Joseph Haydn Symphony nº 106 in D major Hob. I:104 "London" "Salomon"

Bavarian Radio Symphony Orchestra,
Mariss Jansons, conductor

Symphony No. 104 originated at the beginning of 1795 in London and is the last of the symphonies Haydn composed; Haydn himself noted on the title page of the handwritten score: The 12th which I have composed in England. Its first performance took place in the scope of a benefit concert which Haydn gave on 4 May 1795 in London; it was a component of the programme of the final Salomon Concerts in London in May-June, 1795, before Haydn returned to Vienna and Eisenstadt. Consequently, Symphony No. 104 is not only the crowning of the London Symphony series, but of all of Haydn s symphonic work. It is the sum of Haydn s compositional skill not only in regard to counterpoint, but also in the capacity typical of Haydn to harmonise contrapuntal brilliance with a popular musical idiom.

The slow introduction, starting in fortissimo in a fanfare-like motive, ushers in an allegro of the greatest density of thematic dovetailing founded on a single thought. The dramatic, imperious opening of the first movement of the Symphony No. 104 gives way to a high-spirited Allegro; its one main theme is extensively developed.

The slow movement features harmonic intricacies of a new kind. The Andante features a fairly simple, stately theme which in the course of its melodic and harmonic travels becomes quite touching, even profound.

In its character the fast-paced minuet, a waltz with a trio whose effect is based on the use of solo instruments, deviates entirely from corresponding pieces in preceding symphonies.

As is the case in many of his 104 symphonies (and in a few of the 12 "London" symphonies), Haydn turns to folk music for the Finale, marked Spiritoso. The main tune of the movement is a Croatian folk song (identified as "Oj Jelena") which Haydn likely encountered at his old home in Eisenstadt, where the Esterházy's winter residence was located. Coincidentally, the tune also evokes, according to some accounts, the street cries which were commonly used by vendors and hawkers in eighteenth century England. It might be that Haydn heard those street sounds during his years in London and was reminded of that old folk song. In any case, the melody is subjected to some exciting and complex development, and the symphony ends with an imposing and uplifting peroration.