Haydn's Symphony No. 79 in F major, was composed in 1784. The symphony is characterized by a strong and joyful opening theme, as well as varied rhythms throughout all four movements, especially in the minuet. The wind section alternates throughout the symphony between doubling the string section and playing independently. Of particular note are a number of long rests, which are characteristic of Haydn.
Symphony No. 79 was composed as part of a trio of symphonies that also includes symphonies 80 and 81. [1] Unlike the previous three symphonies that were composed for London or the next six that were composed for Paris, symphonies 79 through 81 were written for a Lenten concert performed in Vienna in March 1785. [2] For whatever purpose they were written, in these three symphonies Haydn experiments openly and widely with rhythms, pauses, tutti, minimal polyphony, occasional dissonance, theme and variations and dance-like structures (one thinks of Beethoven's 7th symphony in terms of the combined innovation, playfulness and daring). All three symphonies share the same structure of movements, and for the most part they have similar chord structures, at least in the first movements of each symphony.
The symphony is scored for flute, two oboes, two bassoons, two horns and strings. There are four movements:
The second half of the slow second movement is not slow at all and has a tempo more typical of a finale.
Much of the minuet is built on "4 + 2" six-bar phrases where the final two bars serve as a partial echo of the first four. The trio is based on a theme that is strikingly similar to the rondo finale to Mozart's first horn concerto, K. 412/386b, written in 1781/82. [3]
The finale is a straightforward rondo with two episodes. The first episode has a gypsy flavor. [3]
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Symphony No. 44 in E minor, Hoboken I/44, was completed in 1772 by Joseph Haydn. It is popularly known as Trauer. An apocryphal story relates that Haydn asked for the slow movement of this symphony to be played at his funeral.
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The Symphony No. 104 in D major is Joseph Haydn's final symphony. It is the last of the twelve London symphonies, and is known as the London Symphony. In Germany it is commonly known as the Salomon Symphony after Johann Peter Salomon, who arranged Haydn's two tours of London, even though it is one of three of the last twelve symphonies written for Viotti's Opera Concerts, rather than for Salomon.
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The Symphony No. 100 in G major, Hoboken I/100, is the eighth of the twelve London symphonies written by Joseph Haydn and completed in 1793 or 1794. It is popularly known as the Military Symphony.
The Symphony No. 95 in C minor is the third of the twelve London symphonies written by Joseph Haydn. It is the only one of the twelve London symphonies in a minor key, and is also the only one of them to lack a slow introduction.
Symphony No. 93 in D major, Hoboken I/93, one of the twelve London symphonies written by Joseph Haydn.
Symphony No. 88 in G major was written by Joseph Haydn, for the orchestra of Esterháza under the benevolent Prince Nikolaus Esterhazy. It is notably the first of his symphonies written after the completion of the six Paris symphonies in 1786.
The Symphony No. 89 in F major, Hoboken I/89, was written by Joseph Haydn in 1787, and performed under the auspices of Nikolaus Esterházy at Esterháza. It is sometimes referred to as The Letter W referring to an older method of cataloging Haydn's symphonic output. The second and fourth movements of this symphony are based on movements of a Concerto for Lire Organizzata in F, Hob. VIIh/5, that Haydn composed in 1786, a year before this work, for Ferdinand IV, King of Naples. To accommodate other orchestras, Haydn had arranged all of his Lire Concertos to be played with flute and oboe as the solo instruments instead of the two lire. Similar substitutions were made adapting the movements into a symphonic form, giving this work a decidedly windband flavor.
The Symphony No. 91 in E♭ major, Hoboken I/91, was written by Joseph Haydn. It was completed in 1788 as part of a three-symphony commission from Count d'Ogny for the Concert de la Loge Olympique, a successor to Haydn's series of "Paris symphonies". It is occasionally referred to as The Letter T referring to an older method of cataloguing Haydn's symphonic output.This triptych also includes Haydn's own Symphony No. 90 and Symphony No. 92.
The Symphony No. 80 in D minor, Hoboken 1/80, is a symphony composed by Joseph Haydn in 1784 as part of a trio of symphonies that also included symphonies 79 and 81. This symphony, along with the one that follows it, and the one that precedes it, were not written for Prince Nikolaus, but for a Lenten concert performed in Vienna in March 1785. It is one of the relatively few later symphonies by Haydn to begin in the minor mode. Symphony No 80 is highly structured with both outer movements in sonata form. There is a common modulation pattern seen in all four movements.
Symphony No. 76 in E♭ major is a symphony by Joseph Haydn completed in 1782.
Symphony No. 74 in E♭ major, Hoboken 1/74, is a symphony by Joseph Haydn composed in 1780 or 1781.
The Symphony No. 68 in B flat major, Hoboken I/68, is a symphony by Joseph Haydn. The symphony was composed in 1779 for Nikolaus I, Prince Esterházy. It is chronologically the last symphony by Haydn where the Minuet is second out of the four movements.
The Symphony No. 62 in D major, Hoboken I/62, is a symphony written by Joseph Haydn for the orchestra at Esterháza in 1780 or 1781, a good length of time after the writing of Symphony No. 61.
Joseph Haydn's Symphony No. 47 in G major Hob. I:47 was probably written in 1772. It was nicknamed "The Palindrome".
Joseph Haydn's Symphony No. 3 in G major, Hoboken I/3, is believed to have been written between 1760 and 1762.
The String Quartets, Op. 50, were composed by Joseph Haydn in 1787. The set of six quartets was dedicated to King Frederick William II of Prussia. For this reason the set is commonly known as the Prussian Quartets. Haydn sold the set to the Viennese firm Artaria and, without Artaria's knowledge, to the English publisher William Forster. Forster published it as Haydn's Opus 44. Haydn's autograph manuscripts for Nos. 3 to 6 of the set were discovered in Melbourne, Australia, in 1982.
