From Haydn to today
The epithet “The Clock” for Haydn’s Symphony No. 101 stems from its second movement, which begins with a slow pendulation by the strings and bassoons. Like all of the London Symphonies, it enjoyed great admiration from the start. Less than 40 years later, Felix Mendelssohn Bartholdy composed his “Italian Symphony.” Pure joie-de-vivre is expressed between the pulsing Allegro of the main movement and the final, a frantic tarantella. In his lifetime, Mendelssohn felt committed to the Viennese School, particularly Haydn and Mozart. That the radiance of Haydn’s music can be felt even today will be proven by the Spanish composer and director José María Sánchez-Verdú, who has been given this year’s composer’s commission by the Haydn-Festival, with an orchestral piece that grapples with Haydn’s work. Sánchez-Verdú teaches composition at the Robert Schumann Academy in Düsseldorf, and has won among other awards the first composition prize from the Junge Deutsche Philharmonie and the Siemens Music Prize.
Felix Mendelssohn Bartholdy (1809–1847)
Symphony No. 4 in A major, Op. 90, “Italian“
José María Sánchez-Verdú (*1968)
World premiere – Composition commissioned by the Haydn Festival
Joseph Haydn (1732–1809)
Symphony in D major, Hob. I:101, “The Clock”