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 percussion instruments 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 the 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.
THE EVOLUTION OF THE SYMPHONY IN THE WORK OF HAYDN (1732 - 1809)
Meaning. Haydn's creative life was long and captured both the critical period of the musical development of Western Europe and the era of maturation and full maturity of the Viennese classical school. In his youth, he turned out to be a contemporary of the "war of the buffons", the heyday of comic opera genres, the formation of the Mannheim school. Under him, the activities of the sons of Bach proceeded, under him the Gluck reform was launched and completed. The whole life of Mozart completely passed in his memory. Musical culture French Revolution was formed at the same time when he reached the highest creative maturity. During Haydn's lifetime, six Beethoven symphonies were composed. Having begun to create in the years of the late Handel, Haydn finished his creative work on the eve of the appearance of Beethoven's Heroic Symphony, and died only when the young Schubert had already begun to compose.
On this vast creative path, which runs, as it were, through different eras musical art, Haydn, who never composed any author's programs, showed amazing independence. She brought him closer in principle to Bach, Handel, Gluck and singled him out among the early symphonists (in whose ranks he was called to enter), expressing himself in the fact that he not only perfectly mastered the artistic achievements close to him, but also boldly brushed aside everything excessive, sometimes even rejected the newly found for the sake of higher musical goals
Far from being a polyphonist, like the masters of the older generation, at the same time he did not stop at that elementary homophonic style of writing that was characteristic of turning point. Developing the symphonic concept, working on the sonata allegro, he temporarily rejected the sharp contrast that was established among the Mannheimers and, apparently, still prevented the achievement of unity in the first part of the cycle. And at the same time, Haydn created a new, higher type of symphony in comparison with all his predecessors.
His mature symphonies differ from the symphonic works of the Mannheimers by a greater individualization of the appearance of each of them due to the freshness of the images, often - folk thematics, and also to a large extent - due to the possibilities and features of development in the allegro and the cycle as a whole. Rising high above the level of the early Viennese symphony, the composer keeps in touch with everyday themes, but completely overcomes the applied, entertaining nature of the former symphony and puts new, significant content into his mature symphonic works.
Haydn was the first to carry out the developmental principle of development in sonata allegro with such rigorous consistency, and he especially deepens the understanding of variations in the corresponding parts of symphonies. The nature of his images and, thus, the appearance of his thematics is closely related to the principles of development in the symphonic cycle, whether it be development in the allegro or variation in the slow movement. Other thematicism, other thematic contrasts would not have given the possibility of a broad further development while maintaining unity in the first part of the cycle. At the same time, limiting development, squeezing it out or completely ignoring it would not correspond to those impulses of movement, effectiveness, which came from the exposition, from the chosen topics. Haydn's symphonic music is both simple, rising from the ground, from life images, and sublime, because it embodies and develops these images into a large, generalizing concept.
In his spiritual image, Haydn is still an artist of a turning point, a representative of a new, young culture of the Enlightenment, constrained, however, by the old social conditions. Simple, direct, solid, without much reflection, he is not like such figures as Handel or Gluck, who defend their principles in a wide public arena. Living a great inner creative life, he, unlike Bach, is no longer so deep into his spiritual world and is much less connected with the sphere of sacred music. Always turned to the outside world, simply and optimistically perceiving it, he - seemingly so simple-hearted and thoroughly "earthly" - without realizing it, can essentially act as a philosopher in his creative concepts, as evidenced by his oratorio "The Seasons ”, as the results of his symphony convince of this. His philosophy is much simpler than Bach's, it is more free from religious ideas, firmly connected with everyday life, sober, like everyday life itself, but at the same time asserts its own ideals, derived from life and therefore extremely persistent. In the last oratorios of Haydn, a kind of creative results in this sense are summed up and the foundations of his worldview are revealed with the greatest completeness. folk life in harmony with nature, labor as the only true virtue of man, love for life as it is, poetry of native nature with all its annual circulation - this is the best "picture of life" for Haydn, this is his artistic generalization and at the same time the path to his ideal.
Haydn and contemporaries. Haydn's art is related in its style to art glitch and art Mozart, but the circle of his images and his concepts have their own characteristics. The lofty tragedy that inspired Gluck is not his domain. Antique samples attract him little. However, in the sphere of lyrical images, Haydn comes into contact with Gluck. It suffices to compare Gluck's song arias (for example, in Iphigenia in Aulis) and Haydn's songs, Gluck's lyrics and Haydn's serious instrumental Adagio. Both are interested in different topics, as it were different sides world, but where their interests coincide, expressive means reveal kinship, style becomes similar. The generalized tragic principle in Gluck corresponds in its own way to the generalized everyday principle in Haydn's work. Haydn and Mozart are closer in style, but here the ratio of creative individuals and is more complex, which is best seen on the example of Mozart.
The world of Haydn's images is predominantly a world of not tragic, not heroic, but other, often more ordinary, but always poetic images and feelings. However, the sublime is not alien to Haydn, only he finds it not in the realm of tragedy. Serious reflection, noble sensibility, poetic perception of life, its joys and difficulties, bold and sharp jokes, the search for a bright genre color, the expression of a healthy and romantic sense of nature - all this can become sublime for Haydn. Moreover, one can find in him, especially in his later works, an amazing, almost romantic subtlety and a peculiar brilliance in conveying lyrical feelings, tender, but not sentimental daydreaming. The world of his images is not only wide: for all its external simplicity, it is fresh and new for musical art and completely new for major instrumental genres of generalizing significance.
creative heritage haydn extraordinarily extensive. He tried almost all the genres that existed then, and in most of them he created many works: 104 symphonies, 83 string quartets, about 200 trios for different compositions, 52 clavier sonatas, 35 concertos for different instruments, more than 20 operatic works various genres, 4 oratorios, 47 songs for voice with accompaniment, more than 400 arrangements of Scottish, Irish and Welsh songs, 14 masses, many small instrumental compositions, vocal ensembles, clavier pieces, musical numbers for dramatic performances.
Hierarchy of genres. Not all areas of Haydn's creativity are equally significant: his instrumental music as a whole is of greater interest and is more characteristic of his creative appearance. Of the major vocal works, the last two stand out especially. oratorios.
operas Haydn, which arose over many years (1751 - 1791), remained mostly manuscripts in the archives of Esterhazy, were not studied until recently and could, it seemed, now lead to a revision of the established estimates of his work.
With regard to spiritual writings, in particular mass, then their content is to some extent overlapped by the same instrumental works that are most characteristic of the composer; Haydn's church music is not only close to his secular, but also has much in common with it in the nature of the images and the range of dominant emotions. Whoever Haydn addresses to - to humanity or to a deity, wherever his works sound - on a concert stage or in a temple, the world is one for him and the system of his images is ultimately the same. Of course, the ritual framework of the mass put him inevitable restrictions in the composition, the thematic parts, but at the same time he remained himself.
Historical significance of Haydn determined primarily by his innovation in creating sonata-symphony forms. No matter how over time our ideas about his work are supplemented with new data (for example, about the concreteness of his images, “confirmed” by music with word and action), they only become richer, but do not deviate to the side. Symphony, quartet, sonata - the main areas of his search and his accomplishments. Haydn began to write quartets a little earlier than symphonies and at first called them cassations, divertissements, nocturnes. They have not yet budded in his mind from the music of a direct domestic purpose. Almost to the same extent, Haydn's early symphonies are associated with such music. At first, the genre differences between the symphony and the quartet did not appear with the distinctness that would be achieved later, the distinction between the symphonic and chamber genres occurred precisely in the process of their formation and further development.
Haydn's 104 symphonies were written between 1759 and 1795. In addition to them, more than 60 symphonies are attributed to him, the authorship of which has not been fully established. For 37 years, the composer most consistently, without tangible interruptions, worked on the symphony. It is unlikely that at least one year passed with him without a new symphony.
Timeline of symphonies. Haydn wrote especially many symphonies in the first decade: about forty. Then he not only composed more slowly, but gradually went deeper into each work: in the 1770s more than 30 symphonies were created, in the 1780s - 18, in the 1790s - 12 symphonies. Over time, the symphony itself became different for him, more meaningful, more extensive, more individual in each case. Between the first symphony, which arose in 1759, and the last (Nos. 103, 104), relating to 1795, lies precisely the history of this genre, as Haydn created it - from the origins to full maturity. Modern researchers distinguish at least six different stages along the path of the Haydnian symphony, sometimes singling out four years into a separate period.
Haydn's first five symphonies(1759 - 1761?) were written for a small composition (strings, 2 oboes, 2 horns), and the wind parts are of subordinate importance. The overall scale of the cycle is very modest: it consists either of three (without a minuet), or of four (with a minuet) parts. Thematism is clearly demarcated in connection with the functions of the parts. The themes of the first parts are not yet bright. The theme of the first movement in the first symphony, taking off on a crescendo, is close to the typical themes of the first movements around the middle of the century by the Mannheimers, in the Italian overture, then by Gossec.
The initially scale-like theme in the second symphony is also very little individual. In the second symphony, two allegro themes are already outlined. In the fourth symphony, the second theme is presented polyphonically. In the third and fourth symphonies, Haydn moves towards a three-part sonata allegro, choosing a kind of "intermediate" option: theme I (T), theme II (D), I (D), development elements, I (T), II (T). Within narrow limits, however, sonataness is already defined. The two themes of the first movement in the fifth symphony are more clearly distinguished. So far, these are not at all "Haydnian" themes, by which the appearance of his symphony will then be identified. The second, slow movements of these early symphonies are more emotional: the Andante of the third with its "Mannheim sighs" and the graceful Andante of the fourth with a concert violin. In the third and fifth symphonies, the finals are fugues. Their liveliness, their dynamism are already outlined, but they still lack the Haydnian characteristic of this kind of music. All five symphonies are written in major - and so it will be up to the twenty-sixth.
In 1761, three Haydn symphonies appeared with program titles: "Morning", "Noon", "Evening" (No. 6 - 8). It was in the spirit of the times. Even Vivaldi's concertos from the cycle "The Seasons" are known. And Haydn's predecessor in his position in the Esterhazy Chapel, G. I. Werner, once created "A new and very curious musical instrumental calendar ... for two violins and a bass in twelve months of the year." Haydn understood programming in these cases more generally than Vivaldi, and certainly without the naive detailing that Werner showed. Only the very choice of "declared" topics is indicative.
Programming. For Haydn, in particular, programming, even in its most general sense, played an important role at that time: the images gradually became clearer, the thematic was concretized, the methods of composition and the composition of the orchestra were somewhat expanded. In the symphony "Morning" the flute and bassoon were added to the previous orchestral composition. It opens with a small introductory Adagio, which begins with the first violins pp, and then, over the course of only five measures, the sonority grows to ff - the rest of the instruments gradually enter (example 154). Apparently, it was supposed to depict the sunrise. As a pictorial episode, such an Adagio is still quite naive, but in principle the slow introduction leading into the first movement turned out to be a very essential feature of Haydn's composition in the future, precisely in its figurative sense. The brass parts in this symphony became more independent (flute solo in the first movement, bassoon solo in the minuet). In the symphony "Noon" there are five parts of the cycle. Of interest here is the second, slow movement, in which Haydn freely uses the techniques of dramatic music: passages of strings and oboes harmonies are interrupted by an expressive solo "recitative" of the violin, to which, as in opera stage, then the developed "duo" of violin and cello joins. In the symphony "Evening" features of pastorality are outlined. Her ending is "The Tempest". Haydn follows a rather stable tradition of the 18th century with his "storms" in operas and instrumental plays - both pictorial and generalized dynamic, that is, natural precisely in the function of the finale. Haydn's "The Tempest" is still modest in scale, but in places it is very dynamic.
This clarification of the images of the symphony was the main consequence of the original programming in Haydn's symphonic work. In the future, he was not inclined to give program headings to parts of symphonies or in any other form to reveal their program design. At the same time, the gradual individualization of each work, associated both with the nature of the images and with the peculiarities of the composition, often led to the fact that his symphonies received their own “names”, for example: “Philosopher” (No. 22), “Moaning” (“Lamentatione” , No. 26), "Hallelujah" (No. 30), "With the signal of the horn" (No. 31). When and who gave these names is unknown, but they are firmly entrenched in these (and many later) Haydn symphonies.
1760s. The composer's work on the symphony between 1763 and 1766-1768 was unusually intense and strenuous, when he wrote more than thirty works. He moved forward very quickly, looking for something new in different directions, made some kind of experiments, kept something found, rejected something, affirmed one thing for a long time, tested the other many times and still did not take it as the basis of his expressive means. Before Symphony No. 31 (1765), he hesitated in the composition of the cycle, "trying" first four, then three parts; further, he firmly settled on a four-movement symphony. In a number of cases, the cycle began with a slow movement (No. 11, 21, 22), the nature of which, for example, determined the title of the symphony No. 22 - "The Philosopher"; sometimes he thought of the first movement as a French overture (No. 15) or simply gave it a fugue presentation (No. 29). Inside the sonata allegro, Haydn either smoothed out the contrast between themes, then emphasized it, then expanded the form, then limited himself to modest frames. The orchestra also changed over time in terms of both the composition and the interpretation of parts and groups of instruments.
The most important thing on the general path of the Haydnian symphony was in the 1760s the composer's searches aimed at enrichment of the figurative-thematic sphere, as well as to achieving the scale of the cycle and its parts. Concerning imagery of symphonies, then we should talk not only about thematics, but also about characteristic expressive elements that have a certain national-genre significance. So far, Haydn still exists, as it were, separately. The thematic material of the early symphonies, of course, does not yet possess brightly individual, authorial features and is not particularly original. There are also echoes of Mannheim thematism, and "Italianisms" (Sicilian as the second movement in Symphony No. 27), and even Gregorian chant melodies (in Symphonies No. 26 and 30). Along with this, one can find a kind of "predictions" of the new heroics, and folk (Austrian, Hungarian or Slavic) musical features, and the first manifestations of Haydn's own playful and mischievous astringency. The composer does not shy away from the circle of images typical of his time, only trying to individualize them over time. However, he selects relatively few and focuses mainly on two figurative spheres: on images of serious, lyrical, contemplative and pathetic, on the one hand, and on images of dynamic, genre and colorful, more objective, on the other. The first sphere, as everyone knows from Haydn's mature symphonies, will not lose its significance further, but it will already set off other images and themes more characteristic of them (not to mention the fact that it will become much more original itself). As for the second, it will evolve for a long time, but it will also not lose its role in the symphonic cycle, especially in its last two parts, most of all in the finale.
Lyrical contemplative images. Far from all the music in Haydn's early symphonies is perceived as expressively saturated: at first, it contains a lot of "neutral", uncharacteristic, general forms of movement, traces of still applied purpose. It is precisely this that the composer overcomes with particular intensity throughout the 1760s. And the first in this stream to “emerge” in their expressiveness are serious-lyrical images in their either calmly contemplative, or expressively pathetic “variant”. Hence the slow first parts of the symphonies: the contemplative Adagio in No. 11, the "important" and profound Adagio in the symphony "Philosopher". But the lyrical beginning is especially characteristic of the slow parts of the cycle (actually its lyrical centers): Andante Symphony No. 10 (with Mannheim dynamic contrasts), Andante Symphony No. 19 (with an elegiac touch), Adagio cantabile Symphony No. 24 (with solo flute), Sicilian Symphony No. 27 (an idyllic concept), the stringed Adagio ma non troppo of Symphony No. 32 (a poetically subtle realization of lyrical dreams), Andante of Symphony No. 33 (replete with intonations of sighs). It is noteworthy that Haydn in those years sought to lyrically fill the first part of the cycle, moreover, not necessarily making it slow. The fast first part of the symphony included no longer lyric-contemplative, but pathetic images. This first happened in Symphony No. 26, known as the Lamentations. Its first part is therefore not even without drama. Note that in this and in the second parts of the cycle the composer used the melody of the Gregorian chant: the first of Haydn's symphonies, written in minor, with features of pathos in the first part, it also differs in such a feature. In all likelihood, the composer felt its turning point: too much is concentrated here for the sake of achieving a new serious general tone. Symphony No. 30 also uses the Gregorian chant (in the first movement) - hence its name "Hallelujah". The first movement in symphonies No. 35 and 36 is dramatized in its figurative content with heroic and pathetic accents. Symphony No. 49, f-moll, which concludes this period (its serial number does not correspond to the chronology: it was composed in 1768) was given the expressive name “Suffering” (“La Passione”) by contemporaries.
Genre. In another sphere of images, more characteristic of the third and fourth parts of the cycle, Haydn, perhaps, earlier shows tendencies towards independence and finds means of expression specific to them. This applies even to such a simple part of the cycle as the minuet. It usually comes in third place; as an exception - on the second (symphony No. 32). Quite often it is for the minuet, especially for his trio, that Haydn, as it were, reserves some special effect, which can be both comic, and timbre, and folklore, and harmonic. Thus, the minuet trio in Symphony No. 13 is interesting for the virtuoso-whimsical flute solo. Beginning with the minuet in Symphony No. 3, polyphonic devices are used from time to time in this part of the cycle - in a light, almost comical spirit. In some trios, researchers note clearly folklore features: for example, Slavic in symphonies No. 28 and 29. By the way, in the slow part of the same symphony No. 28, Hungarian-Gypsy elements appear. But perhaps most characteristic of Haydn is the slightly scherzo sharpness achieved in the minuet of Symphony No. 34 (sharp jumps with the change of p and f), in the trio of Symphony No. 37 (second consonances on strong beats), in the trio of Symphony No. 38 (jumps in oboe parts with change of registers). Here, in the embryo, there is already something typically Haydnian, which is also characteristic of the London symphonies in 1791-1795. Gradually, this also manifests itself in the nature of the finals, for example, in Symphony No. 25.
The scope of each part of the cycle is gradually expanding, which is of particular importance for the sonata allegro. However, it is precisely here that this process does not develop in a straight line: in Symphonies No. 24, 25, 35, 36 the thematic contrast is clearly and vividly revealed, while in Symphony No. 28 it is insignificant. The scale and composition of developments are different, which are still far from being developed. Although already in Symphony No. 11 the development becomes dynamic (with increasing sonority), it is quite compressed in Symphony No. 37. In the finals of the symphonies, different kinds rondo, although in the symphony No. 31 the variations serve as the finale. This big symphony, incidentally, can serve as an example of Haydn's later inclusion of colorful everyday sounds inside a major instrumental work. It is no coincidence that it received the name “With a horn signal” or “On the pull”: it really sounds (bars 9 - 15 of the first movement) the signal of a hunting horn5, cutting through the exposition of the sonata allegro. For the sake of this, four horns were introduced into the score, which are widely used in all the other three parts of the symphony.
Orchestral facilities during this period are expanding and deepen mainly due to the activation of wind instruments. Already in the minuet of Symphony No. 11, the parts of oboes and horns are emancipated, four horns and timpani are introduced into the score of Symphony No. 13, symphonies No. 20 - trumpets and timpani, symphonies No. 22 - English horns.
1970s. From the beginning of the 1770s, a long period began in the development of Haydn's symphony, too long to be a turning point, and yet a turning point, contradictory, replete with contrasts in creative pursuits, and eventually leading to a wonderful maturity of the second half of the 80s - 90s. In special modern studies devoted to Haydn's symphonies abroad, and after that in our country, the conviction is expressed that after Haydn's pathetic, dramatic symphonies in the early 1770s, he had a creative crisis: he no longer rose to this level in the spirit of the Sturm-und-Drang-era, but rather retreated back to less bold and more ordinary concepts, to works that had more ingenuity than significance.
Indeed, in the symphonies of 1772 and some close to them (No. 45, “Farewell”; No. 44, “Funeral”; even No. 49, “Suffering”), minor-pathetic thematicism and the tension of the general development on a rather large scale attract special attention . However, there are very few such symphonies, they are to a certain extent prepared by the Haydnian pathos of past years (beginning with the Lamentation symphony) and represent only bringing this line of his figurative searches to the highest point, after which pathos and even romantic moods do not escape Haydn's music, and either retreat in his symphonies before the images and themes of folk genre origin, or concentrate in his late quartets and sonatas. For Haydn's mature symphony, for Haydn's generalizing "picture of the world", these images and themes remain necessary, but not paramount: such is his figurative system, such is his creative image, such is his individual style.
In the 1770s, Haydn, as if experiencing the pathetic possibilities of symphonism, created a number of beautiful works, the significance of which did not decrease in the future, but was nevertheless overshadowed by his classics - the symphonies of the second half of the 1780s and London. You can put minor works in one row - No. 26, d-moll, “Lamentations”, No. 49, f-moll, “Suffering” (or “Passion”), No. 44, e-moll, “Funeral”, No. 45, fis-moll, "Farewell", - and they cover the years 1766 - 1772, and their pathos will clearly increase with a climax in "Farewell" ...
Further in the symphonies of the 1770s - early 1780s in a minor-pathetic beginning no longer comes to the fore, but repeatedly manifests itself in one or another symphony, as a rule, however, without defining their thematics in the sonata allegro.
There are exceptions: the general tone of Symphony No. 78 is dramatic, light pathos in the spirit of Mozart from the first bars main party makes itself known in the Presto Symphony No. 75 - it is preceded by the introductory Grave (example 156). With more or less certainty, pathetic moments appear from time to time in the slow parts of a number of works. However, it is precisely for the allegro sonatas that Haydn seeks a different theme. It is very significant that the main part of the cycle, the center of its gravity, is not considered by the composer as an expression of the pathetic beginning par excellence. Pathetic allegro sonatas do not become typical of Haydnian symphonism, which is best seen in the most mature symphonies. On the samples of Haydn's symphonic work until the mid-1780s, one can trace how the composer experiences various types of thematics, various expressive devices in the first parts of the symphonies. At the same time, they are united by one thing: they become more objective than lyrical or lyric-pathetic, although their emotional range is quite wide: festivity, heroism, joyful dynamics, light humor, brilliance and grace, etc. Figurative meaning symphonies continue to be perceived as bright and specific: they are also given names (not the author's!) - "Mercury" (No. 43), "Maria Theresa" (No. 48), "Majestic" (No. 53), "School Teacher" (No. 55 ), Flame (or Fire Symphony, No. 59), Scattered (No. 60), Roxelana (No. 63), Loudon (No. 69), The Hunt (No. 73).
The influence of the theater on the symphony. Some of these works originated in certain cases, others are related to theatrical works Haydn. The origin of the symphony "Maria Theresa" has already been discussed. It is possible that the name "Feuersymphonie" arose in connection with the arrangement of festive fireworks in Esterhase, and the symphony "Laudon" is somehow connected with the honoring of the Austrian Field Marshal Gideon Ernst de Laudon. It was during this period that Haydn wrote especially many operas: between 1768 and 1783 he created eleven operatic works, mostly in the buffa genre. Symphony No. 60 received the name "Scattered" because it was performed as theater music when staging the comedy of the same name by J. F. Regnard in Vienna in 1776: the first part of the symphony served as an overture, the remaining parts of the cycle were performed during the play as intermissions and insert numbers. But since the same comedy had been performed at Esterhase even earlier, perhaps Haydn then wrote the music for the play, and then “composed” a symphony from it: the composition of the cycle is very exceptional for him - from six parts. One way or another, his symphonic works of those years are not isolated from the musical theater. In the Roxelana symphony, the first movement was an overture in Haydn's buffa Lunarworld (1777).
Haydn wrote 104 symphonies, the first of which was created in 1759 for the Count Morzin's Chapel, and the last in 1795 in connection with a London tour.
The genre of the symphony in Haydn's work evolved from samples close to everyday and chamber music to the "Paris" and "London" symphonies, in which the classical laws of the genre were established, characteristic types thematics and methods of development.
rich and complex world Haydn's symphonies possess remarkable qualities of openness, sociability, and focus on the listener. The main source of their musical language is 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.
In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion).
Almost all Haydnian symphonies non-program, they don't have a particular plot. The exception is three early symphonies, named by the composer himself "Morning", "Noon", "Evening" (Nos. 6, 7, 8). All other names given to Haydn's symphonies and fixed in practice belong to the listeners. Some of them convey the general character of the work (“Farewell” - No. 45), others reflect the peculiarities of the orchestration (“With a horn signal” - No. 31, “With a tremolo timpani” - No. 103) or accentuate some memorable image (“Bear” - No. 82, "Chicken" - No. 83, "Clock" - No. 101). Sometimes the names of symphonies are associated with the circumstances of their creation or performance (Oxford - No. 92, six "Paris" symphonies of the 80s). However, the composer himself never commented on the figurative content of his instrumental music.
Haydn's symphony acquires the meaning of a generalized "picture of the world", in which different aspects of life - serious, dramatic, lyrical-philosophical, humorous - are brought to unity and balance.
Haydn's symphonic cycle, as a rule, contains the typical four movements (allegro, andante, minuet and finale), although sometimes the composer increased the number of movements to five (the Noon, Farewell symphonies) or limited to three (in the very first symphonies). Sometimes, in order to achieve a special mood, he changed the usual sequence of movements (Symphony No. 49 begins with a mournful adagio).
Finished, perfectly balanced and logically arranged forms of parts symphonic cycle(sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises exacerbate interest in the very process of thought development, always fascinating, filled with events. Favorite Haydnian "surprises" and "pranks" helped the perception of the most serious genre of instrumental music.
Among the numerous symphonies created by Haydn for the orchestra of Prince Nicholas I Esterhazy, a group of minor symphonies of the late 60s and early 70s stands out. These are symphonies No. 39 (g-moll), No. 44 ("Funeral", e-moll), No. 45 ("Farewell", fis-moll) and No. 49 (f-moll, "La Passione, that is, associated with the theme of suffering and the death of Jesus Christ)
Haydn's 12 "London" symphonies are considered the highest achievement of Haydn's symphony.
The "London" symphonies (Nos. 93-104) were written by Haydn in England, during two tours arranged by famous violinist and concert entrepreneur Salomon. The first six appeared in 1791–92, and six more in 1794–95, i.e. after Mozart's death. It was in the London Symphonies that the composer created his own stable type of symphony, unlike any of his contemporaries. This Haydn-typical symphony model is different:
the dominance of major keys (there is only one minor key among the "London" ones - No. 95, c-moll, but its finale is written in C-dur);
reliance on folk-genre themes, and often - on genuine folk melodies of Austrian, German, Czech, Hungarian, Serbian origin. In the 18th century, such thematicism was very unusual for major instrumental genres, it sounded very fresh and original;
the general cheerful character of the music. For Haydn, in general, heroism and tragedy are not typical, but in this case, he certainly took into account the conditions for the performance of the London Symphonies. Before the composer was no longer a chamber audience, consisting of members of the Esterhazy family and their guests, and who had long known the style of his music. Haydn had to conquer and subdue the inexperienced London listener, who came to the concerts literally "from the street". Too complex images could scare away the general public. The composer tried to make the lyrical parts of the "London" symphonies as captivating and not too long as possible, for each of them he found some interesting detail - a "zest". This was immediately appreciated by the listeners, and some of the symphonies were named precisely for the peculiar effects in the slow movements.
All "London" symphonies open slow intros(except for the minor 95th). Introductions perform a variety of functions:
They create a strong contrast in relation to the rest of the material of the first part, therefore, in its further development, the composer, as a rule, dispenses with a comparison of diverse themes;
The introduction always begins with a loud statement of the tonic (even if it is of the same name, minor - as, for example, in Symphony No. 104) - which means that the main part of the sonata allegro can begin quietly, gradually and even immediately deviate into a different key, which creates the aspiration of the music forward to upcoming climaxes;
Sometimes the material of the introduction becomes one of the important participants in the thematic dramaturgy. Thus, in Symphony No. 103 (Es-dur, “Timpani Tremolo”) the major but gloomy theme of the introduction appears both in the development and in the coda of the first movement, and in the development it becomes unrecognizable, changing tempo, rhythm and texture.
The sonata form in the London Symphonies is very peculiar. Haydn created a type of sonata allegro in which the main and secondary themes do not contrast with each other and are often built on the same material. For example, expositions of symphonies No. 98, 99, 100, 104 are mono-dark. In the first part Symphony No. 104(D-dur) the song and dance theme of the main part is set out by only strings on p, only in the final cadence the whole orchestra enters, bringing fervent fun with it (this technique has become an artistic norm in the London Symphonies). In the section of the side part, the same theme sounds, but only in the dominant key, and in the ensemble with strings now woodwinds alternately perform.
In the expositions of the I movements of symphonies No. 93, 102, 103, secondary themes are built on an independent, but not contrasting in relation to the main themes material. So, for example, in Part I Symphony No. 103 both themes of the exposition are fervent, cheerful, genre-wise close to the Austrian Lendler, both are major: the main one is in the main key, the secondary one is in the dominant one.
in sonatas developments"London" symphonies dominate motivated type of development. This is due to the dance character of the topics in which rhythm plays a huge role ( dance themes easier to divide into separate motifs than cantilena). The most striking and memorable motive of the theme is developed, and not necessarily the initial one. For example, in the development of Part I Symphony No. 104 the motif of 3-4 measures of the main theme is developed as the most capable of changes: it sounds interrogatively and uncertainly, then menacingly and persistently.
Developing the thematic material, Haydn shows inexhaustible ingenuity. He uses bright tonal comparisons, register and orchestral contrasts, and polyphonic techniques. Topics are often strongly rethought, dramatized, although there are no major conflicts. The proportions of the sections are strictly observed - developments are most often equal to 2/3 of the expositions.
Haydn's favorite form slow parts are double variations, which are sometimes called "Haydnian". Alternating with each other, two themes vary (usually in the same keys), different in sonority and texture, but intonation close and therefore peacefully adjacent to each other. In this form, for example, the famous Andante from Symphony 103: both of his themes are sustained in the folk (Croatian) color, in both the ascending movement from T to D is beaten, dotted rhythm, there is an alteration of the fourth degree of the mode; however, the minor first theme (strings) has a concentrated narrative character, while the major second theme (the whole orchestra) is marching and energetic.
There are also ordinary variations in the "London" symphonies, as, for example, in Andante from 94 symphonies. Here a theme is varied, which is distinguished by its particular simplicity. This deliberate simplicity forces the flow of music to be suddenly interrupted by the deafening blow of the entire orchestra with timpani (this is the "surprise" with which the name of the symphony is associated).
Along with the variation, the composer often uses in slow parts and complex tripartite shape, as, for example, in Symphony No. 104. All sections of the three-part form here contain something new in relation to the initial musical thought.
By tradition, the slow parts of sonata-symphony cycles are the center of lyrics and melodious melody. However, Haydn's lyrics in symphonies clearly gravitate towards genre. Many of the themes of the slow movements are based on a song or dance basis, revealing, for example, the features of a minuet. It is significant that of all the "London" symphonies, the remark "melodious" is present only in the Largo 93 symphony.
The minuet is the only movement in Haydn's symphonies where internal contrast is mandatory. Haydn's minuets became the standard of vitality and optimism (it can be said that the composer's individuality - the traits of his personal character - manifested itself most directly here). Most often these are live scenes of folk life. Minuets prevail, bearing the traditions of the peasant dance music, in particular, the Austrian Lendler (as, for example, in Symphony No. 104). A more gallant minuet in the "Military" symphony, whimsically scherzo (thanks to the sharp rhythm) - in Symphony No. 103. In general, the accentuated rhythmic sharpness in many of Haydn's minuets so alters their genre appearance that, in essence, leads directly to Beethoven's scherzos.
The form of the minuet is always a complex 3-part da capo with a contrasting trio in the center. The trio usually contrasts gently with the main theme of the minuet. Very often only three instruments really play here (or, in any case, the texture becomes lighter and more transparent).
The finales of the "London" symphonies are without exception major and joyful. Here, Haydn's predisposition to the elements of folk dance was fully manifested. Very often, the music of the finals grows out of truly folk themes, as in Symphony No. 104. Its ending is based on a Czech folk melody, which is written in such a way that its folk origin it is immediately obvious - against the background of a tonic organ point imitating a bagpipe.
The finale maintains symmetry in the composition of the cycle: it returns to the fast tempo of the first part, to active activity, to a cheerful mood. final form - rondo or rondo sonata (in Symphony No. 103) or (more rarely) sonata (in Symphony No. 104). In any case, it is devoid of any conflicting moments and rushes by like a kaleidoscope of colorful festive images.
If in the earliest symphonies of Haydn the wind group consisted of only two oboes and two horns, then in the later, London ones, a complete paired composition of woodwinds (including clarinets) is systematically found, and in some cases also trumpets and timpani.
Symphony No. 100, G-dur received the name "Military": in its Allegretto, the audience guessed the ceremonial course of the guards' parade, interrupted by the signal of the military trumpet. In No. 101, D-dur, the Andante theme unfolds against the background of the mechanical "ticking" of two bassoons and pizzicato strings, in connection with which the symphony was called "The Hours".
37. Haydn's oratorio .
Here 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 Viennese classical school - from its inception in 1760 -s. 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 ( cathedral Vienna). 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) were written for his court chapel. 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 various interpretations- autobiographical, humorous, lyric-philosophical - gave the finale "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 gentle ...
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 French troops 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 cyclical forms (104 symphonies, 83 quartets, 52 clavier sonatas) constitute the main, most precious part of the composer's work, determine his historical place. P. Tchaikovsky wrote about the exceptional significance of Haydn's works in the evolution of instrumental music: "Haydn immortalized himself, if not by inventing, then by improving that excellent, perfectly balanced form of the sonata and symphony, which Mozart and Beethoven later brought to the last degree of completeness and beauty."
Symphony in the work of Haydn has passed big way: from early samples close to the genres of household 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 aspects of life - 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. The main source of their musical language is 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 among listeners, which were fixed in the names of symphonies ("Bear", "Chicken", "Clock", "Hunt", "School teacher", etc. . P.). 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. Of great interest are 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.
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 103rd symphony is not only a model musical style, but also one of the pinnacles of the composer's work.
You can find out interesting facts, the history of creation and the content of Joseph Haydn's Symphony No. 103 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 most happy years his life.
In 1794 Haydn will go 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:
"Mr. Joseph Haydn showed 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 intro, allowing you to highlight main topic Part I. 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 characteristic feature mature symphonic creativity of the musician. These qualities are reflected in the compositional structure. The author uses a four-part sonata-symphony cycle 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. The main and side parts 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 the form of a rondo sonata, is a vivid 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.
- Home and side party in the first part they 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 motives and citation.
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.
