Symphony No. 104, “London”

In September 1790, Franz Joseph Haydn’s longtime patron, Prince Nikolaus Esterházy, passed into eternity. After 28 years as the Prince’s faithful musical servant, Haydn’s life was about to change.

Nikolaus’s heir, Anton, did not share his father’s interest in music; he immediately dissolved the house orchestra and, while nominally retaining Haydn, left the composer to do whatever he wished. Haydn soon departed the Esterházy palace to explore Vienna.

There, Haydn — whose music was already well-known across much of Europe — was flooded with offers, yet the invitation that most intrigued him came in the form of a stranger who appeared at his apartment with the simple words, “My name is [Johann Peter] Salomon. I have come from London to fetch you; we shall conclude our accord tomorrow.”

That agreement, quickly worked out by Salomon — a violinist, impresario, and conductor with his own orchestra — stipulated that Haydn was to receive a fee of 1,200 British pounds sterling to write a new opera, six new symphonies, and various others compositions to be performed in 20 concerts, and one benefit concert. Salomon was also to receive the music’s copyright.

Haydn knew that his greatest strengths lay in instrumental music and London, having excellently trained orchestras and eager audiences, was compelling. In addition, London offered him the adventure of a bustling city wherein he could exercise his newfound freedom. And, of course, the money to be earned was immense.

Haydn’s first stay in London lasted from January 1791 through June 1792, and by all accounts it was a stimulating and successful experience. After the first concert on March 11, 1791, an article in the Morning Chronicle concluded: “We cannot suppress our very anxious hope that the first musical genius of his age may be induced by our liberal welcome to take up his residence in England.” That July, Haydn was even invited to Oxford, where he received an honorary doctorate of music.

After returning to Vienna for a time in July 1792, Haydn once again set foot in London for a second long stay on February 4, 1794. Audiences were again captivated and appreciative, and it was under the auspices of Salomon’s new “Opera Concerts” series that Haydn premiered a new Symphony in D major — soon nicknamed the “London” Symphony and later designated as No. 104 — on May 4, 1795. Not only was this his last symphony for London, it was to be his final statement in a genre that he had played a major role in developing.

Symphony No. 104 commences with an Adagio introduction in D minor with a sighing motive that evokes the soundworld of Mozart’s Requiem (also in the key of D minor). A brief pause separates the Adagio from the main Allegro section, with its first theme in D major. Following a full-orchestra tutti transition, the Allegro theme is stated in the dominant key of A major. A closing section leads to the movement’s development, built largely on the sigh motive and the ascending arpeggio figure from the closing section. The first theme returns during the recapitulation.

The second movement, an Andante in G major, is made of a quasi-rondo “theme and variations” form boasting a dramatic development in G minor. The wit of the third movement Menuet is most notable in the use of unexpected pauses.

The folklike melody that dominates the Finale, marked “Spiritoso,” was until recently thought to have been based on a London street vendor’s cry. More recently, it has come to be recognized as “Oj Jelena,” a Croatian ballad. This last movement is not a traditional rondo, but is cast in a fuller sonata form, with the recapitulation introducing surprises almost until the final chord.

— Steven Lacoste

Steven Lacoste is a lecturer in music theory at California State Polytechnic University, Pomona.