1/10/11 Symphony #94 “Surprise” – Josef Haydn
“Welcome to Intro to Conducting.
Rule #1 – if you aren’t conducting, keep with the conductor.
Rule #2 – if you are conducting, make sure everyone is following you.
Rule #3 – if you are conducting, always cue the timpani.”
- Clay Coturiaux
Going back to this website, the unofficial checklist/starting point for the classical portion of this project, you’ll note that this particular symphony is much further down the list that the Bach from a few days ago (#143.) I figured if I just kept going down from the top, after a while the decline in repertoire would get noticeable, so I decided not to blow all the top pieces in the first month. Likewise, I could have easily filled up January through September’s monthly symphony slots on Beethoven alone (or Mahler for that matter.) Something harkened back to me about this particular symphony from my grade school music classes and for some reason, it seemed like an appropriate piece to look at again.
After listening through once, I realized why “Papa Haydn” is so prevalent in music education programs; this is some of the most accessible classical music out there. The themes are presented in clear statements, the harmonies simple, and the melodies catchy (or dare I even say… fun!) This is by no means the complex weaving of melodies of the Bach Mass; this is melodies so formulaic and easy that they seem to be capable if writing themselves. (Of course, as Haydn wrote 106 symphonies, perhaps they did write themselves.)
The 1st movement begins with a slow, Adagio introductory theme, but soon picks up into a bouncy 6/8. The terraced dynamics were of course typical of the time (nothing gets louder or softer, sections merely jump from one volume level to another without much transitioning. More on this later…) The singular theme of this movement isn’t quite as easy to grab onto as the upcoming ones, but the treatment of the theme is again, very straightforward and easy to catch yourself tapping your foot along with. Haydn’s symphonies really were the pop tunes of the day, I think.
It’s the 2nd movement however where the namesake “surprise” occurs. A simple theme is stated softly in the strings and then repeated even more quietly. Only the second time ends with a fortissimo chord by the entire orchestra, most notably the timpani. Haydn, being somewhat of a practical joker, was accused by some of placing this particular orchestra hit after the pianissimo string theme in order to make sure the audience didn’t nod off. (I, for one, picture an orchestral “Muppets” sketch wherein Animal is standing impatiently behind the timpani for the first 15 measures just waiting to go town on the 16th. Try listening to this movement and not picturing that. I dare you.) The rest of the movement is a set of four variations on this theme, each one with a similar timpani stroke in a different spot. Just to keep you on your toes.
The minuet 3rd movement is just as boisterous as the main theme in the 1st. It has a distinct folksy quality to it – the type of melody that set a little differently wouldn’t be out of place in a rowdy pub or German beer garden. The rondo form takes a few forays into lighter, more mellow secondary themes, but always returns to the dance-like 3/4 main theme. Eighteenth century bubblegum music, I tell you. Not that there’s anything wrong with that.
The final movement is probably the least memorable of the sections, despite an equally accessible theme; the timpani is once again prominently featured, which is a rarity in music of the Classical era. The middle two, however make up for anything lacking in the finale.
Next up – Hard Day's Night (The Beatles)
Next week – A Flock Decends into the Pentegonal Garden
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