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Cello Concerto in D Major, Symphony No. 103 "Drumroll" and Trumpet Concerto in E-flat Major.

Haydn's Cello Concerto in D Major follows the usual form of Classical-period concertos: three movements arranged in a fast-slow-fast pattern. In writing for solo cello as the concerto's featured instrument, Haydn exploited the instrument's wide range and its capacity for both lyrical expression and athletic passagework.

Gerard Schwarz, Conductor & Trumpet
Janos Starker, Cello
Scottish Chamber Orchestra
New York Chamber Symphony



1.     Cello Concerto I Allegro moderato Part I       

2.     Cello Concerto I Allegro moderato Part II       

3.     Cello Concerto II Adagio                   

4.     Cello Concerto III Rondo: Allegro               

5.     Symphony No.103 I Adagio: Allegro con spirito   

6.     Symphony No.103 II Andante piu tosto Allegretto   

7.     Symphony No. 103 III Menuet               

8.     Symphony No. 103 IV Finale: Allegro con spirito   

9.     Trumpet Concerto I Allegro                   

10.   Trumpet Concerto II Andante                   

11.   Trumpet Concerto III Allegro                   

12.   Haydn’s Early Life and Career               

13.   Listener’s Guide to Haydn Cello Concerto           

14.   Haydn’s Mastery                           

15.   Listener’s Guide to Symphony No. 103 Movement I   

16.   Listener’s Guide: Movement II Major & Minor Keys   

17.   Listener’s Guide: Symphony No. 103 Movements III & IV

18.   Haydn’s Final Years and Lasting Influence           


Haydn and the Classical Period

 More than any other composer, Franz Joseph Haydn deserves to be called the father of music’s “Classical” style. As he came of age in the mid-eighteenth century, musical thinking was in the midst of profound changes. The compositional forms and procedures of the Baroque era began to seem old-fashioned and composers sought fresh modes of musical expression. Out of their search emerged brand new musical forms, most notably the symphony and string quartet, and a new style that valued poetic melodies and harmonies over “learned” counterpoint.

 Haydn played a crucial role in establishing new classical forms. For all practical purposed he invented the string quartet as a musical form, and his contributions to the symphony helped develop that format from a modest off-shoot of the opera overture into the most potent and attractive type of instrumental music available to composers.

 Haydn’s symphonies established the defining traits of this most important genre of music, and they were the source from which all subsequent developments in the symphonic composition would spring. He developed the concept of the orchestra as an organic whole. Haydn wrote for each instrument in keeping with its natural character, and in a way that would blend well with the other members of the orchestra. Moreover, Haydn established procedures of thematic development, particularly the technique of deriving whole passages from a single brief melodic idea. His extraordinary imagination and freshness served as an ideal of musical inventiveness to generations of later composers.

Haydn’s Early Life and Career

 Haydn was born in 1732 into a humble family in Rohrau, a small town near the present-day border of Austria and Hungary. He was no child prodigy, but his fine singing voice won him a place in a choir school in a nearby town. There, Haydn remembered, he received “more thrashings than food,” but he received a basic education in music. When he was seven, Haydn gained a place in the choir of Saint Stephen’s Cathedral in Vienna, now famous as the Vienna Boys Choir. He resided at cathedral school for most of the next decade, acquiring a solid, though not spectacular, musical and general education.