Joseph Haydn (1732-1809)
Symphony in D major No. 104

It is spring, 1795 . The 63-year-old Haydn annotates the score of his Symphony in D major with the words: “The twelfth I’ve composed in England.” He first visited the country in 1791-92. Johann Peter Salomon, concert promoter, was well aware of the fact that he had hired the world’s most famous composer. Haydn had already written for him 6 symphonies and many other pieces; now he fulfilled yet another contract. Although the concerts managed by Salomon were suspended, Symphony in D major featured at one of an opera concert series in May 4th, 1795. The triumph was absolute.
Each of the twelve London Symphonies is a separate work, quite incomparable to the thousands of symphonies then written in Europe – including those previously written by Haydn himself. They differ from the early ones in that they have been composed for great orchestras performing in front of a large audience.
∙ Symphony in D major No. 104 crowns this gallery of masterpieces. Its introduction (Adagio) alone is a monumental portico leading through three spheres of light and shade towards the gate of the temple of art. Beyond lies a perfectly-proportioned and form-friendly structure. For the Allegro, as long as it is not played too fast, is a fortunate blend of solemnity and joy. Its themes are natural and joined by a unity of material, as if they were fashioned from the same tree.
∙ Andante – is a theme with variations. The theme is of captivating beauty, the variations full of surprises in their unexpected turns. The moments of total silence and the fiery explosions are like raptures of a “heart strong in will not to yield” to old age.
∙ Minuet – is a realm of humour illuminated with a thousand colours. Its theme, once merry, once solemn, dictates a dancing measure, which loses its step only a while later. In the trio, its intimate atmosphere is distorted by sophisticated counterpoints, leading to ever-new keys.
∙ Finale (Allegro molto) is a masterpiece only comparable to the finale of Mozart’s Jupiter Symphony. The main theme is based on the English song, Hot Cross Buns, and it pushes its way through a thicket of colourful counterpoints with gusto and joy; it is a truly seamless polyphonic structure. The second theme is a surprising presage of the hymnic finales later so abundant in Beethoven. The power, the joy, the mastery and, in spite of all, a touch of pathos are all impressions one is left with at the close of Haydn’s last symphony.

Maciej Negrey