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Everyone knows the children’s song “Shojoji no Tanuki Bayashi,” commonly called “Shojoji,” right?

Yes, the one that begins, “Sho, sho, Shojoji, in Shojoji’s garden….”

Watch this video on YouTube.
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It is a delightful song.

As you know, Haydn was a great composer who continued creating symphonies throughout his life, repeatedly experimenting and elevating the form. He truly was the father of the symphony. His Symphony No. 89 is a masterpiece said to anticipate the later Beethoven. Please listen to its opening.

Watch this video on YouTube.
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Did you hear it? Right from the start: “Sho, sho, Shojoji!”

Well, the notes are C–E–G–E–C. Still, I was dumbfounded when I first heard it. How about you? It is a very good piece, so please listen to the whole symphony.

Table of Contents

Haydn’s Symphony No. 89 in F Major: A Masterpiece Resonating with Classical Maturity

The Austrian composer Joseph Haydn (1732–1809) contributed so greatly to the development of the symphony that he is called the “father of the symphony.” Written in 1787, his Symphony No. 89 in F Major, Hob. I:89, is a masterpiece representing the rich creative period of Haydn’s middle years.

Background: An Extension of the Paris Symphonies

Symphony No. 89 is positioned as a successor to the “Paris Symphonies” of 1785, Nos. 82 through 87. Indeed, Nos. 89 and 90 are sometimes treated as “2 additional Paris Symphonies.” Haydn was then working with Prince Esterházy’s court orchestra, while growing commissions and publications from abroad were increasing his fame throughout Europe.

Structure and Musical Features

Symphony No. 89 is a typical Classical symphony in 4 movements, but its content is rich and filled with surprises and playfulness.

Movement 1: Vivace

It begins with a stately, fanfare-like theme—the familiar “Sho, sho, Shojoji”—immediately followed by a light, contrasting motif. While following sonata form, it uses variation and counterpoint to produce a characteristically witty Haydnesque development.

Movement 2: Andante con moto

This movement is especially noteworthy. Written in variation form, it develops from the theme into variations featuring the wind instruments. Highlights include the dialogue between oboe and bassoon and the colorful exchanges between strings and woodwinds. Elegance and wit are exquisitely balanced.

Movement 3: Menuet and Trio

This is a characteristically Classical minuet movement, but rhythmic handling that confuses the perceived beat and unexpected turns of phrase reveal compositional skill extending beyond a simple dance. In the trio, flute and strings create a pastoral atmosphere.

Movement 4: Finale (Vivace assai)

A cheerful, energetic final movement. A theme resembling hunting horns recurs and develops in succession. This bright and lively finale fully displays the appeal of Haydn’s distinctive style.

Highlights and Appeal

Witty construction: Sudden modulations, rhythmic play, and unexpected silences scatter characteristically Haydnesque “surprises” throughout the work.
Prominent woodwinds: Especially in movement 2, the oboe and bassoon are treated as soloists, and their dialogue with the strings is captivating.
Bright, approachable melodies: The bright tonality throughout and memorable melodies are also characteristic of this work.

Recommended Recordings

Trevor Pinnock / The English Concert
　A crisp period-instrument performance that clearly communicates Haydn’s wit.
Ádám Fischer / Austro-Hungarian Haydn Orchestra
　Part of a complete recording, this is a careful, well-balanced performance. (It is the YouTube recording above.)

Conclusion: An Approachable Yet Profound Symphony

Symphony No. 89 is not flashy, but it is a fine work packed with Haydn’s craftsmanship, humor, and rich expressive power. It can be recommended both to first-time Haydn listeners and to those wishing to rediscover the appeal of Classical music. Please take the time to listen closely.

Haydn’s Symphony No. 89 in F Major, “Shojoji”?!