Program Notes

Franz Joseph Haydn (1732-1809)

Symphony No. 100 in G Major, “Military” (1794)

Scored for pairs of flutes, oboes, clarinets, bassoons, horns and trumpets, percussion and strings  

Despite working in the relatively remote surroundings of the Esterhazy Palace for much of the year, Franz Joseph Haydn still managed to gain more than a little fame, especially in the 1770's when the full measure of his abilities became apparent. He wrote an amazing amount of music during his time as Kappelmeister to Prince Nikolaus Esterhazy, sometimes with little effort, sometimes with great difficulty. He was bound to satisfy the conditions of his employment, and frequently the demands on his time were all-consuming. But, somehow, in between his commitments, he found the time to compose the music he really wanted to write. He was an experimental composer by nature. Not merely a creator, but an innovator, an inventor. He re-worked established forms, came up with bold new harmonies, and created passages of complex rhythmic and melodic design. His music was full of life, full of wit, overflowing with charm and grace, beauty and good humor. With each new work it became obvious to everyone who was able to hear his music that this man was something special.

Little wonder, then, that when Prince Nikolaus died in 1790, Haydn was flooded with offers. Not only was the great man now highly in demand, but he was now free to choose where he would go and what he would do. He would now create music on his own terms. One December day, while Haydn was still considering what his next step would be, a man whom Haydn had never seen before was admitted and promptly announced, “I am Salomon from London and have come to fetch you.”

Salomon, it turned out, was a violinist and concert promoter who had been living in London for the past nine years and as soon as he heard the news that Haydn was a free man, he lost no time in calling on him. Haydn was still free to accept or reject the London offer, but as it turned out, the terms were pretty lucrative, and the composer decided to take it.

London was very much to his liking, and he was treated like a celebrity everywhere he went. The concerts of his music were always an astounding success, drawing him ever closer to the traditionally fickle hearts of the English public. In fact, his London visit was so popular, that the great man was invited back in 1794. One of the requirements of this second visit was that Haydn would provide six new symphonies. These, along with some of the six works in the genre that the composer supplied on his first visit to the great city, formed a new series of concerts which surpassed everyone's greatest expectations. Haydn had become a citizen of the world, but his twelve “London” symphonies would also ensure his place in musical history. Their innovation and invention, as well as the freshness, youthfulness and beauty of the music became the benchmark to which the composers of the eighteenth century would aspire.

The Symphony No. 100 was first performed on March 31, 1794, which also coincidentally was Haydn's sixty-second birthday. Its nickname, “Military,” seems an obvious choice once we hear the work's second movement. But all nicknames have to have started somewhere, and this quote from the Morning Chronicle , which appeared after the symphony's second performance, seems the likely culprit:

Another new symphony, by Haydn, was performed for the second time; and the middle movement was again received with absolute shouts of applause. It is the advancing to battle; and the march of men, the sounding of the charge, the clash of arms, the groans of the wounded, and what may well be called the hellish roar of war increase to a climax of horrid sublimity!

Like most of Haydn's London symphonies, the first movement opens with a slow introduction of great dramatic intensity. It goes on just long enough to make us wonder if this isn't actually a slow movement, but soon a flute and two oboes begin the Allegro in music of overwhelming good will. The second theme has a charming folk character about it. Just before the start of the development section the music comes to an unexpected halt. The pause is held just long enough to push us to the edges of our seats in anticipation, and then a quiet rumbling begins in the strings, and the development section is underway. Here Haydn presents a highly charged and boldly dramatic rendering of the second theme. Near the end of the section, strings and winds alternate, a sudden build in intensity fades away, and the flute and clarinets take up the opening theme once again. The recapitulation section is considerably abbreviated, and, as if to make up for it, the coda that ends the piece is extended accordingly.

The second movement is the one that has given the symphony its nickname. The traditional military sound is achieved through use of triangle, cymbals and bass drum. Haydn starts with a swaying, dance-like opening theme, which suddenly becomes a strident march, where Haydn first introduces the added percussion. The music becomes more dramatic as it progresses and the military character of the movement is clearly understood.

A graceful minuet is the basis of the third movement. It gradually expands in intensity but never loses its lilting charm. The middle section trio is characterized by a bouncy dotted rhythm.

The opening theme of the finale became a major hit with English audiences. So much so that its main theme began to appear in collections of English folk songs as a tune titled Lord Cathcart . The music is characteristically vibrant and bold, with unexpected contrasts of dynamics and texture. The development section is one of Haydn's most delightfully complicated, and in final moments, we are treated to a welcome return of the triangle, cymbal and drum.