Symphony No. 85 in B-flat (The Queen)

Navigating through the 104 symphonies by F. Joseph Haydn (1732-1809), there are certain signposts, including the nickname symphonies such as The Philosopher or Mercury, as well as the larger groups written for Paris and London. The six “Paris” symphonies, Nos. 82-87, were composed at Esterházy in 1785 and 1786 and played to great success in the French capital the following season. The commission came from the Chevalier de St Georges, a rather gallant musician, poet, and modern-day Musketeer, who wanted to feature Haydn’s music on a prestigious concert series in Paris. Haydn was known to French audiences by at least 1764. These six symphonies are significant because they were written with the best features of the Parisian orchestra in mind: very large ensembles, including 40 violins, and superlative woodwind players. One of the symphonies, No. 85 in B-flat major, was given the nickname of La Reine because Queen Marie Antoinette preferred it to the other five. Though published as the second in the set, it may have been written next to last based on stylistic evidence.
A slow introduction precedes the spirited triple-meter main theme, marked Vivace. The expected second theme is delayed by a blatant quote from Haydn’s own Farewell symphony. Unlike Handel, Haydn is not usually regarded as a “borrower,” making this clear self-quotation all the more intriguing. The “farewell” theme actually dominates the entire development. Haydn wisely excludes it from the recapitulation, allowing the main theme to carry the day. The second movement features variations on a well-known (at that time) French folksong, “La gentille et jeune Lisette.” Responding to the Parisian standards, Haydn gives the flute a moment to shine as it imitates bird calls. The following Minuet is hearty and hale, including peasant touches throughout; the central Trio section actually includes two woodwind solos. In final position, Haydn composes a boisterous sonata-rondo. Its themes unfold as ABACAB, though one hardly misses the fact that theme A does not return at the end. Having already composed over 80 symphonies, not to mention numerous piano sonatas and string quartets, we might expect Haydn to take pleasure in playing with formal conventions.

(c) Jason Stell