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.
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.
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 takes on 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.
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 (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 main party sonata allegro can begin quietly, gradually and even immediately deviate into a different key, which creates a striving of music forward, to the 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 the 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 nature of the themes, in which rhythm plays a huge role (dance themes are easier to divide into separate motives than cantilena ones). 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 .
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 most happy years 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 newspaper "Morning Chronicles" will write a more than positive review of 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 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 characteristic feature mature symphonic creativity of the musician. These qualities are reflected in 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 of a 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 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.
The creator of the symphony genre is J. Haydn. The symphony is the highest form of instrumental music, providing the composer with wide scope for the embodiment of the most grand themes. The most important feature of symphonic music is that ideological concept works - deep and significant - are revealed in a wide and diverse development, sometimes conflicting, contradictory, tensely dramatic. The conflict, energy and conceptuality of the first part of the symphony is generally balanced in two ways: either through the fundamental contrast of “easy - complex” (after the sonata allegro - the dance part of the minuet or the cheerful rondo), or through the exhaustive development of the conflict.
For more than a third of a century, he created symphonies (from the late 50s to the mid-90s). 28 Haydn symphonies are programmatic.
Haydn created his symphonies from the late 50s to the mid 90s. Haydn's first symphonies belong to the period of the formation of European classical symphonism, and they were an important link in the process of forming the stylistic foundations of the mature symphony of the Viennese school. Haydn's late symphonies were written when all Mozart's symphonies already existed and the young Beethoven was developing the principles of his symphonic thinking in piano sonatas and chamber ensembles, approaching the creation of his first symphony. Haydn's later symphonies show a mature classical symphony.
The evolution of Haydn's symphonic work is of interest not only for studying creative way great composer, but also for understanding the formation and development of classical symphony of the 18th century in general. Haydn's early symphonies are still essentially no different from chamber music(which he wrote at the same time) and almost do not go beyond the usual entertainment genres for that era. Only in the 70s did works appear that express a deeper world of images (“ Funeral symphony», « farewell symphony" and some others). Gradually, with the creative evolution of the composer, his symphonies are saturated with deeper dramatic content. If many of Haydn's early symphonies differed little from the suite with its somewhat external contrasting arrangement of parts, mainly of a dance character, then gradually in the symphonic works the process of overcoming the suite takes place. While retaining links with the suite, Haydn's mature symphonies at the same time become integral works, the four parts of which, different in nature, are different stages in the development of a single circle of images. All this is achieved to a certain extent in Haydn's "Paris" symphonies of 1786, as well as in individual earlier symphonies. But the highest achievement of Haydn's symphony is the 12 "London" symphonies.
"London" symphonies. With the exception of one (C minor), all of Haydn's "London" symphonies are written in major keys. Although the major or minor mode alone cannot be a criterion for determining the content piece of music, in this case, the major character of the overwhelming majority of Haydn's works is an important indicator of their optimism, bright and joyful sense of life.
Each of Haydn's "London" symphonies (with the exception of C minor) begins with a brief slow introduction of a solemnly majestic, thoughtfully concentrated, lyrically pensive or calmly contemplative character (usually in largo or adagio tempo). The slow introduction contrasts sharply with the subsequent allegro (which is, in fact, the first movement of the symphony) and at the same time prepares it. But there is no bright figurative contrast between the themes of the main and side parts. 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. In those cases where the main and side parts are different in thematic material, they are largely similar in the nature of the music, in the figurative structure.
In Haydn's symphonies, developments that are built by motivic isolation have received significant development. A short but most active segment is separated from the theme of the main or side part and is subjected to a rather long independent development(continuous modulations in different keys, conducting with different instruments and in different registers). This gives the developments a dynamic and striving character.
Slow parts. The second (slow) parts have different character: sometimes thoughtfully lyrical, concentrated, sometimes songlike, in some cases march-like. They also differ in shape. Most often there are complex tripartite and variational forms.
Minuets. The third parts of the "London" symphonies are always called Menuetto (minuet). But Haydn's minuets differ from the prim and gallant court minuets, to the sounds of which dancing couples bowed and curtsied. Many of Haydn's minuets have the character of country 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 changes: the minuet loses its aristocratic sophistication and becomes a democratic, peasant dance.
Finals. In the finale of Haydn's symphonies, genre images, also derived from folk dance music, usually attract attention. The music of the finale rushes merrily and naturally at a fast pace, completing the entire symphony, cheerful and essentially genre-dance in its figurative structure.
The form of the finals is most often sonata or rondo-sonata. In some finales of Haydn's "London" symphonies, the techniques of variational and polyphonic (imitation) development are widely used, further emphasizing the rapid movement of music and dynamizing the entire musical fabric.
The orchestra in Haydn's symphonies consists of the usual pair composition: 2 flutes, 2 bassoons, 2 horns, 2 trumpets, a pair of timpani, a string quintet. Trombones were used for the first time in symphonic music 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 symphonies by composers of the Mannheim school. For example, in the G major ("Military") symphony, they participate only in the second movement. Only in the scores of Haydn's last two "London" symphonies Nos. 103 and 104 are there two clarinets along with two 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 the flutes with oboes are quite actively involved in its presentation and development, now doubling the violins, now 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. Horns and trumpets, as a rule, perform a very modest function, in some places emphasizing harmony and rhythm. In cases where all the instruments of the orchestra (tutti) play the forte theme in unison, the horns and trumpets participate on an equal footing with other instruments. Most often this is associated with themes of a fanfare nature. One can refer as an example to the main part (recited by the whole orchestra, from the Symphony in C Major No. 97.
Haydn is the creator of the classical symphony genre. The symphony also went through a long path of development in Haydn's work. And only his mature symphonies received the most perfect, classical form - a four-part cycle with a certain sequence of parts.
Many of Haydn's symphonies have their own titles: "Morning", "Noon", "Evening and Storm". Haydn's symphonies most often owe their names to the second parts, where the composer likes to imitate something: this is how the "Military" symphony arose, where military fanfares are heard in the second part, this is how the symphony "The Hours" arose, where the second part begins with a "ticking" ... There is also the symphony "Bear", the symphony "Hunting" and the symphony "Chicken".
The first movement of Symphony No. 48, 1773, named in honor of the Austrian Empress "Maria Theresa", perfectly conveys the elevated atmosphere of Haydn's music, its unfailing cheerfulness and wit. "Farewell" symphony (No. 45, 1772). Haydn got its name from the ending. During the performance, the musicians gradually leave the stage one by one. So Haydn hinted to his patron, Prince Nicholas, that the musicians were waiting for their departure from the Esterhazy summer estate to the warm Eisenstadt, and the departure was appointed the very next day after the premiere. The finale of the "Farewell" symphony clearly demonstrates character traits music of the gallant age.
12 London symphonies complete Haydn's symphonic work. In 1793-94, when they were created, Haydn was crowned with glory, treated kindly by the nobles, but continued to work tirelessly as always. He did everything he was called to: the London symphonies radiate contentment and peace, joy and light. They express the philosophical optimism and constant striving for action so characteristic of the Age of Enlightenment.
Symphony No. 100, 1792, "Military", part I. Sonata allegro best reflects the contrasts and variability of being, expresses the theatricality and effectiveness of the Enlightenment.
Symphony No. 103, Es-dur, begins with a timpani tremolo, which is how it got its name. The symphony has a bright, cheerful character.
CREATIVITY B. SMETANA.
The many-sided activity of B. Smetana was subordinated to a single goal - the creation of professional Czech music. Outstanding Composer, conductor, teacher, pianist, critic, musical and public figure, Smetana performed at a time when the Czech people realized themselves as a nation with their own, original culture, actively opposing Austrian domination in the political and spiritual sphere.
Smetana writes a lot of piano music, especially in the miniature genre: polkas, bagatelles, impromptu.
Opera creativity Sour cream is exceptionally diverse in terms of subjects and genres. The first opera, The Brandenburgers in the Czech Republic (1863), tells about the struggle against the German conquerors in the 13th century, the events of distant antiquity here directly echoed with the present. Following the historical-heroic opera, Smetana writes the merry comedy The Bartered Bride (1866) - his most famous and extremely popular work. Inexhaustible humour, love of life, song and dance nature of the music distinguish it even among the comic operas of the second half of XIX V. The next opera - "Dalibor" (1868) - is a heroic tragedy written on the plot of an old legend about a knight imprisoned in a tower for sympathy and patronage of the rebellious people, and his beloved Milada, who dies trying to save Dalibor.
At the initiative of Smetana, a nationwide fundraiser was held for the construction National Theater, which in 1881 opened with the premiere of his new opera "Libuse" (1872). This is an epic about the legendary founder of Prague, Libuse, about the Czech people. The composer called her " solemn picture". And now in Czechoslovakia there is a tradition of performing this opera on national holidays, especially significant events. After "Libuše" Smetana writes mainly comic operas: "Two Widows", "Kiss", "Mystery".
Smetana became the creator of not only the national classical opera, but also the symphony. More than a symphony, he is attracted by a program symphonic poem. The highest achievement of Smetana in orchestral music - created in the 70s. cycle of symphonic poems "My Motherland" - an epic about the Czech land, its people, history. The poem "Vysehrad" (Vysehrad - an old part of Prague, "the capital city of the princes and kings of the Czech Republic") is a legend about the heroic past and the past greatness of the motherland. Romantically colorful music in the poems "Vltava, From Czech fields and forests" draws pictures of nature, free spaces native land through which the sounds of songs and dances are carried. In "Sharka" old traditions and legends come to life. "Tabor" and "Blanik" talk about the Hussite heroes, sing "the glory of the Czech land."
The theme of the motherland is also embodied in the chamber piano music: "Czech dances" - a collection of pictures of folk life, containing all the variety of dance genres of the Czech Republic (polka, skochna, furiant, coysedka, etc.).
A quartet "From my life" is created (1876) - a story about one's own fate, inseparable from fate Czech art. Each part of the quartet has a program explanation by the author. Hopeful youth, readiness "to fight in life", memories of fun days, dances and musical improvisations in the salons, a poetic feeling of first love and, finally, "joy when looking at the path traveled in national art." But everything drowns out the monotonous alt like an ominous warning. In addition to the already named works of the last decade, Smetana writes the opera "Devil's Wall", symphonic suite"Prague Carnival" begins work on the opera "Viola" (based on Shakespeare's comedy "Twelfth Night"), which was prevented from finishing by a growing illness.
Creativity Smetana is distinguished by a bright national identity. The peaks of his composer heritage are operatic and program symphonic works, the founder of Czech opera, Smetana, developed its genres - heroic-patriotic ("Brandenburgers in the Czech Republic", dedicated to the expulsion of the Germans in the 13th century; music is permeated with song-march intonations), lyrical-comic ( “The Bartered Bride”, the rhythms and intonations of Czech folk songs and dances are used in the music), tragic (“Dalibor”), epic (“Libuše”, sings the wisdom and strength of the Czech people). The symphonic cycle "My Motherland" approved the classical traditions of Czech symphonic music (continued and developed by A. Dvorak) - democracy, national identity, patriotism. In his work on the cycle, Smetana, relying on the traditions of romantic program symphonism (mainly F. Liszt), used historical material, folk legends and melodies. Many chamber instrumental works are tragic character, are colored by personal experiences (death of loved ones, own illness and hearing loss). Vocal works are imbued with folk song intonations, rhythms folk dances- many piano pieces.
CREATIVITY F. LIST.
Liszt is considered a paramount figure in the history of music. As a composer and transcriber, he created over 1,300 works. sheet in his composer activity gave the palm to the solo piano. Probably the most popular work Liszt - Dreams of Love, and among the grandiose list of his other works for piano, one can single out 19 Hungarian Rhapsodies, a cycle of 12 Transcendental Etudes and three cycles of small pieces called Years of Wanderings. Liszt also wrote more than 60 songs and romances for voice and piano and several organ works, including a fantasy and a fugue on a BACH theme.
Most of composer's piano heritage - transcriptions and paraphrases of music by other authors. Liszt's transcriptions include piano transcriptions of Beethoven's symphonies and fragments from works by Bach, Bellini, Berlioz, Wagner, Verdi, Glinka, Gounod, Meyerbeer, Mendelssohn, Mozart, Paganini, Rossini, Saint-Saens, Chopin, Schubert, Schumann and others.
Liszt became the creator of the genre of one-movement semi-program symphonic form, which he called the symphonic poem. This genre was intended to express non-musical ideas or to retell works of literature and visual arts by musical means. The unity of the composition was achieved by the introduction of leitmotifs or leitmotifs, passing through the entire poem. Among Liszt's orchestral works (or pieces featuring an orchestra), the most interesting are the symphonic poems, especially the Preludes (1854), Orpheus (1854) and Ideals (1857).
For different compositions with the participation of soloists, choir and orchestra, Liszt composed several masses, psalms and the oratorio The Legend of St. Elizabeth (1861). In addition, we can mention the Faust Symphony with a choral finale (1857) and the Symphony to Divine Comedy Dante with a female choir at the end (1867): both works draw heavily on the principles of the symphonic poems. Liszt songs are still being performed piano concertos– A major (1839, revisions 1849, 1853,1857, 1861) E-flat major (1849, revisions 1853, 1856). Liszt's only opera, the one-act Don Sancho, was written by a 14-year-old composer and staged at the same time (withstood five performances). opera score, for a long time considered lost, was discovered in 1903.
The chromatisms used by Liszt not only enriched the romantic style of the last century, but, more importantly, anticipated the crisis of traditional tonality in the 20th century. Liszt was an adherent of the idea of synthesis of all arts as higher form artistic expression.
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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 Vienna 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 Haydn's symphonic work 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 did works emerge that expressed 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, which is expressed both in the thematic connections between the individual parts, and in the common 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 the tragic nature of that the same harmonic sequence in the music of P. I. Tchaikovsky.)
The tonal plan of the exposition of the first part, rare for the music of the 18th century, is peculiar: 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, which ends 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 the symphonic music of the 19th century.
Gradually, with the creative evolution of the composer, Haydn's symphonies are saturated with ever deeper socially significant content. Retaining links with the dance suite, the symphony as a genre is an independent integral work, four parts of which, different in nature, have, following the example of the "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 overtures of Lully z Rameau), as well as with introductory parts in some Concerti grcssi and in suites (such as the 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).
Typical for Haydn is the following technique, which produces a humorous effect: a group of string instruments, led by 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 by way of motivic isolation: a short but most active segment is separated from the theme of the main or secondary part and is 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 so intensively developed, 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.
The second part of the symphony in G major No. 94 was written in variational form; 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.
In the finale of Haydn's symphonies, genre images usually draw attention, which also go 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 part - 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.
Symphony genres and solo concert existed before Haydn, but Haydn's work was one of the pinnacles of European symphonism at an early stage of its development.
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 the 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 the 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 nature of the themes, in which rhythm plays a huge role (dance themes are easier to divide into separate motives than cantilena ones). 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 103 symphonies: 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 the theme varies, 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 symphonies № 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 vital energy 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, carrying the traditions of 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 finale is based on a Czech folk melody, which is presented in such a way that its folk origin is immediately obvious - against the backdrop of a tonic organ point imitating bagpipes.
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".
Haydn's oratorio.
Haydn's latest oratorios are among his best and famous works. Not a single work during the composer's lifetime received such quick and unconditional recognition as The Creation of the World and The Seasons. In them, Haydn expressed his worldview with the greatest completeness and clarity; in their broad creative concepts, as it were, the main thing was synthesized that was embodied in many of his symphonies, which constituted his life credo. The oratorio, to a much greater extent than the opera, corresponded to the artistic warehouse of the composer, who gravitated not so much towards drama, but towards genre-epic and lyrical art. The measure of objectivity in Haydn's figurative system rather brought him closer musical thinking with oratorio than with opera. However, until the end of the 1790s, he created only one oratorio (The Return of Tobiah, 1775) and reworked one of his works, Seven Words of the Savior on the Cross, into another. He was again attracted to the genre of oratorio by the impressions that he received in London from Handel's monumental oratorios. While in England for the second time, Haydn received from Salomon the text for the oratorio "The Creation of the World", compiled from the second part of John Milton's poem "Paradise Lost". However, the composer apparently did not dare to write an oratorio in English. Upon arrival in Vienna, he handed over the English text to Baron G. van Swieten, who translated it into German. The same van Swieten composed the text of the second oratorio - based on J. Thomson's poem "The Burdens of the Year". So the poetic sources of Haydn's last oratorios come from English poetry. This, too, to a certain extent, was affected by the Handelian tradition - with his "Samson" and "L" Allegro, il Pensieroso ed il Moderato.
For all the outward plot dissimilarity of Haydn's last two oratorios, they are essentially united by a common ideological concept. In The Four Seasons, he creates pictures of peasant life and rural nature, giving this a rather generalized meaning: he is interested in life, work, feelings, and the perception of nature by rural residents at different times of the year. This is the cycle of life itself, and not any particular plot with a consistently developing plot, as in an opera. The epic breadth of the oratorio, its generalizing concept is connected with the universal significance that the chosen theme had for Haydn. With his work, he glorified ordinary people of labor, close to nature, pure in heart, faithful in friendship and love, capable of ingenuously enjoying life. The theme of simple and pure man and the beautiful nature with which it merges, also underlies the oratorio "Creation of the World", but in a different, even more generalized, cosmic and pantheistic plan, on the scale of the universe. And when on the primeval earth that emerged from chaos, with all the poetry of its blossoming nature, ideal people and they begin their Duet, so simple, so habitually lyrical, even somewhat sensitive - the great inner relationship of the two oratorios becomes clear. Their plots, it would seem, are completely different, but the theme is essentially the same - the main theme of Haydn's work. .
