Michael Haydn's Reported Influence on Mozart's Symphony #39
In a private e-mail conversation with Jan-Willem the subject of a Michael Haydn's Symphony in Eb having an influence on Mozart in the composition of his Symphony #39 in the same key, came up in passing. I decided to pass on some information on this to Jan-Willem, and anyone else who might be interested.
Michael Haydn's Symphony in Eb (Perger listing 17, Sherman-MH 340) is dated August 14, 1783. Of course Wolfgang and Constanze Mozart were in Salzburg at this time, so chances are good Wolfgang heard a performance of the symphony. As a matter of fact Alfred Einstein believed it was probably the beginning of this symphony "that supplied the stimulus" for the first Allegro of the Eb Symphony K543. Einstein also saw the same with the Adagio affettuoso of the Haydn work and Mozart's Andante.
Charles H. Sherman in his 1777 publication of the Haydn symphony went a little further, writing this symphony "one of Haydn's most lyrical works, merits special attention for the fact that it obviously inspired Mozart's own Symphony in Eb. Haydn's work provided the model for Mozart's not only in its basic key, but also in the shape of thematic material in first and second movements, of transitions between major areas, and in the general working out to the form".
I have owned a recording of Haydn's symphony since the early 1980s and although I admit the feeling of the beginning of his 1st movement is similar to K543, I was never convinced by Einstein (I only read Sherman later). So I felt a little more justified in my doubts when I read Neal Zaslaw's 1989 book Mozart's Symphonies: Context, Performance Practice, Reception.
To begin, how would Mozart have used this symphony as a model. From memory of a performance in Salzburg almost 5 years prior? Professor Zaslaw showed convincingly Mozart probably had the symphony in his possession. On May 15, 1784, Mozart wrote his father complaining of Salzburg and Vienna copyists. As an example of their copying and selling unauthorized works Wolfgang wrote: "I know for a positive fact that Hofstetter makes second copies of Haydn's music. For example, I actually possess his three newest symphonies". As Mozart had jotted down 3 incipits of JOSEPH Haydn symphonies (#75, #47, #62) on the same page as a Piano Concerto Cadenza around this same time, it was believed it was these three symphonies Mozart referred to. . But Zaslaw points out Mozart was specifically talking of a Salzburg copyist so no doubt MICHAEL Haydn symphonies were meant here. Michael Haydn's three latest symphonies at that time would have been P.16 in G, P.17 in Eb, and P.18 in Bb. Of these three, the first --P.16-- is the symphony Mozart wrote the Adagio maestoso introduction (known at one time as Mozart's symphony #37, K444/.425a). Of course P.17 is the symphony under discussion here.
So we have a possible connection between Mozart and the Symphony in Eb. P.17. However did Mozart use it as a model? Zaslaw states "the validity of such broad claims of influence is difficult to assess". Beside the key of Eb there are major differences in the two symphonies. Mozart's is in 4 movements, Haydn's in 3 (lacking a Minuet). Mozart's has a slow introduction, which Haydn's lacks. The instrumentation is different and Mozart's with all the repeats taken is twice as long.
However Zaslaw admits "there are two thematic similarities between first movements, which may pass the bounds of coincidence and musical commonplaces of the era". (Here Zaslaw cites Jan LeRue, but I am not familiar with that article, so quote Zaslaw). Zaslaw points out the only place in the Haydn symphony where I saw a major similarity--"both allegros begin piano, with a theme rising triadically to a descending appoggiatura". But then there is nothing similar between the two works "until the dominant is reached, where each as a legato theme in quavers winding its way in broken thirds over a sustained Bb". Beyond these two ideas what occurs in the symphonies is not "strikingly similar". Beyond this first movement Zaslaw finds nothing in the second movement of Haydn's symphony comparable to Mozart's "formal originality, his chromaticism, and his stormy affect, nor are there thematic resemblances". There is nothing to compare in the two finales. In the end Zaslaw writes this: "Thus, although Mozart may have recalled some thematic ideas from the first movement of Haydn's Eb symphony, what he made of such ideas when he came to compose his own symphony is something quite removed from this or any other work of Michael Haydn's".
For the little bit it is worth, I agree with Professor Zaslaw. If Mozart remembered Haydn's symphony--if he ever heard it--, or if he owned it--it was not in his estate--, Mozart certainly went so far past Haydn in his Eb Symphony K543 there is no comparison.
As a have done in the past, I recommend to all lovers of Mozart Symphonies the book by Zaslaw. From beginning to end, the best book you will find on Mozart's symphonies--and quite easy to understand for a non-musician, as well as a highly trained specialist in the field. All symphonies (authentic, doubtful, spurious) are covered. It is published by Oxford University Press (ISBN 0-19-315240-1). It is also available in paperback I believe.
Dennis Pajot
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