![]() ![]() The same theme is also frequently adapted for the purpose of teaching musical beginners see Papa Haydn. Toward the end of his active career Haydn wove the theme of the second movement into an aria of his oratorio The Seasons (1801), in which the bass soloist depicts a plowman whistling Haydn's tune as he works. The stirring coda emphasizes the timpani. The movement is written in sonata rondo form with the opening bars appearing both at the beginning and in the middle of the development section. The fourth movement is a characteristically rhythmic, energetic and propulsive Haydn finale. danceable, tempo) toward the scherzo by the time of his last quartets Haydn had started to mark his minuets presto. The tempo, Allegro molto, or very quickly, is of note since it marks the historical shift away from the old minuet (at a slower, i.e. The third movement is a minuet and trio, in ternary form in the tonic key ( G major). In the coda section, the opening notes are stated once more, this time reharmonized with gently dissonant diminished seventh chords over a tonic pedal. Four variations of the theme follow, starting with embellishment in sixteenth notes by the first violins, moving to a stormy variation in C minor with trumpets and timpani, then solos for the first oboist and flautist, and concluding with a sweeping and lyrical forte repeat in triplets. Haydn sets up the surprise, which occurs at the end of the repeat of the first section, by making the repeat pianissimo with pizzicato in the lower strings. The theme is in two eight-bar sections, each repeated. The second, "surprise", movement, the Andante, is a theme and variations in 2/4 time in the subdominant key of C major. ![]() As with much of Haydn's work, it is written in so-called "monothematic" sonata form that is, the movement to the dominant key in the exposition is not marked by a "second theme". The first movement has a lyrical 3/4 introduction that precedes a highly rhythmic main section in 6/8 time. Like all of Haydn's "London" symphonies, the work is in four movements, marked as follows: The symphony is still popular today and is frequently performed and recorded. Critical applause was fervid and abundant." His novelty of last night was a grand Overture, the subject of which was remarkably simple, but extended to vast complication, exquisitly modulated and striking in effect. A new composition from such a man as HAYDN is a great event in the history of music. ![]() The andante movement was particularly admired." "The third piece of HAYDN was a new Overture, of very extraordinary merit. Encore! Encore! sounded in every throat, and Pleyel himself complimented me on my idea." The first Allegro of my symphony had already met with countless Bravos, but the enthusiasm reached its highest peak at the Andante with the Drum Stroke. "No, but I was interested in surprising the public with something new, and in making a brilliant debut, so that my student Pleyel, who was at that time engaged by an orchestra in London (in 1792) and whose concerts had opened a week before mine, should not outdo me. In his old age Haydn was asked by his biographer Griesinger whether he had written this "surprise" of the Andante in order to waken the audience: The music then returns to its original quiet dynamic, as if nothing had happened, and the ensuing variations do not repeat the joke. Haydn's music contains many jokes, and the 'Surprise' Symphony includes probably the most famous of all: a sudden fortissimo chord at the end of an otherwise piano opening theme in the variation-form second movement. The Surprise Symphony is scored for a Classical-era orchestra consisting of two each of flutes, oboes, bassoons, horns, trumpets, plus timpani, and the usual string section consisting of first and second violins, violas, cellos, and double basses.Ī typical performance of the Surprise Symphony lasts about 23 minutes. The premiere took place at the Hanover Square Rooms in London on March 23, 1792, with Haydn leading the orchestra seated at a fortepiano. Haydn wrote the symphony in 1791 in London for a concert series he gave during the first of his visits to England (1791–1792). ![]()
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