Symphony No. 88 in G Major, Franz Joseph Haydn
Haydn's greatest fame as a symphonic composer rests with the two sets of symphonies he wrote for Paris (six symphonies of 1785-86) and London(12 symphonies of 1792-94). However Haydn was also very industrious during the intervening years, producing five excellent symphonies, of which No. 88 was the first and one of his finest ever.
The Symphony No. 88 was apparently composed in 1787, after Haydn had returned from his triumphant Paris trip and had resumed his duties as Kapellmeister to Prince Nicholas Esterhazy.
Composed at the full maturity of his creativity, No. 88 stands comparison with any of his other symphonies, including the great London symphonies which followed. It opens with a simple but highly expressive slow introduction which gives a sense of importance to the Allegro in sonata form which follows. This Allegro is one of Haydn's most tightly-knit pieces, dominated by a seven-note motive that pervades the entire movement, almost as relentlessly as the famous "Fate knocking at the door" theme of Beethoven's Fifth Symphony, but in a far more optimistic spirit.
In spite of the tremendous energy of the first movement, the trumpets and timpani remain unheard until the 41st measure of the second movement, which opens with a beautiful melody for solo cello and oboe. The brass and percussion periodically punctuate this lovely melody with outbursts, heralding Haydn's use of this technique in future works, such as the "Surprise" Symphony and the "Military" Symphony.
The Minuet is typically good-humored Haydn and is peppered with snappy ornamental turns. The trio section caused the German audiences to give it the nickname "Mit dem Dudelsack," because of the droning bagpipe effect of the bass line
As if the incredible riches which have gone before in this work were not enough,the S ymphony No.88 is crowned with one of the most beguiling rondos ever composed by Haydn. He had only recently discovered how much more interesting he could make his rondos by getting away from the traditional, almost mechanical alternation of rondo refrain and contrasting episodes, adding the enriching touch of sonata form. This Finale is one of the simpler examples of this extended rondo form, but dazzlingly adroit and humorous, bringing the symphony to a breathless conclusion.
