Haydn symphonies use of themes with a broad appeal and the use of simple motifs
Haydn is in most cases referred to as the father of the symphony, he wrote a total of 106 symphonies over 40 years of his career. His work served a wide range of music as well as social functions which has led to a genre that is the center of musical life up to today’s century. One of his symphonies ‘Surprise’ was written during his first visits to England for a concert series which would be happening in London. Surprise Symphony is broken down into 4 movements which include: Adagio cantabile, Andante, Menuetto, and lastly Finale. The characteristic feature in the Surprise symphony is a sudden fortissimo chord which is at the end of the piano phrase for the opening theme in the second movement. The Surprise symphony also brings two different qualities which make the symphony so successful. The work comprises strings, bassoons, trumpets in C, oboes, flutes, and horns in G. Haydn symphonies are well known for the use of themes that have a wide appeal and the use of simple motifs.
The first movement starts with a slow introduction which serves as a curtain-raiser a feature that is very important to prepare the listener for the most important part of the movement. Hayden makes the most of the double woodwind section by alternating the woodwind and strings. The melodic ideas take the sonata form such that the structure contains contrasting ideas for every theme. Functional and diatonic harmony prevails there being occasional chromaticism’s which adds contrast and colour to the texture. Some of the notable moments include chromatic passing notes numerously and the use of strings in the slow introduction. The initial subject opens with a texture with two parts which is typically followed by an orchestra tutti as first violins play the melody. Haydn uses unison texture in order to bring exposition to a close which is typical for classical composers. He briefly uses a monophonic
texture to link the opening of the entire development to the end of recapitulation. The opening and contrast to the main give a lively rhythm in nature, Haydn uses rhythm to vary the first and second subject.
The second part of the movement well known as Andante has the surprise fortissimo chord which is the source of the symphony’s nickname. The movement is majorly in C major with a theme that is indifferent variation forms. From the repeat of the first eight bars, it is clear that Haydn’s dynamic marking and articulation is quite specific and frequent. Each of the halves contains melodic shapes that have distinctive themes and foundations for variations that later follow (Doan). The theme of the composition uses diatonic chords making an interesting harmonic movement found in the coda section. The final statement in the theme is presented using the bassoon and oboe as the harmony of the strings move through chords that have been diminished. A two-part texture has been used to open the movement, the violins being double the melody. There is a repeat of the opening bars which brings up the setup of the fortissimo arco chord. In the second half, vibration is used to bring more interest to the texture. Thought the different variations, the quaver movement underpins change in rhythm.
The Third movement marks a departure from the classical period, it follows a typical trio and minuet. The tone used overall is G major, Haydn makes the harmony colorful by turning the dominant sevens in the minor key to diminished chords. In the opening minute, there is playing of the full orchestra where the flute, first violins and bassoon play with accompanying chords. This texture changes in the second half, after the return of the woodwind. They play the traditional role where chords are accompanied by melody and string texture. As for the rhythm and metre, the minuet is fast but also maintains a stately feel which mainly comprises of the crotchet movement for the first half. The second is mostly based on the florid quaver that reappears in the trio.
In most Haydn symphonies, rondo was the common form used in the finale just like it is used in ‘Surprise’ symphony. In the finale, a common harmony prevails with fewer diminished 7ths intended to colour the harmony. The movement is based on the themes for instance the opening theme has two ideas. As the first idea opens, the melody remains within a small range while the second idea descends from a higher or upper register. Textures in the final movement vary from a simpler approach for the opening section to where the brass and woodwind play sustained chords, this is the filler texture (Doan). Depending on the time signature, the movement has significant momentum which makes it appropriate for a good ending. In order to have some anticipation throughout the movement, the main themes start on an anacrusis. There is also a rhythmic surprise which comes as the development begins, the quaver movements are put to stop and to-bar phrases can be heard.
The performance starred up the audience and the performance involved the audience in a great way. he experienced would be something to be remembered due to how music was conducted so that the audience was responding and engaged. There so many kinds of interplays in between the ideas that make the experience quite remarkable. With the help of the performers, their physical expressions during the performance and the different musical instruments had the audience alert and engaged. I was not familiar with this kind of music but the music is definitely striking and well presented. This style of music presented a relatable way of presenting an idea in bits as the performers go along with the audience to tell a beautiful story that will keep them entertained. The music sounded interesting from the slow and calm beginnings to changes as the music progressed. I would definitely seek more music of this kind due to its level of engagement and entertainment