[Music]
which Haydn liked so much that it is presented twice, the sec-
ond time slightly embellished. The Exposition closes with the
conventional insistence upon a strong cadence in the key of the
second theme. The Development begins with some rather frag-
mentary treatment of the first theme; then, after some fugitive
modulation into flat keys, contents itself with running passages
and a series of iterated notes. Of organic and sustained develop-
ment, such as Haydn indeed sometimes attained, there is little
trace. Even so we must be chary of sweeping condemnation; for
there are well-planned dynamic contrasts and the instruments
are used in such a natural way—especially the figure in the
double basses (measures 149-153)—that the scene is one of an-
imation, though perhaps no more than one of aimless gambols.
There is sufficient modulation, so that the principle of Plurality
of key is carried out. We are suddenly but gracefully led back, in
measure 155, to the repetition of the first theme, thus beginning
the Recapitulation. This portion, with certain abbreviations, is
an almost exact duplication of the first part and emphasizes the
main tonality of G major. That Haydn was not forced to this
literal repetition through any lack of fancy is shown by the skil-
ful amplification of the first theme, in measures 177-184. The
whole movement sparkles with sunshine; and those ponderous
“heavy-weights” who criticise it because it is not deep or “soul-
ful” are looking for qualities which the music does not pretend
to contain. It is the work of a wholesome, cheerful-hearted man
expressing through his favorite language his joy in life. In listen-
ing to the music we have the same delight as in wandering by the
side of a rippling brook. The three remaining movements of the
Symphony require little comment; being readily accessible they
are not given in the Supplement. The second movement, a set of
stereotyped variations, contains the explosive chord which gave
to the work its descriptive title. Needless to say that this chord
does not “surprise”ourmodern ears to any great extent. The
Minuet is one of Haydn’s best—full of queer antics in rhythm
and modulation. The Finale (Allegro di molto), in the Rondo
Sonata form, is the acme of Haydn’s vivacity and is a “tour de
force” of brilliant writing for the strings. In many passages they
seem fairly to burn.
[Footnote 119: All symphonic scores give a much better effect
when performed on two pianofortes than in a four-hand arrange-