Haydn's Symphony No. 94 in

Haydn's Symphony No. 94 in G Major (Surprise) Haydn's Surprise Symphony Franz Josef Haydn's Symphony No. 94 in G Major (1791) is often called "The Surprise Symphony." It is the work with which the listening public is probably the most familiar. Haydn composed the piece for the first of two extended visits to London. The first performance was held there on March 23, 1792 (Freed). The work, as performed, is twenty-three minutes long and features flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings.

This was the typical construct of a Classical-era orchestra. Contrary to popular legend, Haydn did not use the "surprise" element to wake up audiences that he feared would fall asleep during the softer, more tender moments of his piece. Rather, his intent was to treat the collective ear to something new and innovative. Haydn was known for the brilliance of his orchestrations and famous for being inventive. He is known as the father of the symphony and wrote over one hundred of them during his long and productive career.

Kamien (173) called Haydn "a pathfinder for the classical style [and] a pioneer in the development of the symphony and the string quartet." In program notes for a 2010 performance of the symphony by the Edmonton Symphony Orchestra, Baker wrote "[Haydn's] mastery of the form allowed him all manner of experimentation and innovation within the strict guidelines of sonata-allegro form. In other words, he was good enough -- and successful enough -- to have fun when he wanted to.

Haydn was ever a man with a strong sense of humour, and he couldn't resist a bit of mischief with his 94th Symphony." The influence of Haydn's friend Mozart can be heard in his lively, cheerful and melodic work. The symphony was a resounding success from the time of its debut. One contemporary reviewer wrote "Remarkably simple, but extended to vast complication," went one contemporary review, "exquisitely modulated, and striking in effect. Critical applause was fervid and abundant" (Baker).

The symphony was written in G major, a key associated with the pastoral in Haydn's time. Haydn sometimes switched to a minor to lend, briefly, a sense of darkness and drama. Throughout the piece, the sense of the country is evident. The quiet passages remind one of a peaceful walk through the countryside, while the more rousing sections suggest a gallop on horseback.

The minuet of the third movement calls to mind a folk-dance.The first movement of the Surprise Symphony is "Adagio Cantabile, Vivace Assai." Adagio is slow and stately; cantabile denotes that the piece is lyrical, like singing. Vivace assai is "lively and much faster," which also characterizes this movement. The movement begins slowly; the music is piano. The melody rises upward chromatically and then returns down the scale. As the word cantabile suggests, the introduction in 3/4 time is lyrical and lilting.

The tempo changes to a lively 6/8 as the piece gains volume. There is still a sweetness to the movement, lent particularly by the strings and the flute trills, but it becomes much more energetic. No new theme is introduced, and the movement alternately builds in tempo and dynamics and then softens and slows. The second movement, Andante, moves at a musical walking pace. As the movement opens, the strings sketch the musical theme in an almost staccato style.

Reminiscent of Mozart's theme and variations on "Twinkle, Twinkle Little Star," Haydn employs the same device of variation, using key changes, tempo changes, different orchestration and melodic counterpoint. Kamien (161) notes that "theme and variations" was a basic musical idea widely used in the Classical period. In the second movement of Haydn's Symphony No. 94, the strings play the theme for the first time, softly and sweetly. Suddenly, the orchestra sounds a loud and dramatic chord -- the surprise. From there, the melody soars and dips as Haydn explores variations.

He adds instruments to bring a fuller sound to the strings' playing of the theme and introduces a counterpoint melody. The music becomes bold and ominous-sounding with the change to a minor key. The "walking pace" begins to sound heavier, then Haydn returns to the lightness of the strings accompanied by the orchestra playing with much less volume. There is a dramatic pause and the movement ends as it began, with the simple staccato-like repeat of Haydn's basic theme.

The third movement, Minuet, Allegro Molto, is quick and lively, as the name suggests. The minuet form was typically used for the third movement of classical symphonies, string quartets and other works. Even though the form originated as a dance, its use as a symphonic movement was intended for listening, not dancing (Kamien 164). As with the second movement, Haydn explores a different theme and variations. The movement begins with full orchestra playing regally in 3/4 time. As Haydn explores the theme, the dynamic movement adds drama and excitement.

The flute asks a question and the oboe answers. This musical idea is repeated later in the movement when the oboe plays a response to the strings. The strings soar and fall in this movement. Haydn effectively uses dramatic pauses before introducing another variation on the theme. This provides another way he can surprise his audience. As before, he uses the minor scale to great effect before returning, and then closing, with the main theme. The fourth movement, the finale, is lively.

Haydn explores the theme with strings and flute, using dynamics and key changes to.