eservoir."]

[Footnote 117: In every large city there are, of course, frequent
opportunities to hear the Quartets of Haydn played by such famous
organizations as the Flonzaley Quartet etc. The student is urged to
take advantage of these occasions.]

The Finale of the E-flat sonata, in strict Sonata-form, begins with a
lively eight-measure phrase which is at once repeated a tone higher.
The extension of the sentence shows Haydn's freedom in phraseology;
for, beginning with measure 17, we should have to count the measures
1, 2, 3, 3a, 4, 5, 6, 6a, 7, 7a, 8, 8a. In the second theme, which
begins in the 44th measure, note the piquant dissonances[118] coupled
with sforzando accents. Haydn surely liked spice as well as anyone!
The rest of the Exposition is taken up with closing passages which
accentuate the tonality of the second theme--B-flat major. The
Development needs no comment, as the correspondence between the
original material and Haydn's treatment is perfectly clear. The
Recapitulation is a literal repetition of the Exposition, with the two
themes as usual in the tonic key. The movement may be considered an
example of Sonata-form in its clearest manifestation, hence an
excellent one for preliminary analytical study.

[Footnote 118: Those who erroneously think that there is nothing of
the dissonant element in Haydn should examine the Prelude to _The
Creation_--a real anticipation, in its use of the chromatic element,
of _Tristan and Isolde_.]

In the first movement of the _Surprise Symphony_, before the body of
the work begins, we have an early example of the Prelude. This slow
Prelude, short though it be, is most carefully planned; with its
crescendo from _pp_ to a _sf_ 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 composition, 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 express its
piquancy. For private study or for class-room work, a practical
version is that for four hands