Symphony No.22 in E flat major (“The Philosopher”)

“The Philosopher” is one of the few nicknames attached to Haydn symphonies that are actually helpful. It wasn’t the composer’s idea but it was already current in the 18th century and, since it applies so well to the character of the opening Adagio, it has remained in use ever since. Even if the thought process plods a little, as the steady and unchanging rhythmic tread of the bass line seems to suggest, it is unquestionably serious. It is also theologically inclined, as the theme devoutly proclaimed by the two horns and two cors anglais in the opening bars clearly indicates. Although the precise origin of the theme is unknown, it is clearly an old church chorale and an apt choice for a symphony which, like five others composed by Haydn in the 1760s, conforms to his version of the sonata da chiesa or church sonata - beginning with a slow movement and including a minuet between two fast movements.

It was no doubt the ecclesiastical nature of the chorale theme that inspired Haydn to drop the pair of oboes he had used in his earlier symphonies - together with two horns or, in one case, trumpets - and replace them with cors anglais. Since the oboes and cors anglais would have been played by the same instrumentalists in his orchestra, he could have reverted to oboes in the rest of the work. In retaining the cors anglais, however, he gave the score a sound quite unique among his symphonies.

Instrumental colour is not the only feature of the first movement that extends its influence into the rest of the work. Strong enough to sustain an Adagio as long as the two Prestos and the Menuet put together, the chorale theme also finds echoes later on - not so much in the first Presto but very clearly in the main theme of the Menuet and rather more discreetly in the closing Presto. Horns and cors anglais play a starring role in the trio section of the Menuet and add an outdoor element to a Finale that galops along in 6/8 hunting rhythms.