Гайднның 98-ші симфониясы: Лондондық саяхаттың құрметіне

The Symphony No. 98 in B major, Hoboken I/98, is the sixth of the twelve London symphonies (numbers 93–104) composed by Joseph Haydn. It was completed in 1792 as part of the set of symphonies composed on his first trip to London. It was first performed at the Hanover Square Rooms in London on 2 March 1792. Some musicologists and historians interpret this symphony as Haydn’s tribute to his friend Mozart who had died on 5 December 1791.

Haydn composed the symphony in early 1792. At the time, Haydn was in the midst of the first of his two visits to London, under contract to perform a series of new symphonies with an orchestra led by Johann Peter Salomon as concertmaster. The symphony was performed on 2 March 1792 at the Hanover Square Rooms, with Haydn directing the orchestra from the keyboard. The premiere came two weeks after that of Symphony No. 93, and one week before that of the Sinfonia Concertante. Haydn recalled that at the premiere of No. 98, the first and fourth movements were encored.

The work is scored for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, strings and cembalo. At the symphony’s premiere, Haydn likely played the cembalo part on a fortepiano, but in many modern performances the part is played on a harpsichord, which is what the German word cembalo means. The cembalo part is only scored for a brief solo in the fourth movement, but Haydn would have conducted the premiere sitting at the keyboard and probably used it in a continuo role throughout the whole of the symphony. In modern performances, the B horn part is commonly played with B basso, rather than B alto, horns. It is likely that B basso horns were preferred in the 1792 premiere, making the symphony the first of Haydn’s to employ the instrument. The trumpet and timpani parts are also scored in B.

The first movement is in sonata form and is preceded by an introduction marked "Adagio". The introduction is in B minor, and consists of three differing statements of an upwards broken chord, followed by a downward motion. Haydn then uses the introductory motif as the primary theme of the "Allegro" section of the movement, although this time it is in B major. The use of common thematic material in an introduction and a movement proper is an uncommon compositional device for the time. After its first statement in the Allegro, the motif then proceeds to dominate the entire movement. The exposition modulates to the dominant (F major), as is conventional for a sonata form movement in a major key, but no new theme is presented. Instead, the opening theme, albeit in a varied form, is reprised in the new key. The sonata can thus be called monothematic. After the exposition follows a long development section, then a recapitulation that involves unusually significant variations to the material presented in the exposition.

The movement is in F major and sonata form. There are no trumpet or timpani parts. The movement, solemn and hymn like, makes noticeable use of material from two works by Mozart, the Coronation Mass and Symphony No. 41 ("Jupiter"), and it was possibly intended by Haydn as a tribute to his friend and fellow composer, who died in December 1791: Haydn was composing the symphony when he heard, and was greatly distressed by, the news of his friend's death. The movement's principal theme, introduced by the strings and marked "cantabile", is an almost exact quotation from Agnus Dei from Mozart's Coronation Mass; a resemblance to "God Save the King" has also been noted. The second theme is in the dominant (C major). The exposition is not repeated. Instead there is a transition section into the development. It is in this transition that the quotation from Mozart's Symphony No. 41 ("Jupiter") appears. The recapitulation involves new treatments of the principal theme: on its first reprise, the theme is accompanied by a passage for solo cello in counterpoint. After the second theme is reprised, the oboes present the first theme again. Six measures from the end of the movement, the first two measures of the theme are presented for a final time, by an oboe and a bassoon with a chromatic accompaniment from the strings. The movement then fades to a pianissimo conclusion. The chromaticism accompanying the final statement of the theme was omitted from published editions of the symphony until the 1950s, when H. C. Robbins Landon restored Haydn's original score.

The third movement is a fast minuet and trio. The minuet is in B major. Its second section starts conventionally in the dominant of F major but shifts into A major for a flute solo. The music critic Michael Steinberg described the trio as "gently rustic". Haydn was not a keyboard virtuoso. But the composer and organist Samuel Wesley, who was at the 1792 premiere, recollected that Haydn had executed the keyboard solo proficiently:

"His Performance on the Piano Forte, although not such as to stamp him a first rate artist upon that Instrument, was indisputably neat and distinct. In the Finale of one of his Symphonies is a Passage of attractive Brilliancy, which he has given to the Piano Forte, and which the Writer of this Memoir remembers him to have executed with the utmost Accuracy and Precision." A typical performance of the symphony lasts about 26 minutes.