Haydn, Allegretto from “Military” Symphony

USD $60

This arrangement of the second movement for band by the composer himself was done on English paper and surfaced during the 1980s in a private collection in Sweden.

Product Description

Sym­pho­ny Nr. 100, “Mil­i­tary,” II. Alle­gret­to
Joseph Haydn (1732–1809)
Mod­ern edi­tion by David Whitwell (1937–)

Date: 1794
Instru­men­ta­tion: Wind Ensemble
Dura­tion: 3:50
Lev­el: 3

Score pre­view

Flute
2Oboes
2Clar­inets
2Bas­soons
2Horns
Trum­pet
Ser­pent
Tim­pani
Snare Drum
Bass Drum
Cym­bals
Tri­an­gle

Notes on the Haydn Allegretto

Haydn’s Sym­pho­ny Nr. 100 was com­posed for the Salomon con­certs in Eng­land in 1794. The arrange­ment of the sec­ond move­ment for band by the com­pos­er him­self was done on Eng­lish paper and sur­faced dur­ing the 1980s in a pri­vate col­lec­tion in Swe­den. This sym­pho­ny became known as the “Mil­i­tary” Sym­pho­ny in Eng­land due to the large per­cus­sion require­ments of the sec­ond and fourth move­ments. In addi­tion, the sec­ond move­ment of the sym­pho­ny is the only one with clar­inet parts, which, added to the per­cus­sion, made it an ide­al choice for a tran­scrip­tion when some­one in Eng­land appar­ent­ly request­ed one.

In the auto­graph score for the band ver­sion Haydn did not take the time to write out the per­cus­sion parts but only mere­ly wrote, “Mil­i­tary instru­ments.” In my edi­tion I have tak­en that to mean the use of the instru­ments he used in the sym­pho­ny itself and so they are iden­ti­cal here. It is also sig­nif­i­cant that Haydn care­ful­ly pre­served in the band man­u­script the fre­quent dots over melod­ic notes, which the read­er must under­stood meant an accent and had noth­ing to do with the mod­ern con­cept of staccato.

In Lon­don, when Haydn attempt­ed to con­duct dur­ing the first rehearsal—his own com­po­si­tion and a work no one had ever heard before—he caused hard feel­ings on the part of the “leader,” the first vio­lin­ist whose role in the era before mod­ern con­duc­tors was to pro­vide the tem­po for the orches­tra. A news­pa­per “war” ensued, pro and con, and among the con­trib­u­tors was the famous Charles Bur­ney, who wrote,

There is a cen­sure lev­eled at him…for mark­ing the mea­sure to his own new com­po­si­tion: but as even the old com­po­si­tions had nev­er been per­formed under his direc­tion, in this coun­try, till the last win­ter, it was sure­ly allow­able for him to indi­cate to the orches­tra the exact time in which he intend­ed the sev­er­al move­ments to be played, with­out offend­ing the leader or sub­al­terns of the excel­lent [orches­tra] which he had to conduct.

David Whitwell
Austin, 2010

Recording

This per­for­mance was giv­en at the North Ger­man Radio Stu­dios in Cologne in July 1989, by the Cal­i­for­nia State Uni­ver­si­ty, North­ridge Wind Ensem­ble, David Whitwell, Con­duc­tor, Ronald John­son, Guest Conductor.