Symphony No.6 in D major (“Le Matin”)

Haydn’s Sixth, Seventh and Eighth Symphonies - “Le Matin,” “Le Midi” and “Le Soir” - were written shortly after he first took up his appointment as Vice-Kapellmeister to Prince Paul Anton Esterházy at Eisenstadt in 1761. It is thought that the Prince himself chose the “Morning,” “Noon” and “Night” titles, and it possible that he also suggested that the composer should give some of the leading members of his orchestra an opportunity to appear in solo roles. Certainly, Haydn produced a set of scores that most successfully integrate features of the baroque concerto with the early classical symphony.

Of the four movements of “Le Matin,” the first is perhaps the most prophetic of the sort of symphonic construction Haydn was to develop in later years in the service of Paul Anton’s brother, Prince Nikolaus Esterházy. Although the Adagio opening, built on a long crescendo, is clearly intended to represent a sunrise, it is also an early version of the slow introduction associated with most Haydn symphonies from No.50 onwards. There is only one clearly defined main theme, introduced by flute as the tempo changes to Allegro, but it is duly developed along with other material and, in anticipation of a famous moment in Beethoven’s “Eroica” Symphony, it is recalled by a solo horn two bars before its formal recapitulation.

The slow movement is for strings alone. Set between a dramatic Adagio introduction and a cryptic Adagio epilogue, the central Andante is a delightfully scored concertante for solo violin and cello. Woodwind and horns are restored in a Menuet which boasts a particularly entertaining trio section starring a solo double bass and a virtuoso bassoon.

The last movement also has its solo features - a first subject for flute repeated by violin, a second subject for a busy cello, a development dominated by the violin, and a recapitulation that contrives to feature the two horns as well.

The three symphony - “Le Matin” in D, “Le Midi” in C and “Le Soir” in G - were written in 1761, shortly after Haydn first took up residence in at Eisenstadt, as Vice Kapellmeister to Prince Paul Anton Esterhazy. It could be that the Prince himself suggested the title (which, unlike the nicknames attached to many of Haydn’s symphonies, are authentic) and perhaps he also detailed the programme which must lie behind them. Certainly, Haydn welcomed the opportunity to take advantage of the qualities of the musicians he found in the court orchestra and wrote some very colourful pieces - though hardly symphonies in the classical sense - in the process.

Of the four movement of “Le Matin,” the first is the most prophetic of the sort of symphonic construction Haydn was to develop in later years in Eisenstadt. It is true that the Adagio opening, on a long crescendo is probably intended as a sunrise, but it is also an early version of the slow introduction associated with the mature symphonies. In the Allegro there is a well defined first subject, introduced by flute in D major. The key changes to the dominant, but not so much for a second subject theme as for a dramatic episode resourcefully scored for strngs. The first subject is briefly develop in the middle of the movement and recapitulated, with echoes of the dramatic episode to complete the construction.

The slow movement, an Andante in G major set between a curious Adagio introduction and epilogue, is a delightful concertante for solo violin, cello and strgins. In the D major Menuet there are outer section featuring the wind instrument and one of the most enterprising trios Hayd ever wrote, with a virtuoso part for bassoon and a prominent solo for double bass (giving way to viola and cello in the middle).

The last movement also has its solo inspiration, which emphasises the outline of a tiddy little sonata structure - first subject for flute repeated by violin, second subject fo a busy solo cello, a development domnated by the violin, and a recapitulation which contrives to feature the two horns as well.