In 1784, Franz Joseph Haydn received a commission to write six symphonies (Nos. 82-87) from the board of directors of the Parisian concert society, the Concert de la Loge Olympique.
The orchestra at Haydn’s disposal, which included 40 violins and 10 double basses, was far larger than the chamber ensemble of 25 players at the Esterházy Palace where Haydn was employed. According to musicologist Robbins Landon, “The musicians wore splendid ‘sky-blue’ dress coats with elaborate lace ruffles, and swords at their sides.” The concerts were patronized by Marie Antoinette. Published in London and Vienna soon after their premieres, the Paris Symphonies were “rapturously” received. An anonymous critic in Mercure de France praised Haydn as “this vast genius, who in each one of his pieces knows how to draw developments so rich and varied from a unique theme (sujet) – very different from those sterile composers who pass continually from one idea to another for lack of knowing how to present one idea in varied forms.”
The second of the Paris Symphonies, and the only one set in a minor key, is Symphony No. 83 in G minor. Although not given by Haydn, it earned the nickname, La Poule, or “The Hen” after the first movement’s clucking, pecking second theme, which is played by the oboe. Marked Allegro spiritoso, the first movement begins with a stormy, declarative statement, punctuated with sforzandos and interrupted by dramatic pauses. The arrival of the second theme breaks the tension and replaces it with comedy. Commenting on the Paris Symphonies, Charles Rosen aptly wrote, “There is not a measure, even the most serious, of these great works which is not marked by Haydn’s wit; and his wit has now grown so powerful and so efficient that it has become a sort of passion, a force at once omnivorous and creative.” Haydn once again takes us on a turbulent ride during the development section, only to conclude the movement in a blazing G major.
Moving to E-flat major and a stately 3/4 time, the second movement (Andante) is a drama filled with surprises. Mysterious, hushed moments are interrupted by sudden crashing fortes amid harmonic adventure. Scales emerge in various guises throughout the movement, and occasionally leap out boisterously.
The Minuet is an earthy Austrian peasant dance. In contrast, the Trio section tiptoes gracefully with the flute and solo violin doubling the melody line.
The Finale (Vivace) is a joyfully romping gigue in 12/8 time. It is music filled with a sense of adventure, which occasionally ventures back into the turbulence of the first movement. In the final bars, horns ring out, bringing celebratory connotations of the hunt.
Recorded on November 22, 2019, this performance features Andrés Orozco-Estrada and the Frankfurt Radio Symphony:
Recordings
- Frans Brüggen and the Orchestra of the 18th Century
- Herbert von Karajan and the Berlin Philharmonic
- Sir Neville Marriner and the Academy of St Martin in the Fields
Featured Image: “Rooster and Hens at Daybreak” (1862), Frans van Severdonck