THE ORCHESTRAL CONCERT.

Hawke's Bay Tribune, Volume VIII, Issue 217, 15 August 1918, Page 3

THE ORCHESTRAL CONCERT.

HAYDN’S “SURPRISE’’ SYMPHONY. (Reviewed by P. W. TOMBS.) It may not be out of place to explain ' that the symphony is the highest of all the musical forms, demanding from the composer an extraordinary amount of power and originality. Ernst Paulk in tris scholarly treatise on musical forms states that “No musical form, be it opera, oratorio or any other, could give us that noble and lofty idea of the wealth and intrinsic power, or of the irresistable strength of music that we find in the symphony.” I hear somebody remark, “that’s all very well for . ou people who can understand and apprciate it, but the average man cannot >e expected to understand music of .hat kind, it is beyond him.” Now. 1 ! centuro tho opinion that ninety per rent, of the people who talk in that , manner have never heard a symphony, i sonata, or overture properly rendered, if they would only lay aside their pre- ' indices for once and attend one of our , ;oncerts they would be surprised to find < Ghat music written according to recog- I lised laws and developed in an artistic ' aanner is not of necessity dry and oh-; cure. The thematic material used by rlaydn in his symphonies is delightfully simple and spontaneous, melodious and | ?asy to follow. This symphony, known i is “lhe Surprise” is No. 6 of the twelve i symphonies known as the “Salomon I let,” which were composed for a series i »f concerts at the Hanover Square ! dooms, London, under the direction of .he eminent violinist, J. P. Salomon, in : <9l-2. Opening with a short introdue-' tion, “Adagio Cantabile,” we soon pass co the first movement, “Vivace assai,” ; which is in the sonata form. What a : happy rollicking melody we have here n 6-8 time, the entry of the second theme is readily observed, and the development is so obvious and easy to ' follow as to be enjoyed by anyone who ; :ias any liking or appreciation for ; music. Next comes the famous “An- I daute,” which contains the effect known as the “surprise.” This consists of a single fortissimo chord which occurs at the end of a pianissimo strain when least expected, and is truly startling in affect. “There the women will scream” chuckled the genial old composer, referring to this effect. The melody of this andante is known to almost every person who has learned the piano, as many instruction books include it. vVhat a masterpiece of ingenuity and invention is displayed in the treatment of this theme. After being played oner through we have four variations oi great interest in which the principal melody is ever present. The first is for first violins with theme played b.v second violins, second, in the minor key. theme treated by ’cellos and basses, variations by Ist and 2nd violins. Third variations by wood wind, theme by violins. Fourth, a gram! variation for full orchestra leading up to a line climax, ending on a. pause. The pianissimo ending which follows i> almost unequalled in its exquisite delicacy and refinement. The minuet which follows next shows Haydn in his hiijipiest vein, the quaintly humorous couches being very characteristic of tingenial old master. The final movement, allegro di molto, is in rondo form, tin principal theme is very bright and jolly and owing to its many repetitions soon becomes familiar, the whole movement simply dances along from beginning to end, not a dull bar throughout. The eminent musical historian, Emil Naumann, writes concerning a performance of a Haydn symphony which he heard at a popular symphony concert in Berlin about forty years ago, when the final movement was encored no les; than three times. At this concert there were to be seen all classes of people: artists, scientists and a large number of the artisan class, all music lovers, and although it is now 1918 (one hundred and nine years after the death oi the master) it will be found by our audience at the Hastings Municipal Theatre, on Friday next, that his music has still the power to charm and enthuse the listener as it did over a century ago—and will continue to do so lor many long years to come. In order that the audience may not become wearied by a long period of instrumental ynusic. Miss McEnroe will render a song after the “andante,” aite; which the minuet and final rondo movement will be played.