Album insights
Despite Haydn's seclusion at the Eszterházy court in the early 1770s, his music had already begun its journey across Europe, from Cadiz in Spain to London. Paris particularly embraced Haydn's compositions, evident in numerous publications of his own works and those by composers who used his name. Despite the absence of international copyright at the time, this popularity did not bring much financial gain to Haydn. However, he eagerly accepted composition commissions from abroad, especially from Paris, resulting in the six renowned "Paris Symphonies," numbered 82-87.
Parisian concert life in the 18th century was organized by various musical societies that maintained orchestras, held music evenings, and even conducted music contests. The Concert de La Loge Olympique, with François Gossec as conductor, was crucial for Haydn and his symphonies due to its sizable orchestra, unlike any in Austria. Commissioned by Count Claude-François-Marie Rigoley d’Ogny, the six symphonies were given to the Chevalier Joseph-Boulogne de Saint-Georges for negotiations. The order Haydn intended for publication was rearranged, likely for commercial reasons, placing them in a familiar sequence.
Introduced with great success during the 1787 Olympique concert season, Haydn's symphonies soon played at the Concert Spirituel and were offered for sale by the Parisian publisher Imbault in January 1788. These works garnered high praise and admiration, even earning Queen Marie-Antoinette's favor with Symphony No. 85, subsequently titled "La Reine." Haydn's incorporation of the French folk song "La gentille jeune Lisette" in the second movement solidified his place in the hearts of Parisians.
Symphony No. 86, characterized by bold harmonic choices and innovative structures, features a daring Allegro whose theme modulation provides Haydn with ample room for adventurous modulations. The composition's Capriccio slow movement showcases Mozart-like chromatic passages. In Symphony No. 87, known for its precision and simplicity, especially in the first movement, the use of solo woodwind instruments in the Adagio and a charming Trio in the Menuet highlight Haydn's compositional finesse. The symphony concludes with a lively Rondo, one of Haydn's sunniest creations.