After a slow introduction, the first movement of Haaydn’s Symphony #88 moves into a perky Allegro in which Haydn plays with the conventions of sonata form so that every detail seems spontaneous.
To mention just two: a second theme that seems to have jumped out of the first and a winsome flute solo that adorns the return of the principal theme.
The second movement is a set of variations on a graceful theme – a perfect vehicle for Haydn’s resourcefulness. Trumpets and drums make their first appearance here; they would be more predictable sitting out the Largo after playing in the more assertive first movement.
In the Minuet, Haydn’s rustic roots infuse both the robust theme and the bass drone.
The Finale is a spirited rondo in which the recurrent theme’s opening repeated notes are offset rhythmically (on the second beat instead of the more conventional first) and thus feel just slightly out of kilter each time the tune reappears. (Indeed, the number of themes in this symphony that begin on the upbeat and thus achieve a buoyant quality might serve as an illustration of that word’s current usage to mean cheerful or optimistic.)
A complicated canon in the middle of the movement might seem out of place, but only acts as another wink (“you see, I did have another trick up my sleeve”) at the by-now thoroughly delighted listener.
Here is the late Franz Bruegel leading a performance of this amazing work:
