Limitless. It is believed that over the entire career of the composer wrote about 150 symphonies, but only 104 of them have survived to this day. Haydn's penultimate Symphony 103 is not only an example of musical style, but also one of the peaks of the composer's work.
To know Interesting Facts, the history of creation and content of Joseph Haydn's Symphony No. 103 can be found on our page.
The history of the creation of the Symphony "With tremolo timpani"
The music of the Austrian composer was known in the UK long before he went on tour for the first time. Moreover, Haydn's works were popular and often performed on stages in London. Josef himself believed that these were the happiest years of his life.
In 1794 Haydn went on tour to London for the second time. There, in the winter, he will begin composing the Six London Symphonies, among which was Symphony No. 103, Tremolo Timpani.
For the first time, the works were performed from the stage of the Royal London Theater "Covent Garden". The conductor was Giovanni Battista Viotti. The performance was truly a great event.
The day after the premiere, the daily Morning Chronicles will write more than positive feedback for the work:
“Sir, Joseph Haydn has shown us another new symphony. The fruitful Haydn, as always, managed to create ingenious and incredibly light, like air, harmonies. The intro made us listen to the music with bated breath. The charming Allegro and Andante were encores. Minuets, especially the trio, it was unusually sweet and playful, performed as if in one movement.
The famous English magazine "The Sun" will later write a review of the premiere:
“Haydn's new symphony was a huge success with the public. It is a vibrant mixture of splendor and fantasy. The roar of applause did not die for a long time, and the second part was performed as an encore!”
Later the premiere took place in Vienna. Especially for the Austrian public, Haydn made a short intermission before the last part for the public to rest. From the moment the first bars of the 103rd symphony were sounded, the composition has not left the world stages and is still popular in society.
Interesting Facts
- The symphony is called "Timpani Tremolo", as it conveys the features of the orchestration.
- Haydn's 103rd symphony "With tremolo timpani" can be partially heard in contemporary film"On the Edge", released in 2012.
- The symphony premiered at famous theater England "Covent Garden".
- The symphonic work “Timpani with Tremolo” is one of the six famous London symphonies.
- The main theme of the third part is borrowed from another work popular at that time, namely from the opera “ Abduction from the Seraglio» Mozart.
- In English, the composition is called "Drumroll", which translates as drum roll.
- Richard Wagner especially honored the work of the genius Joseph Haydn, so in 1831 he arranged some symphonic compositions for pianoforte, and the 103rd symphony was among these works.
- In the second part, the composer uses authentic Croatian folk songs. One of which is the song "A little girl tramples a stream."
- The orchestra that performed the symphony consisted of almost sixty people. At that time it was the largest orchestral group in the world in terms of the number of musicians.
- In addition to the symphony, other works were performed on the day of the premiere. The piano compositions were played by Maestro Haydn himself.
- The duration of all parts of the symphony takes half an hour.
- In the theme of the first part, the ancient choral "Dies irae" is encrypted.
Interpretations of the work by conductors
It is no secret that not only the quality of sound and the coherence of the playing of the orchestra players, but also the reflection of the style of the era and the semantic content of the music depend on the conductor. At present, the symphony is being played enough on the world's leading music scenes. Consider the three most successful performances of the symphony:
- Berlin Philharmonic Orchestra conducted by Herbert von Karajan. Distant peals timpani set up the listener. The conductor gently builds up the dynamics, softening the contrasts between the themes of the opening and the exposition of the first movement. It is impossible not to note the purity and transparency of the sound of the instruments. It is worth noting that, unlike other performances, Karayan maintains a more calm and balanced pace, which harmoniously fits into parts II and III, but slows down the finale a little.
- Vienna Philharmonic Orchestra conducted by Nikolaus Harnoncourt. In terms of brilliance, the performance can be called more restrained and gloomy. Since the composer did not have separate instructions regarding the performance of the timpani tremolo in the introduction, the conductors interpret it differently, achieving a certain sound effect. Harnoncourt tried to make the introduction brighter, emphasizing the characteristic timbre of the timpani. In movement II, the conductor singled out the characteristic elegance of the composition. The final sounded in bright, pure colors.
- New York Philharmonic Orchestra conducted by Leonard Bernstein. The roll of the timpani is gradually muted in the introduction, allowing the main theme of the first movement to be highlighted. I would like to note that the conductor perfectly manages to convey the genre coloring of the village minuet in movement III. The brilliant finale is absolutely sustained in the Allegro con spirito tempo, the golden passage of the horns sounds crisp and clear.
Contents of the Symphony "With tremolo timpani"
The main difference between the style of Joseph Haydn is the seeming carelessness and lightness. Often such traits are perceived as superficial. But only a real composer knows that the most difficult thing is to achieve the effect of lightness and transparency of sound. It is worth noting that the depth of the work is hidden from the eyes of ignorant listeners, and you need to seriously try to understand the underlying meaning.
Simplicity and conciseness are a characteristic feature of the mature symphonic work of the musician. These qualities are reflected in compositional structure. The author uses sonata symphonic cycle of four parts with an introduction and a coda, where each part has a finished form, sustained in a certain style and genre.
- Introduction plays an important role, for the first time it is closely connected with the first part, the theme of the introduction is actively involved in the formation of the symphony. A theme reminiscent of the chorale "Dies irae" is carried out.
- I part composed in sonata allegro form. Home and side party do not have a pronounced conflict or contrast. The composer thematically combined themes in this part.
- II part has the form of double variations: the first theme is a Croatian folk song, the second theme is a march. In the process, the themes will interact.
- III part is minuet, but not in the palace style, but in "peasant shoes". Some musicologists appropriate parts of the traits of baroque music.
- The final written in rondo sonata form bright picture mass holiday. The origins of hunting music, which proves the use of the "Golden move of the horns."
The work is a genre-domestic symphony, which reveals the following features:
- The themes have a genre-household thematic warehouse and are based mainly on such genres as song, march and dance.
- The main and side parts in the first part are not contrasting, but rather complement each other.
- The development of thematism is carried out by way of motivated isolation (developmental type of development).
- The cycle has a pronounced unity.
- The concept is optimistic.
- The work often uses folk motifs and citations.
Haydn's philosophy is simple: you need to live today and now, enjoying the moment. Simplicity is happiness, the main thing is to hear and feel it. But such reasoning is not clear to everyone, and this is the complexity of music.
This is real music! This is what should be enjoyed, this is what should be sucked in by everyone who wants to cultivate a healthy musical feeling, a healthy taste.
A. Serov
The creative path of J. Haydn - the great Austrian composer, senior contemporary of W. A. Mozart and L. Beethoven - lasted about fifty years, crossed the historical border of the 18th-19th centuries, covered all stages of the development of the Vienna classical school- from its inception in the 1760s. until the heyday of Beethoven's work at the beginning of the new century. The intensity of the creative process, the richness of imagination, the freshness of perception, the harmonious and integral sense of life were preserved in Haydn's art until the very last years of his life.
The son of a carriage maker, Haydn discovered a rare musical ability. At the age of six, he moved to Hainburg, sang in the church choir, learned to play the violin and harpsichord, and from 1740 he lived in Vienna, where he served as a chorister in the chapel of St. Stephen's Cathedral (Vienna Cathedral). However, in the chapel only the boy's voice was appreciated - a rare treble purity, they entrusted him with the performance of solo parts; and the composer's inclinations awakened in childhood went unnoticed. When the voice began to break, Haydn was forced to leave the chapel. The first years of independent life in Vienna were especially difficult - he was in poverty, starved, wandered without a permanent shelter; only occasionally did they manage to find private lessons or play the violin in a traveling band. However, despite the vicissitudes of fate, Haydn retained both the openness of character, and the sense of humor that never betrayed him, and the seriousness of his professional aspirations - he studies the clavier work of F. E. Bach, independently studies counterpoint, gets acquainted with the works of the largest German theorists, takes composition lessons from N Porpora - a famous Italian opera composer and teacher.
In 1759, Haydn received the place of Kapellmeister from Count I. Mortsin. The first instrumental works (symphonies, quartets, clavier sonatas). When in 1761 Mortsin disbanded the chapel, Haydn signed a contract with P. Esterhazy, the richest Hungarian magnate and patron of the arts. The duties of the vice-kapellmeister, and after 5 years of the princely chief-kapellmeister, included not only composing music. Haydn had to conduct rehearsals, keep order in the chapel, be responsible for the safety of notes and instruments, etc. All Haydn's works were the property of Esterhazy; the composer did not have the right to write music commissioned by other persons, he could not freely leave the prince's possessions. (Haydn lived on the Esterhazy estates - Eisenstadt and Estergaz, occasionally visiting Vienna.)
However, many advantages and, above all, the ability to dispose of an excellent orchestra that performed all the works of the composer, as well as relative material and domestic security, persuaded Haydn to accept Esterhazy's proposal. For almost 30 years, Haydn remained in court service. In the humiliating position of a princely servant, he retained his dignity, inner independence and striving for continuous creative improvement. Living far from the world, almost not in contact with the wide the music world, he became during his service with Esterhazy the greatest master of European scale. Haydn's works were successfully performed in major musical capitals.
So, in the mid-1780s. the French public got acquainted with six symphonies, called "Paris". Over time, composites became more and more burdened by their dependent position, more acutely felt loneliness.
Dramatic, disturbing moods are painted in minor symphonies - "Funeral", "Suffering", "Farewell". Many reasons for different interpretations - autobiographical, humorous, lyric-philosophical - were given by the finale of "Farewell" - during this endlessly lasting Adagio, the musicians leave the orchestra one by one, until two violinists remain on the stage, finishing the melody, quiet and tender...
However, a harmonious and clear view of the world always dominates both in Haydn's music and in his sense of life. Haydn found sources of joy everywhere - in nature, in the life of peasants, in his work, in communication with loved ones. So, acquaintance with Mozart, who arrived in Vienna in 1781, grew into true friendship. These relations, based on deep inner kinship, understanding and mutual respect, had a beneficial effect on the creative development of both composers.
In 1790, A. Esterhazy, heir to the deceased Prince P. Esterhazy, dissolved the chapel. Haydn, who was completely freed from service and retained only the title of Kapellmeister, began to receive a lifetime pension in accordance with the will of the old prince. Soon there was an opportunity to fulfill an old dream - to travel outside of Austria. In the 1790s Haydn made two tours to London (1791-92, 1794-95). The 12 "London" symphonies written on this occasion completed the development of this genre in the work of Haydn, approved the maturity of the Viennese classical symphony (somewhat earlier, in the late 1780s, 3 latest symphonies Mozart) and remained pinnacle phenomena in the history of symphonic music. London symphonies were performed in unusual and extremely attractive conditions for the composer. Accustomed to the more closed atmosphere of the court salon, Haydn first performed in public concerts, felt the reaction of a typical democratic audience. At his disposal were large orchestras, similar in composition to modern symphony ones. The English public was enthusiastic about Haydn's music. At Oxford, he was awarded the title of Doctor of Music. Impressed by the oratorios of G. F. Handel heard in London, 2 secular oratorios were created - “ The Creation of the World" (1798) and " The Seasons" (1801). These monumental, epic-philosophical works, affirming the classical ideals of beauty and harmony of life, the unity of man and nature, adequately crowned the composer's creative path.
The last years of Haydn's life were spent in Vienna and its suburb Gumpendorf. The composer was still cheerful, sociable, objective and friendly towards people, he still worked hard. Haydn passed away at a troubled time, in the midst of the Napoleonic campaigns, when the French troops had already occupied the capital of Austria. During the siege of Vienna, Haydn consoled his loved ones: "Do not be afraid, children, where Haydn is, nothing bad can happen."
Haydn left a huge creative heritage - about 1000 works in all genres and forms that existed in the music of that time (symphonies, sonatas, chamber ensembles, concertos, operas, oratorios, masses, songs, etc.). Large cyclic forms (104 symphonies, 83 quartets, 52 clavier sonatas) constitute the main, most precious part of the composer's work, determine his historical place. On the exceptional significance of Haydn's works in evolution instrumental music P. Tchaikovsky wrote: “Haydn immortalized himself, if not by invention, then by improvement of that excellent, ideally balanced form of the sonata and symphony, which Mozart and Beethoven later brought to the last degree of completeness and beauty.”
The symphony in Haydn's work has come a long way: from early samples close to the genres of everyday life and chamber music(serenade, divertissement, quartet), to the "Paris" and "London" symphonies, in which the classical patterns of the genre were established (the ratio and order of the parts of the cycle - sonata Allegro, slow part, minuet, fast finale), characteristic types of thematics and development techniques etc. Haydn's symphony acquires the meaning of a generalized "picture of the world", in which different sides lives - serious, dramatic, lyrical-philosophical, humorous - are brought to unity and balance. The rich and complex world of Haydn's symphonies possesses remarkable qualities of openness, sociability, and focus on the listener. Their main source musical language- genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they discover new figurative, dynamic possibilities. Completed, perfectly balanced and logically built forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises sharpen interest in the very process of thought development, always fascinating, filled with events. Haydn's favorite "surprises" and "pranks" helped the perception of the most serious genre of instrumental music, gave rise to specific associations in the listeners, which were fixed in the names of symphonies ("Bear", "Chicken", "Hours", "Hunting", " School teacher" and so on.). Forming the typical patterns of the genre, Haydn also reveals the richness of the possibilities for their manifestation, outlining different paths for the evolution of the symphony in the 19th-20th centuries. In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion). The composition of the quartet is also stabilizing, in which all instruments (two violins, viola, cello) become full members of the ensemble. Big interest present Haydn's clavier sonatas, in which the composer's imagination, truly inexhaustible, each time opens up new options for building a cycle, original ways of arranging and developing the material. The last sonatas written in the 1790s. clearly focused on the expressive possibilities of a new instrument - the pianoforte.
All his life, art was for Haydn the main support and a constant source of inner harmony, peace of mind and health, He hoped that it would remain so for future listeners. “There are so few joyful and contented people in this world,” the seventy-year-old composer wrote, “everywhere they are haunted by grief and worries; perhaps your work will sometimes serve as a source from which a person full of worries and burdened with business will draw his peace and rest for minutes.
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SYMPHONY CREATIVITY
Farewell Symphony. "London" symphonies. Concerts
Haydn created his symphonies for a third of a century (from the late 50s to the 90s of the 18th century). There are 104 symphonies in the academic edition, although in fact there were more. Haydn's first symphonies date back to the period when European classical symphonism was formed through the efforts of various national schools, and Haydn's early symphonies, along with the symphonies of the Mannheim masters, were an important link in the process of forming the stylistic foundations of the mature symphony of the Viennese classical school. Haydn's later symphonies were written when all Mozart's symphonies already existed and when the young Beethoven worked out the principles of his symphonic thinking in piano sonatas and chamber ensembles, approaching the creation of the first symphony.
Thus the evolution of the symphonic creativity Haydn but is of interest not only for studying the creative path of the great composer, but also for understanding the processes of formation and development of classical symphony of the 18th century in general. Haydn's early symphonies still do not essentially differ from the chamber music that he wrote at the same time, and almost do not go beyond the usual entertainment genres for that era. Only in the 70s there are works that express a deeper world of images and feelings (“ Funeral symphony”, “Farewell Symphony” and some others).
The "Farewell Symphony" with its pathetically excited character stands out sharply among all other works by Haydn written in the same 70s and occupies a special place in his work.
Instead of the usual four movements, the symphony has five movements. As a matter of fact, the first four parts could form an integral, complete cycle; The 5th movement was introduced additionally with a specific and original purpose, justifying the name of the symphony "Farewell": as we already know, during the performance of this finale, the musicians of the orchestra gradually disperse, and by the end only two violinists remain, finishing the symphony. This is probably the first time a symphonic cycle ends with a slow movement (Adagio).
One can note in this symphony the unity of the cycle, expressed both in thematic connections between separate parts, and in the general nature and mood of the music in the first and fourth parts. The first movement (sonata allegro) is full of dramatic expression and pathos, especially its main theme. As in some of Haydn's other symphonies, here the main and secondary parts are built on the same thematic material.
The syncopated movement of the accompaniment chords, the sforzando accents, the tonic-subdominant successions, the second low step in minor - all these are means that together give the music an agitated and dramatic character. Particular attention should be paid to the structure of the theme according to chord sounds, which later (for Mozart and Beethoven) will become a frequent occurrence, as well as to the harmonic sequence of the tonic triad and second chord of the second step (the first four measures), which enhances the drama of musical expression. (Recall tragic character the same harmonic sequence in the music of P. I. Tchaikovsky.)
Peculiar rare for music XVIII century, the tonal plan of the exposition of the first movement: the side part (based on the same thematic material as the main part) sounds in A minor (the major parallel of the same name), the final part - in C-sharp minor. A tertian chain of minor keys is created, located on the sounds of the F-sharp-minor triad (the main key of the symphony). It is impossible not to see in this an anticipation of the distant future, when in the work of romantic composers great importance will receive colorful terts juxtapositions of minor or major keys.
But all this does not exhaust the originality of this sonata allegro: a new song theme appears in development, introducing a lyrical contrast and compensating for the lack of contrast in the exposition and, therefore, in the reprise of this movement.
The second, slow part of "Farewell" is lyrically song (Adagio), the third part is dance (minuet). Above it was said about the thematic connections between the individual parts of the symphony. In this regard, let's pay attention to the sequence of descending tertian moves in the theme of the minuet.
Quite original is the incompleteness of the minuet, ending with a tertian sound without a harmonic basis, which, apparently, suggests the performance of the next, fourth movement without interruption (atacca). The tonal incompleteness of the fourth movement, which stops at the dominant, and therefore requires a direct transition to the finale, anticipates similar cases in Beethoven's 5th and 6th symphonies or the tendency characteristic of romantic symphonism to merge the parts of the cycle. Direct transition from the fourth movement to the finale emphasizes their contrast even more.
The fourth part, with its excited, agitated character, echoes the first part. As in the first movement, the general character here is determined by the main theme, which is the main part of this movement (written in sonata form).
The melodious slow fifth brings calm to the excited music of the symphony, the dramatic impulsiveness of which is resolved in the calm lyrics of the finale. The tonal plan of this major finale has some analogy with the tonal plan of the exposition of the first part of the symphony: there was a tertial chain of minor keys (F-sharp, A, C-sharp), forming the sounds of an F-sharp-minor triad; here is a chain of major keys that form the same sounds (the finale begins in A major, C-sharp major is temporarily fixed in its central part, it ends in F-sharp major - the major of the same name in relation to the main key of the symphony). The finale, which contrasts so sharply with the dramatic first part with its calmly lyrical character, is at the same time a kind of reprise in terms of tonalities, which also contributes to the unity of the cycle. These are the features of this symphony, exceptional in the work of Haydn, echoing some phenomena in symphonic music of the 19th century.
Gradually, as creative evolution composer, Haydn's symphonies are saturated with ever deeper socially significant content. While maintaining links with the dance suite, the symphony as a genre is an independent complete work, the four parts of which, different in nature, have, following the example of "Farewell", organic unity. All this is largely achieved in Haydn's Paris Symphonies of 1786.
But the highest achievements of Haydn's symphony are the 12 "London" symphonies. With the exception of one (C minor), Haydn's "London" symphonies are written in major keys.
As a rule, they begin with a brief slow introduction of a solemn, concentrated or lyrical, contemplative character (usually in the tempo of Adagio or Largo).
This kind of slow introduction contrasts sharply with the subsequent allegro, which is actually the first movement of the symphony, and at the same time prepares it. These introductions are successively connected with the initial Grave in French opera overtures (such as the Lully z Rameau overtures), as well as with introductory parts in some Concerti grcssi and in suites (such as English suites for clavier or orchestral suites by J.S. Bach). The slow introductions in Haydn's "London" symphonies are usually thematically unrelated to subsequent allegroes. However, there are exceptions: for example, the theme of the introduction from the Symphony in E-flat major No. 103 (“with timpani tremolo”) appears in its main form in the code of the first movement and in a different form in the development.
From the theme of the introduction to the symphony in D major Ns 101 (“The Hours”), the theme of the main part of the first movement grows. This name, like other names of Haydn's symphonies ("Military", "With a beat of the timpani", "Bear", etc.), were not given by the composer himself and are associated with some outward sign music.
In the vast majority of Haydn's symphonies, however, there is no such direct thematic connection between the slow introduction and the allegro. The striking contrast between the slow introduction and the ensuing allegro compensates for Haydn's frequent lack of contrast in the character of the main and secondary parts in Haydn's London symphonies. Both those and others usually have a folk song and dance character. There is only a tonal contrast: the main key of the main parts is contrasted with the dominant key of the side parts.
Even in those cases when the main and side parts are different in thematic material, they are largely similar in the nature of the music, in the figurative structure.
There are frequent cases in Haydn's symphonies when the main and secondary parts are built on the same thematic material, while the final part is based on new; an example is the first movement of the "Military" symphony in G major No. 100.
The themes of the main and final parts are not contrasting in general. Their dancing nature is beyond doubt.
The main and side parts are built on the same thematic material in the symphony in D major (No. 104).
As you can see, the difference between the main and side parts is only tonal (the main part is in the main key, the side part is in the key of the dominant).
Haydn is characterized by the following technique, which produces a humorous effect: a group string instruments at the head of the first violins plays the piano theme of the main part; but at the moment when the theme ends with the tonic of the main key, the whole tutti orchestra suddenly invades on the tonic triad forte or fortissimo, merrily collapsing with a mass of sounds and giving a sharp dynamic contrast to the theme just sounded.
Significant development was received in Haydn's symphonies. What is new here is that the elaboration is built on the basis of motivic singling out: a short but most active segment is separated from the theme of the main or side part and subjected to independent development, continuously modulating in different keys, passing by different instruments and in different registers. This gives the developments a dynamic and striving character.
In some cases, this development takes on a dramatic tone; witty combinations and unexpected shifts and tonal juxtapositions often create a humorous and sometimes dramatic effect, depending on the overall context. Finally, the dominant of the main key is reached and the reprise begins. But after the elaboration, in which the thematic material of the allegro is subjected to such intensive development, the recapitulation is not a simple repetition of the exposition, despite the formal return of the themes of the main and secondary parties and in the same sequence.
In contrast to the exposition, both themes in the reprise sound in the main key, thereby resolutely asserting the tonic.
The second (slow) parts have a different character: sometimes thoughtfully lyrical, concentrated, sometimes songlike, in some cases marching. And they are different in form. The most common is a complex tripartite and variational form. In the form of double variations, for example, the second movement (Andante) from the symphony in E-flat major No. YuZ (“with timpani tremolo”) is written, the main theme of which was borrowed by Haydn from a Croatian folk song.
Another theme, intonationally related to the first, but contrasting with it in terms of modes (the major of the same name), has a march-like character.
IN variational form the second part of the symphony in G major No. 94 was written; the theme of this part, very popular and known to everyone from childhood, sounds in Simon's aria from Haydn's oratorio "The Seasons".
The second movement (Andante) of the Symphony in D major No. 104 is written in a complex three-movement form with a developing (developmental) middle and with a varied and extended reprise, which also includes elements of development.
The second part of another D major symphony No. 100 (“The Hours”) is similar in the sense of form. some amount of drama.
The third movements of Haydn's "London" symphonies are always called "Menuetto" ("Minuet"). But in his minuets, Haydn went far from the prim, gallant court minuet. Many of the minuets of Haydn's symphonies took on the character of village dances with their somewhat heavy steps, sweeping melody, unexpected accents and rhythmic shifts, often creating a humorous effect. The triple meter of the traditional minuet is preserved, but the figurative and semantic content of the music becomes different: the minuet loses its aristocratic sophistication and turns into a democratic, rural, peasant dance. The form of the classical minuet (including the Haydn one) is always complex in three suits with an exact reprise (“da capo” form) and usually with a contrasting middle. Most often middle part the minuet (trio) is distinguished by transparent instrumentation, soft and quiet dynamics (piano or pianissimo), some refinement and “chivalry”, which creates a contrast to the extreme and main parts, in which forte dynamics dominate, denser instrumentation (orchestral tutti), where sharp sforzando accents give the music the character of a heavy folk dance.
At the end of Haydn's symphonies, attention is usually drawn to genre images, similarly dating back to folk dance music. A quick finale cheerfully completes the cheerful symphony. Some finales of Haydn's "London" symphonies are written in sonata form, as, for example, in D major Symphony No. 104, but the rondo sonata form is more common (Symphony in E flat major No. 103).
In the Symphony in D major (No. 104), the theme of the main part of the finale is a modified popular Croatian folk song; she is also related to Czech folk song"Be with me, my dear." This dance theme the lyrical theme of the side part is contrasted.
In almost all the finals of Haydn's London symphonies, the methods of variational and polyphonic (imitation) development are widely used, further whipping up the rapid movement of music and dynamizing, making the whole fabric mobile.
Orchestra in Haydn's symphonies of the usual double composition: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, a pair of timpani, a string quintet; "heavy" copper (trombones, tuba) is completely absent. Trombones, as you know, for the first time in symphonic music will be used only in the finals of some of Beethoven's symphonies. Of the woodwind instruments, not all of Haydn's symphonies use clarinets (the clarinet, invented in the 17th century, was practically introduced into the symphonies by the composers of the Mannheim school.) In the G major ("Military") symphony, the clarinet participates only in the second movement. Only in the scores of the last two "London" symphonies of Haydn (E-flat major and D major) there are 2 clarinets along with pairs of flutes, oboes and bassoons.
The leading role is played by the first violins, who are entrusted with the presentation of the main thematic material. But flutes and oboes also actively participate in its presentation and development, either doubling the violins, or alternating with them in carrying out the theme or its fragments. Cellos and double basses play the same bass line- double basses are only an octave below the cellos. Therefore, in Haydn's scores, their parts are written out on one line.
French horns and trumpets, as a rule, perform a very modest function, in some places emphasizing harmony and rhythm. Only when all the instruments of the orchestra (tutti) play the forte theme in unison do the horns and trumpets participate on an equal footing with other instruments. But such cases are rare. An example would be the main part from Symphony No. 97 in C major, performed by the entire tutti orchestra.
The genres of symphonic music include concertos for various instruments with an orchestra. Haydn wrote about fifty concertos for piano, violin, cello, and various wind instruments. Representing usually a three-part cycle (sonata allegro, slow movement, fast finale), Haydn's concertos combine the principles of solo and concerto-symphonic music, which is typical of this genre in general. The virtuoso and expressive properties of the solo instrument, possible in that era, were used to the maximum. In terms of orchestral sound (especially in moments of tutti, in orchestral expositions of the first movements, etc.), in terms of scale and methods of developing thematic material, Haydn's concertos of the mature period of creativity are not inferior to symphonies.
The genres of symphony and solo concerto existed before Haydn, but Haydn's work was one of the pinnacles of European symphony at an early stage of its development.
The genre of symphony in Haydn's work passed a long way of development. And only his mature symphonies received the most perfect, classical form and finally took shape in a four-part cycle with a certain sequence of parts.
The first part of the symphony goes at a fast pace and sounds most often energetic and excited. The second part is slow. Her music conveys the lyrical mood of a person. Either bright and peaceful, or sad or concentrated. The third movement is the minuet. The very name speaks of its dancing, lively character. The minuet is one of the most beloved dances of the Haydn era. The introduction to symphonic music testifies to his popularity. The fourth part, or finale, is the last, final part of the work. Here again the fast pace returns. Very often the finale has a dance character and conveys a jubilant festive mood.
This is how Haydn built his symphonies, as well as his great contemporaries - Mozart and Beethoven. Composers of the following generations continued to develop the traditions of the classical symphony. Expanding and enriching its content and form.
The symphony is intended for a mass audience. This is due to the large scale of the work, the power of sound, because. The symphony is performed by a symphony orchestra.
The composition of the symphony orchestra was also established in the work of Haydn. It is based on four groups of instruments.
The leading string group of the orchestra includes violins, violas, cellos and double basses.
The wooden group consists of flutes, oboes, clarinets, bassoons.
Haydn's group of brass instruments consists of horns and trumpets.
From drums tools Haydn used only timpani in the orchestra.
In the work of subsequent composers, the composition of the symphony orchestra is significantly expanded due to, mainly, brass wind instruments.
The Symphony in E flat major is one of the twelve "London Symphonies". It begins with a timpani tremolo, which is why the entire symphony is called "Symphony with timpani tremolo".
The symphony has a bright cheerful character. Her themes are close to folk German-Austrian and Croatian melodies.
The symphony has four movements. The first part is fast, Allegro con spirito (fast with enthusiasm). The second movement is slow, Andante (slowly). The third movement is a lively minuet. The fourth movement is the finale, Allegro con spirito.
Haydn established not only the sequence of parts of the symphony. The nature and structure (or form) of each part were also determined.
The form of the first movement in symphonies is called sonata allegro (because it is usually written in allegro tempo) or sonata form. The first movement of the symphony in E-flat major begins with a slow introduction. After the tremolo, the timpani, reminiscent of a distant clap of thunder, sounds muffled. A somewhat mysterious subject.
The introduction sets off the cheerful and moving music of Allegro, which is based on two different themes. Their exposition, and then development and repetition, constitute the content of the first part.
The first theme (the main part) has a dance character.
The second theme, or the theme of the side part, is also danceable. It is not typical for a Haydn symphony to have a sharp distinction between main and side parts. In the seventh "London Symphony" in D major, the main and side parts are even the same. The side part in the symphony in E-flat major is distinguished by its elegance and lightness of sound. It is presented in a different key - B-flat major. The waltz accompaniment gives the music greater softness, sonority, and the sonority of the oboe gives a new color.
The presentation of two different themes constitutes the first section of the sonata allegro, its exposition.
The second section of the sonata allegro is called the development. Both the themes of the exposition and the theme of the introduction are developed here.
The third section of the sonata allegro is a reprise. In the same order as in the exposition, the main and side parts follow. All themes in the reprise sound in the main key.
After the fast and fun, full of contrasts of the first part, the second part of Andante brings acceleration. These are variations on two themes. Variations is such a form of work, where the theme sounds first, and then it is repeated several times in a measured (varied) form. Variations on two themes are called double variations.
The first theme is taken by Haydn from a Croatian folk song. The theme is narrative in nature, it sounds leisurely and calm.
The second theme has a marching cheerful, strong-willed character.
Despite the differences between the topics, they have much in common.
Then follow the variations, alternately on the first and second themes. It is interesting that the variations on a minor, sing-song theme sound more and more tense, excited, and the variations on a marching-major theme acquire features of softness. melodiousness. Thus, the contrast inherent in the themes is smoothed out. This is especially noticeable in the code, where the energetic motive of the second theme sounds smooth and easy.
In the third part - the minuet - Haydn combines the grace and flexibility inherent in this dance with an underlined, chased rhythm - the features inherent in his performance among the people.
The middle movement, a trio, is built on arpeggiated passages. Forming a smooth and continuous movement. The trio sounds very quiet, soft and smooth.
The final brings us back to the festive-dance mood of the first part. But there are no longer those contrasts. that caused tension musical development at the beginning of the symphony.
The basis of the finale is a fast dance melody close to the Croatian folk song. The melody sounds string group orchestra against the background of horn moves, reminiscent of the inviting sounds of a forest hunting horn (hence the name of the horn: Waldhorn, which in German means "forest horn").
Such is Haydn's symphony "with timpani tremolo". All four parts of the symphony are closely bound together by a single festive mood music, the basis of which is dance melodies of the folk warehouse.
GENRE OF SYMPHONY IN HAYDN'S WORKS
Joseph Haydn - great representative Viennese classical school. In the history of musical art, he is one of the brightest and most harmonious artists. Haydn received well-deserved world recognition mainly in the field of instrumental music. His chamber and symphonic works began in the 50s of the 18th century, and contributed to the emergence of new genres and forms in this area. The last quartets and "London Symphonies" a brilliant result of the composer's long creative evolution.
It was one of the most daring and independent geniuses. No authority had the slightest power over him. "Art is free and should not limit itself to any craft ties" - Haydn said.
In every note of his compositions, his inexhaustible fantasy and endless wealth of musical ideas sparkle. He was a great master, and the desire for mastery constantly directed his efforts. Haydn was pleased with the work itself, the feeling of "harmony". It was a real passion for creative work and the eternal search for artistic perfection.
Haydn's creative life was long and captured turning point musical development Western Europe- from the origins to the full flowering of the Viennese classical school. The formation of the composer's creative personality is associated with the second half of the 18th century. Beginning in 1761, for almost 30 years, Haydn was in the service of Prince Esterhazy, nicknamed "The Magnificent". During these years, Haydn's life was extremely monotonous and devoid of external events. But at the same time, all his attention was directed exclusively to the field of music. Assuming the position of court Kapellmeister, Haydn signed an agreement that assigned him numerous duties:
- supervise the performance of music at the court of the prince and in the church
- train singers
- monitor discipline and order in the chapel
- Responsible for the safety of instruments and music
- twice a day to appear to the prince for orders.
And among this flow of affairs, the main thing for Haydn was to compose music, and any, at the request of the prince. Amusements and festivities in the Esterhazy estate did not stop for weeks, and sometimes for months. Therefore, the music sounded constantly - it belonged to one of the places of honor here. All this placed a great burden and responsibility, which fell on the lot of the Kapellmeister.
Haydn put his talent at the prince's full disposal. The music he composed was supposed to satisfy the tastes of his master and contribute to the greater splendor of the Esterhazy estate. At the same time, Haydn did not have ownership of his works: they belonged to the prince, and could perform or publish only with his consent. In addition, Haydn could not arbitrarily leave the possessions of Esterhazy, and his whole life was subject to strictly established regulations.
But, although the composer was completely dependent on the tastes of the prince and put his talent at his full disposal, nevertheless, this situation had its positive aspects.
Above all, Haydn appreciated the fact that he had the opportunity to compose. Of course, he wrote mainly on commission, but this did not prevent him from writing with true inspiration. His imagination was ready to work in any direction, and the supply of musical ideas was completely inexhaustible.
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In addition, everything that Haydn composed sounded as soon as the music was born. And, having a good instrumental chapel at his disposal, Haydn had the opportunity not only to perform the finished work, but also to try and experiment in the process of the work itself. Thus, he constantly improved his skills.
Even from the fact that the service of Prince Esterhazy forced Haydn to a solitary life, the composer's genius was able to benefit. Haydn drew artistic ideas only from of your own imagination. No recognized authorities could put pressure on him. In search of something new, Haydn relied in his work only on his own judgments and on his own taste. He said:
- "I was away from the light.
No one near me could shake my confidence in what I had planned.
Nobody guided me and I had to go my own way."
This feature largely determined the nature of Haydn's work. Least of all did he care about how his music meets the requirements of one style or another. For all the dependence of the situation, Haydn went exclusively on his own path, preserving the freedom and independence of the creative spirit.
During his service with Esterhazy, Haydn wrote the vast majority of his works. The amount of what he did under these conditions seems implausible and simply amazing. But even more striking is Haydn's perseverance and purposefulness.
During his work in the house of Esterhazy, Haydn turned from a novice composer into a major master of world significance. He created the first samples of the classical symphony and string quartet, and laid the foundations of the Viennese classical school. .
For about 40 years - from 1759 to 1795, Haydn was in the center of attention - the symphony. Haydn's creative path can rightly be called the history of the symphony , since it largely coincides with the development of this genre .
Haydn's first symphonies were written by him at a time when the origins of European symphonism were just beginning to take shape. And in late period Creativity Haydn created classic examples of the symphonic cycle.
A remarkable feature of Haydn's creative personality was that, while working in the symphony genre, he did not imitate other composers, and did not strive to typical expressive means. viennese school could not bind Haydn with established traditions, since they had not yet been created. Haydn did not have the opportunity often hear contemporary music in Vienna, and, moreover, until 1790 he had never been abroad.
On the other hand, the secluded life on the Esterhazy estates nourished Haydn's creative consciousness with many musical impressions, which, apparently, passed by many composers of his era. For example, constantly observing peasant life, Haydn often turned to folk origins. The music of his symphonies uses:
Folk melodies of various origins,
peasant dances,
The color of the sound of folk instruments.
While, folk themes and melodies close to folk were not typical for highly professional music, and in particular, for symphonic music. And for Haydn, such contact with the surrounding life fully corresponded to his musical taste. images folk life were for him close, related, organically understood and did not contradict artistic concept symphonies. It is thanks to folk themes that Haydn's mature symphonies differ from the works of his contemporaries, in particular, from the composers of the Mannheim Chapel, by the greater individuality of the appearance of each of them.
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Thus, compared to his predecessors, Haydn created new type symphonies. However, the noticeable results of his work did not immediately affect. Haydn went through a number of milestones that were important to him before reaching artistic maturity. Each 10th anniversary in his work marks the next, new stage of ascent to the heights of mastery
60s- this is the time of formation artistic style composer. During these years, the circle of images characteristic of Haydn was determined - bright, optimistic, but already permeated with deep lyricism.
Late 60s and early 70s- an important milestone in the work of Haydn. New tense and gloomy moods suddenly invade his music. In the symphonies of this period, a new Haydn appeared - rebellious and pathetic. This period coincided with the beginning of the movement "Storm and Stress" V German literature. New images are reflected in a number of minor symphonies. The brightest of them - "Farewell" And "Funeral". These works are distinguished by a special, subjective coloring.
Most often performed in concerts "Farewell Symphony" To a greater extent, this is due to the intriguing concept of her Finale, at the end of which Haydn used a curious trick: the musicians one by one finish their parts, extinguish the candles, collect their instruments and leave. The stage is gradually emptying. Finally, only two violinists remain, playing out a sad melody by the dim light of one candle. This plan of Haydn is interpreted in different ways. Either in a romantic way - farewell to life, then in everyday life - as if in this way Haydn hinted to Prince Esterhazy that the musicians were tired of living away from their families and it was time to give them a vacation.
However, this period was not long in Haydn's work, and by the end of 1772 the unexpected outburst of rebellious moods was overcome.
Middle and second half of the 70s This is a time of intensive accumulation of experience and skill.
80s- it's time for maturity. During these years, Haydn was already a recognized master. It was at this time that he came to the creation of artistically finished works in all major genres of creativity. Late sonatas appear at this time. High skill demonstrates Haydn in the field of string quartet.
The symphonic cycle reached its peak during these years. In the symphonies, the main world of Haydnian images was defined - folk-genre. It was these themes that became the main spokesmen for the composer's thoughts.
The features of a mature style were most clearly manifested in six Parisian symphonies (from No. 82 to No. 87). They were written by order of Paris for performance in "Spirit Concerts" and were first performed there in 1786 under the baton of François Gossec. All six symphonies reflect the festivity and solemnity of Parisian concerts. The score of the symphonies shows the classical composition of the orchestra:
Horns
timpani
And a string quartet.
Parisian symphonies brought Haydn great fame. By this time, Haydn's fame had spread far beyond Vienna. His works were published, articles were written about him in German and English newspapers. He received orders to compose music from various countries. He was invited to come with concerts in Paris and London. But Haydn was firmly attached to the princely estate. He could only occasionally travel to Vienna.
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It was at this time in Vienna that he often met with Mozart. The evenings where they played music together remained in Haydn's memory as the happiest in his life. Friendship with Mozart turned out to be creatively fruitful. So, under the influence of Mozart, Haydnian melos was enriched - it acquired greater flexibility, melodiousness and plasticity.
In turn, Mozart borrowed from Haydn the strongest side of his creative method- mastery of thematic development.
90s- This new stage in life and supreme climax Haydn's work. In 1790 Prince Miklós Esterhazy died. The will indicated that he would grant Haydn a lifetime pension. The prince's successor, Anton Esterhazy, dissolved the choir and left only Haydn and the best violinist. This event brought freedom to the composer, which he used for his first concert tour. And at the end of 1790, Haydn went to London. This was his first journey, which continued until 1792.
For the first time, Haydn felt like a free and independent artist. In England, he was surrounded by enthusiastic attention. In 1791, Oxford University awarded him the honorary title of Doctor of Music. For this solemn ceremony, Haydn wrote Symphony No. 92 in G-dur, which was called "Oxford".
The second trip to London took place from 1794 to 1796. At this time, Haydn achieved great success in the main genres of his work - symphonies, quartets and sonatas. The impression of two trips to London led to the creation of two notebooks of symphonies: from No. 93 to No. 104. They received the name - "London".
In the late 800s, Haydn's genius unexpectedly revealed itself in a new genre. At this time, two didactic oratorios were written - "World creation" based on a poem by John Milton and "Seasons" based on a poem by John Thomson. The idea of turning to this genre was prompted by the impressions of the Handelian festivals that Haydn observed in England. The performance of these oratorios in Vienna surrounded the name of Haydn with a halo of glory.
FEATURES OF HAYDN'S SYMPHONISM
(on the example of the London symphonies)
The main thing in the work of Haydn has always been symphony. It was in this genre that he was destined to perpetuate his name.
Historically genre symphonies began its development on the basis of the Italian opera overture and initially repeated its cyclic scheme:
Fast - Slow - Fast. Therefore, in the early stages of the development of the genre, symphonies were predominantly 3-part.
Haydn worked on the symphony longer than any of his contemporaries. Gradually, in his work, they decided expressive possibilities orchestral writing - the role of groups and individual instruments, their participation in parts of the symphony, typical playing techniques and much more. Already in the 80s "Paris Symphonies" Haydn used almost "finished" the classical composition of the orchestra - with a quartet of strings and a pair of wind instruments. At this time, there are no clarinets in his orchestra, they will appear only in the second notebook "London Symphonies".
Haydn's symphonism was formed gradually - there were searches, the necessary was selected, and what was found was improved.
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The composer worked hard on the thematic material, looked for methods for its development and determined tonal patterns. In this regard, Haydn paid great attention to the sonata form
In parallel with this, work was constantly carried out on the symphonic cycle as a whole. Everything new was tested and selected in everyday practice. For Haydn, it was extremely important:
Understanding the function of each part in the loop
The ratio of parts to each other
And general structure cycle
Initially, Haydn's main attention was focused on the first part of the symphonic cycle, which invariably used the sonata form. For Haydn himself was important thematism symphonies, with its utmost expressiveness. great attention Haydn paid main themes symphonies - GP and PP, capable of conveying new content within the framework of the Exposition. Gradually, forms were formed that most corresponded to the nature of the main themes.
But, in the end, Haydn was interested ways of development, who could discover the hidden possibilities of the main themes of the symphony. In this regard, the second section of the sonata form, Development, underwent large and qualitative changes. The main method of development for Haydn was motivational theme development or principle motivational exclusion.
Short motifs became independent of the main theme. They sounded in the Development in different keys and voices of the orchestra, intertwined with each other in unexpected combinations, received a new melodic continuation or completion. The motive technique of development was also enriched with polyphonic techniques - imitations and counterpoints. All this gave the development in sonata development an unprecedented effectiveness.
And although motive work was found not only in Haydn's music, but it was in his work that this technique became universal. Motivational development has been improved from year to year. She substantively deepened the symphony and fundamentally separated it from the genres and forms of everyday music.
The results of many years of work in the field of symphony led to the fact that in the work of Haydn:
Improved sonata Allegro
A symphonic cycle is being formed
All this titanic work was aimed at the main thing - symphony gradually moved away from everyday music. From entertaining music, it turned into a deeply meaningful work that required careful reflection. Gradually, in the symphonies of Haydn, the features of style characteristic of the works of close-up, which were intended for concert halls.
The pinnacle in the development of Haydn's symphony was the creation of 12 London symphonies. They differ markedly from other works written in the symphony genre. They are distinguished by the ideal purity of style, the significance of content and the strictest sense of proportion. "London Symphonies" unites concreteness concept, artistic idea, cycle design and the nature of the parts. This gives grounds to talk about a certain type of symphony, which was formed as a result of creative pursuits Haydn. The London Symphonies reflect the characteristic techniques of his compositional technique and style. In each of the symphonies of this cycle, the hand of the great master is immediately discernible.
Therefore, it is necessary to dwell in detail on all the characteristic features inherent in the late Haydn.
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In in all symphonies, without exception, a 4-part cycle is preserved with a certain sequence of parts:
The common features of these 12 symphonies are so obvious that at first they even obscure the originality of each of the symphonies. So, for example, from twelve symphonies
– eleven are written in major keys and only one - No. 95 has a minor key - c-moll.
– eleven begins with a slow introduction before the Allegro. There is no introduction only in the 95th symphony c-moll.
Thus, most often the London Symphonies begin with a brief slow entry solemn or contemplative character, usually in the tempo of Adagio or Largo. The introduction contrasts sharply with the ensuing Allegro. This kind of Introduction is successively connected with the first section of the Grave - Lully's operatic French overture. Similarly, some Concerto grossi and Baroque suites also began.
The usually slow Intros in Haydn's London Symphonies are not thematically related to the subsequent Allegro. To heighten the contrast between the Introduction and the sonata Allegro, Haydn sometimes uses a papal moll in the Introduction. An example of this kind is the beginning of Symphony No. 104.
