Relayed from THE QUEEN'S
HALL, LONDON
(Sole Lessees, Messrs. Chappell and Co., Ltd.)
Haydn-Mozart
MIRIAM LICETTE
EGON PETRI
THE B.B.C. SYMPHONY
ORCHESTRA
(Principal First Violin,
CHARLES WOODHOUSE )
Conducted by Sir HENRY WOOD
WHETHER Haydn or his publishers gave the curious titles to the symphonies which some of them bear is not clear, but that Haydn was often up to some of his humorous tricks explains, at least, the origin of his titles. For example, three of the six symphonies known as the Paris Symphonies (of which this one is No. 2) have odd titles. There is the one called ' Queen of France,' evidently because it contains a little French arietta which Haydn knew as a favourite of Marie Antoinette when she was an Austrian Archduchess ; another known as the ' Bear ' has a heavy-footed time in it resembling a bear dance, as well as references to the hunting field. Regarding the title ' La Poule,' which might have references to a figure in a quadrille known as La Poule, or to the barn-yard fowl because of echoes of the farmyard to bo heard in the allegro and andante of the symphony, it is obviously a question of which came first, the hen or the farmyard. Therfe is still another suggested solution, and that is that there can be traced in the slow movement a passing allusion to a celebrated piece for the harpsichord by Rameau also entitled La Poule. However this may be, the work is spirited and jolly, typical of Haydn's mature period.
MOZART'S opera Figaro had been produced in Prague and the whole city had gone mad about it. Mozart thereupon paid Prague a visit, and his reception was such that it would seem too much could not be made of him. He promised them another opera, which presently turned out to be Don Giovanni. He also gave two concerts during his stay, at one of which this symphony, already composed three years before, was played. It was received with such tremendous enthusiasm that it has since been known as the Prague Symphony. In its maturity it is worthy to rank with the three last and greatest. It is in three movements only and scored for a comparatively small orchestra without clarinets and trombones. The whole work is bright in feeling, with a long slow movement packed full of beautiful melodies.