Symphony No. 40 in F major
Not only the differing paper-types (see the note on chronology), but also the different styles, suggest that this symphony may represent an after-the-fact combination of originally separate movements. While the opening Allegro and the minuet are typically symphonic, the remaining two movements are unique each, however, in a very different way. The masterful sonata-form Allegro employs 'neutral' thematic material, compact scoring, and continually forward-driving rhythms (except for one curious incident in the second group). The minuet is in free, irregularly phrased two-part counterpoint; the trio features concertante horns and oboes.
The Andante più tosto Allegretto Haydn at first wrote merely “Allegretto” - is written for strings alone in bare two-part harmony, “sempre stacccato e piano”, primarily in short, repeated-note motives and sequences. (It would be a sin to disfigure this unique sound with a keyboard continuo.) Was it intended to suggest 'conspiratorial' goings-on? The finale is the only formal fugue in Haydn's entire symphonic output: of the other two finales often cited in this context, that of No. 3 conflates fugue and sonata form, while the severe triple fugue in No. 70 is framed by extensive homophonic sections at either end. Even this movement includes occasional passages in more or less homophonic texture, but the subject (or at least its descending-skip headmotive) is never lost sight of, so that the entire movement indeed derives, fugue-like, from its theme. Although it bristles with contrapuntal artifices, especially strettos, it maintains a jaunty, forward-driving air that is appropriate to its role as a finale.

Analysis of the movements

Musicians

Due to the unclear time of origin of most of Haydn’s symphonies - and unlike his 13 Italian operas, where we really know the exact dates of premieres and performances - detailed and correct name lists of the orchestral musicians cannot be given.  As a rough outline, his symphony works can be divided into three temporal blocks. In the first block, in the service of Count Morzin (1757-1761), in the second block, the one at the court of the Esterházys (1761-1790 but with the last symphony for the Esterház audience in 1781) and the third block, the one after Esterház (1782-1795), i.e. in Paris and London.  Just for this middle block at the court of the Esterházys 1761-1781 (the last composed symphony for the Esterház audience) respectively 1790, at the end of his service at the court of Esterház we can choose Haydn’s most important musicians and “long-serving companions” and thereby extract an "all-time - all-stars orchestra".

Music

Score