Genre: Symphony
Composer: Haydn (HAYDN)
Symphony No. 94 in G major "Surprise"
The 94th Symphony "Surprise" is the most famous song of the set.
Composition Year: 1791
Place of composition: London
Tribute, instrument: composing by request of violinist Jaromon.
First Year: March 23, 1791
Premiere Place: Hanover Square Room, London
Starring: Composer's own conduct
Haydn, who died in 1790 and was freed from the band in 1790, visited Britain in 1959 and was composed for the purpose of playing in London. Symphony No. 93 called "Jaromonset" or "London Symphony" It is the last symphony until 104th.
The name "Jaromonset" was written in 1745 by the original violinist Jaromon 's request, and Jaromon had a regular concert in London in 1786 called the concert "Harmon", and he was always an avid worshiper of Haydn. At that time, a professional concert conducted by a violinist named Kramer was popular in London. The founder of the professional concert, Abingdon Sensee, originally tried to take Hayden as a conductor, but he did not get the understanding of the Esther Duke and replaced it with Kramer. Jaromon was invited to Hayden by a rumor that Hayden was leaving the peasantry during his trip to Germany, where he was hoping for help from Haydn to fight the pre-concert.
The 94th symphony "Surprise" was considered to have been composed in England in the fall of 1791 and was premiered at the 6th Jaromon concert on March 23, 1792. As it is well known, the name of "surprise" was named after the pianissimo in the second movement, and suddenly the big sound of Fortessimo with the unexpected burst of poppies burst out, and the audience was surprised. Haydn's first sketch does not point to the impact of Timpani, so the effect of 'surprise' is thought to have come up after the sketch.
In German it is called 'Mit dem Paukenschlag'. In fact, Hayden tells his biographer Grieseinger that Forte Simo of the second movement is not added to wake up a sleeping audience. Pleyel, who was his pupil at the time, was planning a similar series of concerts on his own, and Haydn wanted to show something new in the second movement to keep up with it.
At the end of the fourth movement (Koda), the main motive of the first theme is played in woodwinds, and after the bump of the timpani comes out, the effect of 'surprise' is also demonstrated here. However, 'surprise' in this symphony is different from 'shock', reminiscent of 'familiar but funny' play between family and friends. This song is the optimistic character of Hayden, and it is a masterpiece that makes you feel the warmness and friendliness of the two movements as well as the other movements.
Instrumentation / vocalist / characters
Flute 2, Oboe 2, Bassoon 2, Horn 2, Trumpet 2, Timpani, string ensemble
I. Adagio cantabile - Vivace assai G major 3/4 beat ~ 6/8 beat sonata type
II. Andante C major 2/4 beat theme and four variations.
III. Minuett e Trio. Allegro molto G major 3/4 beat
IV. Allegro di molto G Major 2/4 Beat Sonata Rondo form.
1st movement, Adagio cantabile - Vivace assai
It is a slow song of a woodwind that evokes a nostalgic perfume, and the prefecture embraces it gently when the beginning of the D major Adagio (0: 00-1: 18) begins. The first movement, which begins with the piano (p), was a formal exorcism at the time. The progress of the prefecture after the song of the second woodwind becomes the D minor, and the deep sound of the prelude is passed to the lively first theme within a few breaths. After the first major part (1: 18-1: 52), which is the G major, it is vividly played viva. When the theme is presented by the violin, the Forte, which emphasizes the rhythm type (three eighth notes + one quarter note) by the crown, is followed by the piano again. The first theme reappears in the Epistle (1: 52-2: 29), but new forma appears in the Forte part. The forte part with the piano part of the first theme part and the rhythm type of example comes up again, but this time it is forged in B monotone. As a typical sonata type, the second theme section (2: 29-3: 09), which is much more cute than the first theme, has a D-axis of 5 degrees. In the second half of the second part of the book, the termination theme used in Coda appears by the prefecture. In the closing verse (3: 09-3: 27), the preceding themes are mixed appropriately and naturally go over to the repetition of the presentation.
The development (3: 27-4: 12) is a forte of continuing various precursors, using a musical form in the preceding passage after a brief presentation of the first theme, forming a climax of the tune with the highest tension. The representation (4: 12-5: 48) begins with the complete reproduction of the first theme. After the reappearance of the second theme turned into the G major, the first theme is developed. KODA (5: 48-6: 46) begins with the sound of the horn sounding as it relaxes the previous tension and reproduces the first and final theme, ending with a brilliant emphasis on the preceding rhythm.
2nd movement, Andante
It is a simple variation style that can be understood easily, but its classical simplicity and beauty are great movements. Through the variation, the melody of the theme does not change. The subject (0: 00-1: 07) starts with p by the prefecture, and quietly falls back to pp when it repeats. Finally, the sound of 'suran' accompanied by the blow of timpani with ff sounds strong. When it is done again, it returns to the pond of the string, and in the repetition, flute and oboe participate in the melody. The first variation (1: 07-2: 13) begins again with the bang of Timpani. On the accompaniment of the 16th note of the first violin, the second violin sings the melody and the flute joins the accompaniment later. The second variation (2: 13-3: 26) is changed to C monotone, and the first four words change the mood of woodwind and low light to dark. However, the melody of the soft strings seems to be comforting. The second half begins with Forte's strong sprint, played by the prefecture. In the third variation (3: 26-4: 38), the oboe, flute, and horn gently embellish the strings of the strings and prepare for the subsequent fourth variation. The fourth variation (4: 38-6: 03), the highlight of the second movement, begins when the trumpet plays the theme in a flash. At this time, the first violin plays the decorative accompaniment of six-tupled notes, and the rest of the instruments adorn the rhythm of the trumpet. In repetition, Fapo and Sengen only change the subject silently. In the latter half of the climax, the ornaments of the trumpet shine on top of the orchestra and decorate Tutti and become a fermata. After that, two words are added, and soon Koda enters. In Coda (6: 03-6: 34), Oboe and Fapo conclude with a rugged performance as they relax the fourth variation.
3rd movement, Menuet - Trio: Allegro molto
It is a minuet but a fast movement of Allegro molto. There are a lot of recordings that are often played with a slow dance song that violates the composer's requested speed, but in order to be faithful to the score, the atmosphere of Scherzo should be played fast. (2: 11-3: 13), and the minuet (3: 13-4: 30), which are reproduced in the structure.
The 4rd movement, Finale: Allegro di molto
The point of having the first and second theme and having a development part in the middle resembles the sonata form, and the point where the progressive parts intervene between the repetition of the theme part is the Rondo form and has the so-called Rondo sonata form. When the first theme of a cheerful melodic tone is presented (0: 00-0: 34), Forte's dynamic 16-note vowel, synchronized by low and horns, appears in the forefront, and in the second half, (0: 34-1: 06). The second theme (1: 06-1: 18) with a light rhythm followed by a relaxed second theme (Forte 2: 1: 18-1: 32) intervenes again. The completion of the first theme (1: 18-1: 41), which can be seen in the form of a sonata, enters the Forte's third epoch (1: 41-2: 11), where the trumpet participates in a terrible fashion. This part corresponds to the highlight part of the four movements. After the first theme again (2: 11-2: 19), Forte's forged part, which is impressive of the low-pitched sound, is the fourth passage (2: 29-2: 42). (2: 42-2: 57) followed by the fifth episode (2: 57-3: 07) corresponds to the reproduction of the second half of the first episode, and the second episode (3: -3: 21). In Coda (3: 21-4: 03), after the motivation of the first subject was presented by the woodwind, a strong descent of the timpani, which corresponds to another 'surprise effect' in the fourth movement - There are many performances that are not played -
댓글