Symphonies by Joseph Haydn are not only the cornerstone of the classical symphony but also an inexhaustible source of more or less direct and obvious inspiration. One can find here pieces that bring to mind the ticking of the clock, the clucking of hens, and the growling of bears. And while most of these associations were products of the aroused imagination of the first listeners, the composer himself sometimes did refer to concrete non-musical material. This was the case with the first of the three “feminine” symphonies which comprise the concert programme of the Mozarteumorchester Salzburg, an outstanding Austrian orchestra under the baton of Riccardo Minasi. The appealing variation theme in the second movement of Symphony in C Major “La Roxelane,” Hob. I:63, comes from the music Haydn wrote for a stage work about Sultan Suleiman and his beautiful wife Roxelana. The name of his Symphony in B-Flat Major “La Reine,” Hob. I:85, refers to Marie Antoinette, who allegedly had a particular liking for the composer. The night will close with Symphony in D Major “Maria Theresia,” Hob.I:48, traditionally associated with a visit of the Empress of Austria at the Esterházy palace.