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A. Orchestra ensemble established, four instrumental
families
1. strings: heart of the orchestra
2. woodwinds: provided varying colors, often
doubled the strings
3. brass: sustained harmonies
4. percussion: timpani, rhythmic life and vitality
B. Eighteenth– century orchestra: 30 to 40 players
1. size appropriate for the salon
2. interchange of themes between instrument groups
3. Classical symphony: like chamber music
C. Haydn’s Symphony No.94 (Surprise)
1. Haydn composed over 100 symphonies
a. established four– movement structure
b. “ father of the symphony”
2. London symphonies: Nos. 93–104
a. masterpieces in the genre
b. expressive effects:
i. sudden crescendos and accents
ii. dramatic dynamic contrasts
iii. syncopation
iv. daring modulations
3. Surprise symphony: best- known
a. nickname: sudden fortissimo chord in slow
movement, startled dozing audience
b. appealing melodies, masterful treatment of forms
D. LG 20: Haydn: Symphony No.94in G Major (Sur–
prise), II (1792)
1. Andante, theme and variations form
2. theme: binary structure
a. A section: folklike melody, pizzicato strings
outline triad
b. B section: disjunct theme
c. ends pianissimo, sudden loud “surprise” chord
OUTLINE
I. Symphony: “Ultimate Instrument” of the Classical Era
A. Greatest expressive potential
1. remarkable timbral palette
2. most versatile, power ful resource of Western
tradition
B. Early history of the symphony
1. roots in Italian opera overture
a. fast– slow– fast, became separate movements
2. German symphonists: added effects, expanded
genre
a. “rocket theme”: aggressive, rhythmic; quick
rise from low to high register
b. streamroller effect: drawn- out crescendos
c. minuet added; dance movement
C. The second movement: theme and variations
1. Andante or Adagio (slow tempo)
2. lyrical, songful melodies
3. form: theme and variations (note: second move–
ments were sometimes in ternary (A- B- A) form
instead of theme and variations)
4. theme and variations:
a. theme clearly stated followed by variations
b. theme: two- or three- part idea
c. types of variation
i. melodic: adding or omitting notes
ii. harmonic: chords and accompaniment
changed; shift to dif fer ent key
iii. rhythmic: note lengths, meter, or tempo
altered
iv. texture: enriched with new themes, coun–
ter melodies
II. The Classical Orchestra and Symphony
CHAPTER30 The Ultimate Instrument: Haydn and
the Symphony
Major, Op. 33, No.2 (Joke) in Chapter29. Do you hear
ele ments of conversation in Haydn’s Symphony No.94?
How do these musical conversations differ in pieces for
chamber groups (such as a string quartet) and in pieces
for large ensembles (such as an orchestra)?
2. Describe some of the changes in the orchestra during the
Classical period. How does Haydn incorporate these
changes in his Symphony No.94?
TEACHING CHALLENGES
Some students may be confused by the two- part form of this
theme. Be sure that they can clearly identify the material in
both the a section and the b section of the theme before mov–
ing on to the variations.
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Schroeder, DavidP. Haydn and the Enlightenment: The Late Sym–
phonies and Their Audience. Oxford: Clarendon, 1990. Schro–
eder places the London symphonies within the cultural, social,
of the orchestra to 1815. For Haydn’s milieu, see Chapter9 (“The
Classical Orchestra”).
YOUR TURN TO EXPLORE
from a Western orchestra?
3. four variations:
a. Var. 1: countermelodies
b. Var. 2: dramatic shift to minor
c. Var. 3: quick repeated notes
d. Var. 4: new triplet rhythm, offbeat chords
4. coda: return to A section, ends quietly
OVERVIEW
Here the symphony is introduced as one of the principal
instrumental genres of the Classical era. Haydn’s Symphony
No.94 (Surprise) is a model of the style and form associated
with the eighteenth- century Classical symphony.
LEARNING OBJECTIVES
1. To understand the symphony as one of the principal
pres ent day
3. To recognize Haydn’s Symphony No.94 as a model of
the Classical era symphony
LECTURE SUGGESTIONS
stayed the same from the Baroque to the orchestra of Brit–
ten’s Young Person’s Guide to the Orchestra.
2. Before playing the second movement of Haydn’s Sym-
phony No.94, review the ways in which variation can
be created in a theme- and- variations form. Play the
ASSIGNMENT SUGGESTIONS
1. The concept of “conversation” was an essential compo–
nent of our analy sis of Haydn’s String Quartet in E– at
bamboo ute, which provides a more lyrical melody that contrasts
with the many percussive sounds around it. While there is a nota–
ble range of timbres throughout the ensemble, the overall effect
is less varied than that of a Western orchestra.
the woodwind section in a Classical orchestra. The double bass
and piano function as rhythmic support in addition to their
melodic and harmonic roles. In contrast to the varying timbres of
a typical orchestra, the timbre of the brass band as a whole is
fairly unied.
3. Military band (https:// www . youtube . com / watch ? v = Mxr h1 CrMmTY) A military band, like most concert bands, consists primarily of