Symphony No. 100 in G Major

Written during 1793 and 1794, prior to Haydn’s second visit to London, Symphony No. 100 is the eighth of his “London Symphonies”. Its “Military” subtitle relates to the second movement “Allegretto” in C major, its stately melody taken from the “Romanza” of a Concerto for lira organizzata (Concerto for Hurdy Gurdy), here with “Turkish” percussion added to an already full orchestra, which reaches dramatic peaks in the restless central section and a coda heralded by trumpet fanfares. In the first movement, a sombre “Adagio” prepares for an “Allegro” whose suave main theme is shared between deft woodwind and incisive strings; a genial idea on strings comes into its own in the intensive central development. In its steady gait and graceful trio, the “Menuetto” is one of the more traditional movements in Haydn’s last symphonies—unlike the final “Presto”, its lively main tune taken through numerous key changes during the development, with percussion returning for a coda of real panache. About Haydn’s “London Symphonies” The huge success of Haydn’s “Paris Symphonies”, published in London in 1788, made it all but inevitable that the city would commission further such works. This task was undertaken by violinist, conductor and impresario Johann Peter Salomon, who duly contacted the composer with the purpose of bringing him to London to perform his latest symphonies. Already acclaimed across Europe, Haydn became a celebrity on his first visit to London, writing six symphonies that were first performed during 1791 and 1792. Their success prompted his second visit in 1794-95, when another six were premiered. After these “London Symphonies”, Haydn turned primarily to oratorios and masses, writing no further symphonies in his final seven years of creativity.