program - SVIZ

cite as the model of the classical symphony. The apex of this development is
represented by the twelve London symphonies.
Haydn’s last symphony is known as the ‘London’ Symphony (which is a paradox
as all of his last symphonies are ‘London’ symphonies), but it also has
another name: the ‘Salomon’. This name originates from the violinist and
impresario Johann Peter Salomon, who invited Haydn to write six symphonies
for the English public. After the enormous success of the 1791 and 1792
seasons, Haydn was very happy to return to England again in 1794 and 1795
to present six new symphonies.
The monothematic first movement sets out its musical idea in the first four
bars. Haydn is full of inexhaustible ideas, although having no need of new
contrast or a new motive, returning to the main theme after each episode. The
second movement is similar to the first in terms of its use of the same tones,
while its rhythm, tempo and harmonisation differ. The movement’s poetic
character tends towards variation form, but it is also formally reminiscent of
the first movement. The rapid minuet only hints at the old-fashioned dance,
while the trio comes close to a Viennese ländler. The lively finale in sonata
form is a balanced and extensive synthesis of Viennese classicism with elements
of folk and dance music.
In his ‘London symphonies’ Haydn brought together the symphonic ideals
of the 18 th century, while also imbuing them with a range of musical styles
and genres of his time. He took the symphony of classicism to the extreme
and concluded a rich period of musical history. Symphony No. 104 even has
certain ‘Mozartian’ traits, with which the composer perhaps pays tribute to
his fellow traveller in a particular musical period. When Haydn signed his last
symphony ‘Fine Laus Deo’ (‘The End, Praise be to God’) he perhaps sensed
that he would not write any more symphonies in his lifetime. He had found
what he had been looking for in his symphonies, and he had said what he
had wanted to say.
Katarina Šter
Prevod / Translation: Neville Hall
PROGRAM / PROGRAM
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