ing of the dissonant element in Haydn should examine the Pre-
lude toThe Creation—a real anticipation, in its use of the chro-
matic element, ofTristan and Isolde.]
In the first movement of theSurprise Symphony, before the
body of the work begins, we have an early example of the Pre-
lude. This slow Prelude, short though it be, is most carefully
planned; with its crescendo fromppto asf forte and its free
modulation it arouses a genuine feeling of expectancy. The first
theme of the Exposition (Vivace Assai) is a happy illustration
of Haydn’s sparkling rhythm, and as tossed off by the violins is
of irresistible gaiety. The reader is asked to remember that the
comments on this symphony—and on all subsequent symphonic
works—are based upon the orchestral score; also that the com-
position, when separated from its orchestral dress, necessarily
loses much of its real eloquence. Thus the first theme, of a folk-
dance character, is a typical violin melody; only strings—with
their incisiveness and power of subtle phrasing—can fully ex-
press its piquancy. For private study or for class-room work,
a practical version is that for four hands; or better still, when
possible, the arrangement for two pianofortes.[119] The second
phrase of the first theme is considerably expanded by repetition,
as if unable to stop from sheer exuberance, but finally reaches
a cadence in the dominant key in the 32nd measure. We are
at once taken back, however, to the home-key of G major; and,
in measure 40, the first theme is repeated, this time delicately
embellished with phrases on the flute. From now on, by reason
of the emphasis laid on the key of D major, it is evident that
we are in the transitional passage and are heading towards the
announcement of the second theme. It must be said that Haydn
does not drive very straight at his mark; though it is a pleasant
touch of variety in measures 55-57 to introduce the main theme
in the minor mode, and though the fiery violin passages in the
following measures give an air of considerable excitement. What
stands for the second theme begins in measure 67. This portion
of the movement has no theme with genuine individuality, but
consists of running passages—based exclusively on tonic and
dominant harmonies in the new key, and of little import save
one of general vivacity. It is, however, decidedly alive—not stag-
nant or flabby—and in the orchestra it all “comes off.” We are
rewarded, finally, by a clear-cut closing theme of jaunty rhythm,
e.g.,