Wake up! It's the symphony “with the kettledrum stroke”. Joseph Haydn’s Symphony No. 94 in G major “Surprise” is probably his most famous symphony. Here, it is performed by the Lucerne Festival Orchestra under the direction of Andris Nelsons. The concert took place on 19 August 2015 at the Lucerne Culture and Congress Centre.
(00:00) I. Adagio cantabile – Vivace assai
(08:55) II. Andante
(15:32) III. Menuetto: Allegro molto
(20:30) IV. Finale: Allegro molto
Joseph Haydn (1732 - 1809) composed the Symphony No. 94 in G major, Hob. I:94 “Surprise” in 1791 during his first visit to London. The premiere took place on March 23, 1792, in the Hanover Square Rooms and was an enormous success. Haydn himself conducted, leading the orchestra from the fortepiano.
The “Surprise Symphony” is the second of Haydn’s twelve London Symphonies and a model of the classical four-movement symphony. Its nickname derives from the famous moment at the beginning of the second movement (09:31), when, after 15 measures of a gentle melody, a sudden fortissimo chord with timpani stroke bursts forth.
Legend has it that Haydn wanted to wake up dozing London concertgoers with this jolt. More likely, however, he had another aim in mind. As he told his biographer Georg August Griesinger: “I was interested in surprising the public with something new.” The English gave the work the nickname “Surprise,” which captures the effect of this fortissimo chord more vividly than the German title “Symphonie mit dem Paukenschlag” (Symphony with the kettledrum stroke).
The shock in the second movement can easily overshadow the other qualities of the symphony, yet all four movements are masterfully crafted. The first movement, with its dance-like character, shifts gracefully between forte and piano and develops its two themes with elegance. The second movement delights with contrasting variations on a childlike tune. The third movement is deliberately simple—almost rustic—reminiscent of an Alpine Ländler. The finale recaptures the playfulness and drive of the opening movement and brings the work to a brilliant conclusion.
Born in Austria, Joseph Haydn played a decisive role in the history of the symphony. He wrote his first for Count Morzin of Bohemia, though he served him only briefly. In 1761 he became Kapellmeister to the Esterházy court in Hungary, where he composed numerous symphonies for its small orchestra. By the end of the 1760s Haydn had already written more than 40 symphonies, with another 25 following in the 1770s. By the 1780s he had reached full artistic maturity, and his works were performed throughout Europe—and even, by 1782, in America.
In his final creative period, encompassing the twelve so-called London Symphonies, Haydn’s mastery is most evident. He traveled to England for the first time in 1791 and enjoyed great success with his Symphonies Nos. 93–98. London boasted one of the finest orchestras of the day, offering Haydn—long accustomed to the modest resources of the Esterházy court—new possibilities that deeply influenced his writing. He composed the second set of London Symphonies (Nos. 99–104) during his second visit (1794–95).
Even today, Symphony No. 94 conveys the poise, elegance, and spirit of invention that characterize Haydn’s late style.
© 2015 Accentus Music
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