Here, again, is the basic template for the symphony…

… but it’s important to realise that in Haydn’s time the form was still in its infancy and that, apart from a vague general outline, he was making it up as he went along. His powers of invention are astonishing but, when asked about this originality, he (characteristically) answered:

I was cut off from the world.
There was no one to confuse or torment me,
and I was forced to become original.

(Haydn, as a servant of the Esterházy family, spent much of his time in the palace of Eszterháza situated in isolation in northern Hungary).

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Here are two middle period symphonies, demonstrating his powers of invention, his wit and his adaptability:

… No. 46 in B (5 sharps! An unusual key for the time), one of the so-called Sturm und Drang [Storm and Stress] symphonies…

0:00 – Vivace
5:21 – Poco Adagio
10:20 – Menuet & Trio, Allegretto
12:52 – Finale, Presto e Scherzando

Score

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…and No. 31 in D (Horn signal), demonstrating what to do if you suddenly find you have four gifted horn players on your hands:

Allegro (0:00)
Adagio (7:11)
Menuetto (17:18)
Finale: Moderato molto (22:14)

Score

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