During his first visit to London in 1791-92, the 60-year-old Haydn had already astonished and delighted the London public with such works as the “Surprise” and the “Miracle” symphonies. When the impresario and orchestra director Johann Peter Salomon invited him back a second time, the composer outdid even his own achievement, composing six new symphonies that, together with the six from the previous visit, established a new standard for orchestral music that in some respects has never been matched. Works such as the “Military,” the “Clock,” and the “Drum Roll” symphonies attained a popularity in England that outstripped the music of even many native composers. Structurally and texturally, the 12 “London” symphonies synthesised the basic elements of the Classical style in a way that had wide-ranging implications. 

Initially Haydn had resisted going to London. After 30 years of service to the Esterházy family, at their estates in Eisenstadt and in what is now northwestern Hungary, the composer was thinking primarily of a peaceful retirement in the Vienna of his youth. Had it not been for the blunt insistence of Salomon (who announced to him in 1791: “I am Salomon from London and I’ve come to fetch you”) we might not have the “London” symphonies at all. But the opportunity to appear before the London public was simply too attractive to refuse: During each of his two London visits Haydn earned the equivalent of several years’ salary at the Esterházy court. He was an instant celebrity in London, and a favourite and highly popular guest of the nobility. “Everyone wants to know me,” he wrote to a friend. “I had to dine out six times up to now, and if I wanted, I could have an invitation every day.” During his concerts Salomon positioned the keyboard in a unique way, with Haydn facing the audience. Everyone wanted to watch the famous composer. But late in 1794, the overextended Salomon determined that he could no longer compete with the other principal concert organisation in town, and he announced that his concerts would merge with those of his competitor, the Opera Concerts. It was the latter, then, that performed the symphonies 102 to 104 in the spring of 1795. The 104th received its premiere in May. 

“For fullness, richness, and majesty,” wrote a critic in London’s Morning Chronicle, “[this new symphony] is thought by some of the best judges to surpass all Haydn’s other compositions. One eminent critic known for his musical knowledge, taste, and sound criticism declared that for 50 years to come, musical composers would be little better than imitators of Haydn; and would do little more than pour water on his leaves.” Haydn’s experiences in London were so consistently positive that he might well have established a second home there, had the Esterházys not called him back for service in 1795.

The Symphony No. 104 in D major (H. 1/104) is Joseph Haydn’s final symphony. It is the last of the twelve London symphonies, and is known (somewhat arbitrarily, given the existence of eleven others) as the London Symphony. In Germany it is commonly known as the Salomon Symphony after Johann Peter Salomon, who, as we mentioned earlier, arranged Haydn’s two tours of London. Strange too given the fact that it is one of three of the last twelve symphonies performed for Viotti’s Opera Concerts, rather than for Salomon.

The work was composed in 1795 while Haydn was living in London, and premiered at the King’s Theatre on 4 May 1795, in a concert featuring exclusively Haydn’s own compositions and directed by the composer. The premiere was a success; Haydn wrote in his diary “The whole company was thoroughly pleased and so was I. I made 4000 gulden on this evening: such a thing is possible only in England.”

I think that Haydn’s final 12 Symphonies are his greatest achievement in the genre and No. 104 is the finest of the 12.

I have picked a studio recording by The New York Philharmonic under the baton of our old friend Maestro Leonard Bernstein…..yes I am a fan of him too.

Symphony No. 104 in D Major “The London Symphony”

00:00 I. Adagio – Allegro

07:28 II. Andante

14:13 III. Menuet. Allegro – Trio

19:13 IV. Finale. Spirituoso

New York Philharmonic

Leonard Bernstein – Conductor

Studio recording, New York, 1958