Haydn Symphony No.

94 “The Surprise” – An Introduction

The Symphony No. 94 in G major (Hoboken 1/94) is the second of the twelve
so-called London symphonies (numbers 93-104) written by Joseph Haydn. It
is usually called by its nickname, the Surprise Symphony, although in
German it is more often referred to as the Symphony "mit dem Paukenschlag"
("with the kettledrum stroke"). The work is among the most popular of Haydn's
symphonies and is frequently performed and recorded.

Nickname (the Surprise)

Haydn's music contains many jokes, and the 'Surprise' Symphony includes
probably the most famous of all: a sudden loud chord in the theme of the
variation-form second movement after a tranquil opening. The music then
returns to its original quiet dynamic, as if nothing had happened, and the
ensuing variations do not repeat the joke.

Composition and premiere

Haydn wrote the symphony in 1791 in London for a concert series he gave
during the first of his two visits to England (1791–1792). The premiere took
place at the Hanover Square Rooms in London on March 23, 1792, with
Haydn leading the orchestra seated at a fortepiano.
As with Haydn's England visits in general, the premiere was greatly
successful. One reviewer wrote that the symphony was "equal to the happiest
of this great Master's conceptions." In his feeble old age Haydn remembered
the premiere with nostalgia, recounting to his biographer Griesinger:
...it was my wish to surprise the public with something new, and to make a
debut in a brilliant manner, in order not to be outdone by my pupil Pleyel [who
was leading a rival series of concerts] ...the first Allegro of my Symphony was
received with countless bravos, but the enthusiasm reached its highest point
in the Andante with the kettledrum stroke. Ancora, ancora! sounded from
every throat, and even Pleyel complimented me on my idea.
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.

Instrumentation
The Surprise Symphony is scored for a Classical-era orchestra consisting of
two each of flutes, oboes, bassoons, horns, trumpets, plus a timpani, and the
usual string section consisting of first and second violins, violas, cellos, and
double basses.
In recent decades performances of the work on historical instruments have
become popular.
A typical performance of the Surprise Symphony lasts about 23 minutes.

Movements
Like all of Haydn's "London" symphonies, the work is in four movements,
marked as follows:
Adagio - vivace assai
A lyrical 3/4 introduction precedes a highly rhythmic main section in 6/8 time.
As with much of Haydn's work, the first movement 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".

Andante
This is the surprise movement, a theme and variations in 2/4 time and the
subdominant key, C major. The theme is in two eight-bar sections, each
repeated. 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.
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
forte lyrical repeat in triplets.
In the coda section, the opening notes are stated once more, this time
reharmonized with gently dissonant diminished seventh chords over a tonic
pedal.

Menuetto: Allegro molto

A minuet and trio, in ternary form. The key returns to G major. The tempo
marking marks the historical shift away from the old minuet and toward the
scherzo; by the time of his last quartets Haydn had started to mark his
minuets presto.

Finale: Allegro molto

A characteristically rhythmically propulsive Haydn finale. Formally, the
movement is an example of sonata rondo form, the opening bars appearing
both at the beginning and in the middle of the development section. The
stirring coda emphasizes the timpani.