A couple of days ago I decided to listen to Haydn’s so-called Oxford Symphony, having not heard it in a few years. I had almost forgotten what a delightful symphony it is. Haydn’s symphony no. 92, became known as the Oxford Symphony because he had it performed while he was at Oxford, receiving his honorary degree. But the symphony had actually been composed  several years earlier for a concert in Paris.

First, a word about the scoring. Those were the days of a leaner sound, before the symphony orchestra had acquired a larger assortment of instruments. This symphony is scored for the following instrumentation: 1 flute, two oboes, two bassoons, 2 horns, two trumpets, two kettle drums, and the normal string section, ie first and second violins, viola, cellos, and basses. It is my opinion that this symphony sounds best with a small orchestra, ie, one with a reduced string section. With too large a string section some of the notes of the solo flute will be drowned out. They orchestras of Haydn’s day had a smaller string section, and furthermore, the violins of his day were not as loud as modern violins.

As is typical for Haydn, his Oxford symphony is full of wit and humor, with only a touch of the dramatic. After a slow introduction, the first movement, marked allegro spiritoso, begins. The first theme is ostensibly dramatic, but the drama is not real. It is a farce. In no way do I mean that as a criticism. In fact I think it is absolutely ingenious the way Haydn could be so playful, while at the same time, sounding quasi-dramatic. The first theme begins with strings alone for four measures, then the entire orchestra joins in. After playing around with the first theme for a while, Haydn gives us the second theme, in the key of  D, and with strings only for three and half measures, oboes and bassoons join in, and the flute  punctuates the them with a couple of delightful scale passages.

After a rather playful development section, Haydn gives us a rather expansive recapitulation in which he continues to develop  the motifs of the main theme. The second movement, marked adagio cantabile, is rather pretty. It is in the key of D, with a central section in D-minor. The third movement is a minuet in which the wit and humor of Haydn shine forth unabashedly.

The finale of this wonderful symphony, is for me, one of the very best symphonic finales by Haydn. The first theme is given out by strings alone in the first sixteen measures. Haydn plays around with that theme for a while before a second theme is added to the discussion. This finale is full of playful effects and is a thoroughly delightful movement. Near the end, in measures 318 and 319, there is a passage that moves downward in this sequence of notes : D B G D and then leaps back up and plays the downward sequence : G E C A. If you listen carefully you will hear that every note is followed by a note an octave lower. It is very easy not to hear the lower notes in this sequence, but very delightful if you do hear them. Whether or not you hear the lower notes of this passage depends on the particular recording you are listening to, the fidelity of your sound system, and most of all, just knowing it is there.

I urge anyone reading this to obtain a recording of Haydn’s Oxford symphony and sit back and listen to it a few times. In Haydn you will not find the extreme drama and tension of Beethoven, but Haydn’s wit, charm, and playfulness are absolutely delightful.