Paris Symphonies — Symphony No. 88, in G major (B. & H. No. 13)
I. Adagio; allegro II. Largo III. Menuetto; trio IV. Finale; allegro con spirito
The Parisian orchestra, which Haydn undoubtedly had in mind, was a large one—forty violins, twelve violoncellos, eight double basses—so that the composer could be sure of strong contrasts in performance by the string section. Fortunate composer—whose symphonies one can, sitting back, enjoy without inquiring into psychological intention or noting attempts at realism in musical seascapes and landscapes—music not inspired by book or picture—just music; now pompous, now merry, and in more serious moments, never too sad, but with a constant feeling for tonal grace and beauty.
Haydn wrote a set of six symphonies for a society in Paris known as the Concert de la loge olympique. They were ordered in 1784, when Haydn was living at Esterház. Composed in the course of the years 1784-89, they are in C, G minor, E flat, B flat, D, A. No. 1, in C, has been entitled the “Bear”; No. 2, in G minor, has been entitled the “Hen”; and No. 4, in B flat, is known as the “Queen of France.” This symphony is the first of a second set, of which five were composed in 1787, 1788, 1790. If the sixth was written, it cannot now be identified. This one in G major was written in 1787, and is numbered 88 in the full and chronological listing of Mandyczewski (given in Grove’s Dictionary).
I. The first movement opens with a short, slow introduction, adagio, G major, 3-4 which consists for the most part of strong staccato chords which alternate with softer passages. The main body of the movement allegro, G major, begins with the first theme, a dainty one, announced piano by the strings without double basses and repeated forte by the full orchestra with a new counter figure in the bass. A subsidiary theme is but little more than a melodic variation of the first. So, too, the short conclusion theme—in oboes and bassoon, then in the strings—is only a variation of the first. The free fantasia is long for the period and is contrapuntally elaborate. There is a short coda on the first theme.
II. Largo, D major, 3-4. A serious melody is sung by oboe and violoncellos to an accompaniment of violas, double basses, bassoon, and horn. The theme is repeated with a richer accompaniment; while the first violins have a counter figure. After a transitional passage the theme is repeated by a fuller orchestra, with the melody in first violins and flute, then in the oboe and violoncello. The development is carried along on the same lines. There is a very short coda.
III. The Menuetto, allegretto, G major, 3-4, with trio, is in the regular minuet form in its simplest manner.
IV. The finale, allegro con spirito, G major, 2-4, is a rondo on the theme of a peasant country dance, and it is fully developed. Haydn in his earlier symphonies adopted for the finale the form of his first movement. Later he preferred the rondo form, with its couplets and refrains, or repetitions of a short and frank chief theme. “In some finales of his last symphonies,” says Brenet,33 “he gave freer reins to his fancy, and modified with greater independence the form of his first allegros; but his fancy, always prudent and moderate, is more like the clear, precise arguments of a great orator than the headlong inspiration of a poet. Moderation is one of the characteristics of Haydn’s genius; moderation in the dimensions, in the sonority, in the melodic shape; the liveliness of his melodic thought never seems extravagant, its melancholy never induces sadness.”
The usual orchestration of Haydn’s symphonies (including those listed above) consisted of one (or two) flutes, two oboes, two bassoons, two horns, two trumpets, kettledrums, and strings. In his last years (from 1791) he followed Mozart’s lead in introducing two clarinets. The clarinets accordingly appear in the London symphony in D major, described in this chapter.—EDITOR.