Beethoven wrote this Overture in 1822, for the opening of a new theatre in Vienna, on a day which was also the Emperor's name-day.
Beethoven's biographer, Schindler, told how the composer, while roaming with friends in the woods, walked apart for a while, and then showed them two themes for the Overture that he had jotted down in his sketch-book, saying that one might effectively be worked in his own style, and one in that of Handel.
Of course, the Overture is true Beethoven, not just an imitation of Handel, of whoso style there is no more than a pleasant flavour.
It is a dignified and jubilant piece, appropriate to the celebration of the two events which brought about its composition.

May Huxley (Soprano) and Orchestra

The Movements of the Concerto are as follows:-
First Movement. The interest of this lies in a happily bustling tune, taken up in alternation by the two Violin parts. Sometimes one Solo Violin starts a tune, which is then taken up (almost in Fugue style) by the other.
Note especially the opening tune; this is important. It often recurs, and may be looked upon as the main tune of the Movement.
Second Movement. This is a very expressive Movement, and has become famous. We have, in fact, a Violin duet with a quiet accompaniment.
Third Movement. In spirit, style, and construction this is so like the First Movement as to call for little description.
The Solo Violins begin in imitation at a mere beat's distance, and keep up a vigorous and cheerful motion all through.

A Few of Haydn's Symphonies have received nicknames - The Bear, The Hen, and so on, that are not always easy to account for. The clue to the nickname, The Clock, is not at once clear when the Symphony begins, for it is only in the Second Movement that we hear the 'tick tock' rhythm from which the work has taken its name.
The First Movement begins with the conventional slow Introduction, after which, quite inconsequentially, bat most happily, follows a scampering, quick Movement, in which the Strings dash up and down, like a group of children chasing each other.
The Slow Movement has the 'clock' rhythm as an accompaniment to a charming First Violin Tune. This, with a Minor key episode, makes up the short piece.
The Third Movement, the usual Minuet, is one of the countrified dances that Haydn loved to write.
The Fourth Movement has, as text, a passage first given out by Strings. It comes up several times, with intervening episodes, and finally is used as the basis of a Fugue, short but very briskly pursued. The Full Orchestra then gives it out in glory, and with a final scamper we come to the end of the Movement and of the Symphony.