Haydn and Folk Music - The Reverse-transmission Theory

The Reverse-transmission Theory

Whenever it is claimed that Haydn employed a folk tune in his works, caution must be exercised, because we cannot be guaranteed that the direction of transmission was necessarily to, rather than from, Haydn. The alternative hypothesis is that the folk tunes collected by fieldworkers represent folklorically altered versions of tunes originally by Haydn and disseminated in altered form among the people. The musicologist Michel Brenet (quoted in Scott 1950) states the hypothesis as follows.

Why should not the terms of the proposition be reversed? During the time Haydn lived at Eisenstadt or Esterháza, when his music resounded day and night in the castle and gardens of his Prince, why should not his own airs, or scraps at least of his own melodies, have stolen through the open windows and remained in the memories, first of the people whose duty it was to interpret them, and then of the scattered population of the surrounding country?

The reverse-transmission theory would offer a rather different explanation for why Haydn's versions of the tunes resemble the folk versions more at the beginning than elsewhere - it would be the beginning that would most likely be well remembered by folk singers, and the later passages that, diverging most from folk style, would be most likely to be altered.

Concerning the possibility of reverse transmission, it is conceivable that we have some testimony from Haydn himself. In his oratorio The Seasons, the composer depicted a rural plowman whistling a tune from his own "Surprise" Symphony. We cannot know at this stage whether this was meant as a little joke, or whether Haydn had actually noticed that his catchiest tunes were somehow percolating from the concert hall to the countryside.