is a catchy, folk-like tune, introduced by the violins, that has the character of a Croatian dance. Haydn, with his typical wit, often presents this theme in a contrapuntal, "learned" style, creating a delightful and humorous juxtaposition of the rustic and the sophisticated. The movement is a tour de force of high spirits and compositional brilliance, featuring thrilling exchanges between the strings and the newly empowered woodwind section, bringing the symphony to a joyful and dazzling close.

The Beginning of the End

Symphony No. 99 is the first of the final trilogy of symphonies Haydn composed (along with Nos. 100 and 101) and it marks the beginning of the final, glorious chapter of his symphonic career. Its rich sonority, its profound emotional depth, and its absolute formal perfection show a composer at the undisputed peak of his powers. The successful integration of the clarinets opened up new expressive possibilities that he would continue to explore in his final symphonies, cementing his legacy as the true father of the modern orchestra.