When all is said and done, perhaps the most cogent and efficient summary of the Military Symphony – and indeed of nearly all of Haydn's prodigious output – comes from Jacobson: "A lack of appreciation for Haydn is a species of inability to enjoy the good things in life.". Published by Eulenburg. Near the end of his life, when he was Europe's preeminent composer, he made two trips to London for seasons of concerts devoted to his music, composing, among other works, 12 new symphonies. Soon after, when Morzin disbanded his orchestra, Prince Paul brought Haydn aboard as assistant kappellmeister to officiate at his lavish 200-room Eisenstadt castle. To add to his role as a pioneer, Scherchen appears to be the only conductor to have recorded the Military not only twice (itself a rarity) but three times – and all within the span of a mere decade. Such a presentation, in itself, is somewhat historically authentic, as Salomon introduced each London symphony as the culmination of a variegated concert (although not only of Haydn compositions). By tracing watermarks on the pages of the autograph score, Landon found that Haydn wrote the third of its four movements, a menuetto, in Vienna between his two London trips. As the Morning Chronicle noted of that second performance (itself a rarity in an age that constantly demanded new works): "The middle movement again was received with absolute shouts of applause. Indeed, the next Military I've encountered was a hold-over. resounded from every seat. He was also an associate and mentor of Mozart’s and a teacher to Beethoven, further solidifying his place in music history. Commentators point to several traits in the London symphonies that paved the way for future evolution of the genre, while enabling Haydn to bring the form to a peak that has never been matched. Indeed, to those qualities can be added an aura of inner peace and contentment, of being unabashedly happy, free and without any conflict. There was no question about bringing a more logical companion – Haydn's wife, whom he had married in 1760. It begins with the expository A theme in forte. Haydn did not invent symphonic form, which grew out of the Baroque sinfonia, a fast-slow-fast single movement prologue to an opera or oratorio, to which a minuet was added from a divertimento or dance suite.The tripartite construction of the sinfonia also evolved into sonata form, the basic structure of symphonic opening movements, in which an exposition (itself … Thus, Davis presents an unusual view of a work often hailed for its humor and shifting moods, as he underlines the work's profundity, deepened yet further by the allegretto's resounding bass drum (played in authentic fashion with palpable back-beat drum strokes). Murdock further submits that Haydn kept the audience attentive and on edge with the many fascinating "deceptions" with which he constantly enlivened his work and concluded with a loud chord to send his customers home satisfied. • In the 1790s, Haydn spent two different stints in London, during which time he composed a dozen symphonies. Bernard Jacobson adds that Haydn's ability to see clearly was undistorted by ego (indeed a rarity among artists of genius). The most acclaimed set of the full London symphonies came from Sir Thomas Beecham toward the end of his long career. Geiringer attributes the decision to Haydn's concern that he could not sustain the level of expectation or endure the pressure, as well as another reason – yet another Esterházy prince had assumed power and asked Haydn to return to restore the orchestra to its former greatness under his tenure, but with few demands beyond an annual mass to be written and performed on the princess's name-day. Hermann Scherchen broke the logjam in spectacular style by recording not only the Military but the first complete set of London symphonies for the fledgling and ambitious Westminster label. While Fischer intended to capture the sound of the auditorium (beautifully preserved – see the picture on the CD cover), and one would assume that its materials and dimensions would create a unique acoustical image, the differences between it and the reverberant spaces where others made their records are too slight for me to distinguish. The news reached Johann Peter Salomon, a German violinist turned English impresario who was traveling to book new talent. Yet, Geiringer cautions that the essential truth behind such exaggerations must be viewed in the context of the times – musicians had no chance of an independent career, all artists depended on the patronage of nobility, and Haydn basked in the glory of his prince, whose musical establishment was of unparalleled splendor and excellence. 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