Caught Off Guard by Haydn's Symphony No 94 in G major, Hob. I:94 "Surprise"
II. Andante
Symphony No. 94 in G major, Hob. I:94
I'm Joseph Haydn, and I'm glad to walk you through the II. Andante movement of my Symphony No 94. You'll hear one simple tune return in four different guises, including a stormy turn in C minor, and that's why this movement rewards your time. When you're ready, put yourself to the test : on this site my fellow composers and I also teach you to recognize our pieces the moment they begin.
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Who Does What While You Sit Back
My advice for this movement is to keep your ears on the strings, because they sing the tune and then dress it up in new ways. The first violins work hardest, especially in the first variation, where they weave quick little notes around the melody. Later the oboe and the flute each step out of the crowd for a turn as soloists, so listen for those two voices. The timpani stay mostly in the background, which makes it all the more noticeable when the big moment finally arrives.Why It Wears Such a Modest Name
The title Andante is simply my tempo marking, and it asks for an easy, walking pace that is neither slow nor hurried. The nickname "Surprise" came later, and nobody seems to know who first used it. It comes from the sudden fortissimo chord, and in Germany the symphony is known as "mit dem Paukenschlag", which means "with the kettledrum stroke". People like to say I wrote that chord to wake up dozing listeners, but I always called that a good story that isn't quite true, and what I really wanted was to surprise the public with something new, so that my former pupil Pleyel wouldn't outshine me.One Tune, Many Costumes
For this movement I chose theme and variations, not a sonata or a rondo, because a simple tune that you can remember after one hearing is perfect for the job. It's in 2/4 time and in C major, a close neighbor of the symphony's home key of G major. The plan is easy to follow: first the theme, then four variations, and finally a coda to round things off. That makes six sections in all, and I'll take you through them one at a time.Section 1: The Politest Tune in London
The theme is built from two sections of eight bars each, and each section is repeated. The first time round I play it softly, and then I repeat it pianissimo, so quietly that you may lean in toward the speakers. At bar 16 the fortissimo G major chord arrives, and then the tune carries on as if nothing had happened. One London newspaper, the Oracle, compared the shock to a shepherdess startled by a gunshot.Section 2: The Same Tune in a Fancier Coat
In the first variation the tune stays put, and the first violins add quick little notes that flutter around it. You can still hum the melody underneath, which is the whole fun of the exercise. The mood stays friendly and relaxed, only a little more decorated than before. Think of it as the same conversation, told by someone who has a bit more to say.Section 3: The Sky Suddenly Darkens
Here I move into C minor, and the mood changes from sunny to stormy. The tune is still recognizable, but it now sounds urgent and a little troubled. This is the one place in the movement where the music really frowns at you. Stay with it, because the contrast makes the gentler variation that follows feel even kinder.Section 4: The Oboe and the Flute Take a Bow
The third variation gives solos to the oboe and the flute, so the woodwinds come to the front. The sound becomes lighter and more delicate, with the strings stepping back to give them room. Try to pick out each instrument's voice, since the oboe is a little reedy and the flute is clear and airy. After the storm, this feels like opening a window and hearing birds outside.Section 5: Everyone Says It Louder
In the last variation the tune comes back at a forte, so the full orchestra is suddenly in the room. I set it in triplets, groups of three quick notes that make the music roll forward more smoothly. The mood is confident and open-hearted, as if the tune has finally put on its best clothes. Listen for how the extra volume and the rolling motion give the old melody a brand-new energy.Section 6: A Polite Goodbye and a Long Afterlife
The coda follows the variations and brings the movement to a satisfying close. I liked this tune so much that I used it again in 1801, in an aria in The Seasons, where a plowman whistles it. Charles Ives wrote a parody of the Andante in 1909, which shows how well people came to know the music. For a tune that began so quietly, it has done rather well for itself.Your Turn: Press Play
Now it's your turn to hear the Andante for yourself, so press play and let the music carry you along. As you listen, keep in mind what we've talked about: the quiet theme, the changing variations and the solos. You'll know the surprise when it comes, but I hope you'll enjoy everything around it just as much. I loved writing this movement, and I hope you find as much pleasure in listening to it as I did in making it.---
I hope you enjoyed learning about the II. Andante of my Symphony No 94 in G major, Hob. I:94 "Surprise". Now that you know where the quiet tune hides its one loud chord, I think you'll hear the movement differently the next time it plays. I'd like you to notice how a theme this simple can keep us listening, and how it changes each time it comes back. There is still more to explore in this symphony. The slow introduction, the fast minuet, and the finale with its second surprise near the end all have stories of their own. Please click on the links provided to keep exploring my Symphony No 94 in G major, Hob. I:94 "Surprise".