The Miracle
“When I think of my God, my heart dances within me for joy, and then my music has to dance, too.”
As we are bid to rejoice this coming Sunday, what better composer to turn to than one whose symphonies are so often light and full of exuberance: Franz Josef Haydn. I have a great love of Haydn, and his brevity in composition is certainly welcome in the world of overlong symphonies that came shortly after his time. For today I have selected symphony 96, often subtitled “The Miracle.”
For today I have selected Symphony 96 in D Major, often subtitled “The Miracle” or “The Miracle Symphony.” The miracle in question has nothing to do with the miracle from this Sunday’s Gospel, the multiplication of the loaves and fishes; but I did select it for that reason. It was told that at the first performance of this symphony Haydn was there to conduct himself. A large portion of the attendees left their seats to go see the great composer, and no sooner had they left than the chandelier fell and plunged into the empty seats. The lucky escapees began to shout ‘miracle!’ as no one was severely injured by the disaster. It’s a great story, but it is wrongly attributed to this symphony, and actually happened at the first performance of Haydn’s 102nd. Nevertheless, the titles stuck for 96. Despite it’s numbering, this is actually the first of the so-called London Symphonies. It was the first to be written and the first to be performed.
Adagio, 3/4 – Allegro, ¾
The introduction is slow and deliberate, before picking up for the Allegro, as he intertwines two themes throughout. This climaxes with a fanfare in D Minor before returning to D Major.
Andante, 6/8 in G major
The strings take centre stage here, interrupted and accompanied by particularly expressive winds. This is a slow movement that is light and lilting. It ends with solos from the principal violinists as well as the woodwinds.
Menuetto: Allegretto, ¾
A nice little dance for the third movement, the highlight of which is the extended oboe solo. It is Allegretto, so a bit quicker than the typical allegro you might find here.
Finale: Vivace, 2/4
The Vivace signals that this will be fast and exciting, something Haydn excels at. The strings are wild and clashing with the trumpets sitting on A throughout. The coda references the rhythmic patterns established in the beginning and brings the whole symphony to a triumphant conclusion.
Perhaps a more obvious choice for some on a joyous day would have been Beethoven, but listen closely to this. Beethoven was a student of Hadyn, and you can hear it here. There are hints of what is to come, especially in the first and second movements (listen to that fugue). Hadyn’s influence on both Beethoven and Mozart is readily evident if one takes the time to explore. In truth, I never really tire of Hadyn. If I ever need something and can’t decide, I almost never say no to Haydn. Overall, this piece is fun, it’s exuberant, it’s Haydn. Laetare! Happy Listening!
Sancta Caecilia, ora pro nobis!