Prepared by Yulia Bederova
One of the few minor symphonies by Haydn and the only symphony of the 18th century, written in the key of F-sharp minor, which was uncomfortable at that time. In the finale, the musicians take turns leaving the stage, the parts of different instruments are gradually turned off from the music, and at the end only two violins remain to sound.
According to legend, the customer, Prince Esterhazy Haydn served as bandmaster for the prince, and the Esterhazy family actually owned the rights to all of his music and even disposed of the musicians' free time., owed the members a vacation (according to another version - a salary) - that is what they hinted at with such an unusual ending. It is not known whether justice was achieved by this witty device, but the slow finale of the Farewell Symphony, whose music was affected by the influence of the sturmerism "Sturm und Drang"(German: Sturm und Drang) is a pre-romantic literary and artistic movement that influenced many composers in music, from Haydn and Mozart to Beethoven and the Romantics. Representatives of the movement are called sturmers., in turn, influenced the further history of symphonies - from Beethoven to Tchaikovsky and Mahler. After the Farewell Steel, slow finals are possible, which the classical model did not foresee.
We listen, read, remember the work of J. Haydn - a cheerful composer ...)
farewell symphony
Galina Levashova
Composer Joseph Haydn was a very cheerful person. His music was just as cheerful and cheerful.
In almost every symphony - and he wrote more than a hundred - there is something unexpected, interesting, funny.
Either he will portray a clumsy bear in the symphony, then the clucking of a chicken - these symphonies are then called “Bear”, “Chicken”, then he will buy various children's toys - whistles, rattles, horns and include them in the score of his "Children's" symphony. One of his symphonies is called "The Hours", the other - "Surprise" because there, in the middle of slow, quiet and calm music, a very loud blow is suddenly heard, and then again slowly, as if nothing had happened, the calm, even what some important music.
All these inventions, all these "surprises" were due not only to the cheerful nature of the composer. There were other, much more important reasons as well. Haydn began to write music when works in the form of a symphony were just beginning to appear. That is why this wonderful German composer invented so much when he wrote his music - he tried, searched, created a new kind of musical work.
It is now almost impossible for us to imagine that the "father of the symphony", the "great Haydn", as he was called already during his lifetime, was only the court bandmaster of the Austro-Hungarian prince Nicolò Esterhazy.
It is hard to believe that the composer, whom all of Europe knew, whose concerts were expected in Paris and London, like a holiday, this same composer each time had to ask "the master" for permission to leave the Esterhazy estate to arrange his concerts.
The prince loved music, but not enough to refuse such a "profitable" servant.
Kapellmeister Haydn's contract stipulated his numerous duties. Haydn was in charge of the Esterhazy home chapel - a choir, soloists and an orchestra. Haydn was responsible for all the problems, for all quarrels and deviations from the rules of behavior of the servants-musicians. He was also responsible for the quality of music performance, as he was a conductor. He had to compose any music at the request of the prince, without having any rights to his own compositions - they also belonged to the prince, like Haydn himself.
And he could not even dress according to his desire and taste. The form of clothing - from stockings to a wig - was established by the prince.
Haydn lived with Esterhazy for thirty years and remained a "serf servant" for thirty years. So he called himself, so did Prince Nicolò Esterhazy.
And yet the composer Haydn was a cheerful man!
One of his symphonies - "Farewell" - ends with music that can be called sad rather than cheerful. But it is this symphony that comes to mind when you want to talk about Haydn - a cheerful and kind person.
The musicians of Prince Esterhazy were not given a vacation for a long time and were not paid money. Their "father Haydn" could not achieve this with any pleas and requests. The musicians became sad, and then they began to grumble. How Haydn knew how to get along with his musicians, and then they stopped listening to him - it became difficult to work, rehearse. And the prince demanded the performance of a new symphony at the upcoming holiday.
And Haydn wrote a new symphony.
What kind of music this was, the prince did not know, and perhaps he was not very interested - in this he completely trusted his bandmaster. But only the musicians suddenly showed an extraordinary zeal for rehearsals...
The day of the holiday has come. The prince informed the guests about the new symphony in advance, and now they were looking forward to the start of the concert. 
Candles were lit on the music stands, notes were opened, instruments were prepared ... A thick, stocky "father Haydn" came out in full dress uniform and a freshly powdered wig. The symphony sounded...
Everyone listens to music with pleasure - one part, another ... the third ... finally, the fourth, the finale. But then it turned out that the new symphony has one more part - the fifth and, moreover, slow, sad. It was against the rules: a symphony was supposed to be written in four movements, and the last, fourth, should be the most lively, the fastest. But the music is beautiful, the orchestra plays very well, and the guests leaned back in their chairs again. Listen.
... The music is sad and seems to complain a little. Suddenly... What is it? The prince furrows his brows angrily. One of the horn players played some bars of his part; closed the notes, then carefully folded his instrument, put out the candle on the music stand... and left!
Haydn does not notice this, continues to conduct. 
Wonderful music flows, a flute enters. The flutist played his part, just like the horn player, closed the notes, put out the candle and also left.
And the music continues. No one in the orchestra pays attention to the fact that the second horn player, followed by the oboist, calmly leaves the stage without haste.
One by one, the candles on the music stands go out, the musicians leave one after another... What about Haydn? Doesn't he hear? Doesn't he see? To see Haydn, however, is quite difficult, because at the time in question, the conductor was sitting facing the audience, with his back to the orchestra. Well, he heard it, of course, perfectly.
Now it is almost completely dark on the stage - only two violinists remained. Two small candles illuminate their serious bowed faces.
What an amazing "musical strike" Haydn came up with! Of course, it was a protest, but so witty and elegant that the prince probably forgot to be indignant. And Haydn won.
Written on such a seemingly random occasion, the "Farewell" symphony lives on to this day. Until now, the orchestra players, one by one, leave the stage, and the orchestra sounds quieter and weaker: the lonely violins still freeze, and sadness creeps into the heart.
Yes, of course, he was a very cheerful person, the "great Haydn", and so was his music. And what the composer came up with to help his orchestra can be called a joke, a musical hint. But the music itself is no joke. She is sad.
Kapellmeister Haydn was not always happy.
Engravings by N. Kuznetsov.
Haydn wrote 104 symphonies, the first of which was created in 1759 for the chapel of Count Morzin, 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, the characteristic types of thematics and development techniques were established.
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 reveal 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" (No. 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 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 usually contains the typical four movements (allegro, andante , minuet and finale), although sometimes the composer increased the number of parts to five (symphonies "Noon", "Farewell") 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).
Completed, perfectly balanced and logically arranged forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, wonderful deviations of unexpectedness sharpen interest in the very process of thought development, which is always fascinating and full of 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 - early 70s stands out. This is Symphony No. 39 ( g-moll ), No. 44 (“Funeral”, e- mall ), No. 45 ("Farewell", fis-moll) and No. 49 (f-moll, "La Passione , that is, related to the theme of the suffering and death of Jesus Christ).
"London" symphonies
Haydn's 12 "London" symphonies are considered the highest achievement of Haydn's symphony.
"London" the symphonies (Nos. 93-104) were written by Haydn in England during two tours arranged by renowned violinist and concert entrepreneur Salomon. The first six appeared in 1791-92, 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:
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 affirmation 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, "With a tremolo timpani") the major but gloomy theme of the introduction appears both in the elaboration and in coda I part, and in development it becomes unrecognizable, changing the pace, rhythm and texture.
sonata form in the London Symphonies is very peculiar. Haydn created this type of sonata allegro , in which the main and secondary themes do not contrast with each other and are often generally built on the same material. For example, expositions of symphonies No. 98, 99, 100, 104 are mono-dark. I parts 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 with it perky fun (such a 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 expositions I parts of symphonies No. 93, 102, 103 side themes are built on an independent, but not contrasting in relation to the main themes material. So, for example, in I parts 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.
Main Party:
Side party:
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 development I parts 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 Andantefrom 103 symphonies: both of his themes are designed in folk (Croatian) color, in both the upward movement from T to D , dotted rhythm, alteration present IV fret stage; however, the minor first theme (strings) has a concentrated narrative character, while the major second (the whole orchestra) is marching and energetic.
First topic:
Second topic:
There are also ordinary variations in the "London" symphonies, as, for example, in Andantefrom 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.
Minuet - the only movement in the symphonies of Haydn, where there is a mandatory internal contrast. 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, 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.
Minuet of 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.
Minuet form - always 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 I parts, to effective activity, to a cheerful mood. final form - rondo or rondo sonata (in Symphony No. 103) or (less commonly) - 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 Haydn's earliest symphonies the wind group consisted of only two oboes and two horns, then in the later, London symphonies, a complete paired composition of woodwinds (including clarinets) is systematically found, and in some cases also trumpets and timpani.
Symphony No. 100, G-dur was called "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".
Orchestra composition: 2 oboes, bassoon, 2 horns, strings (no more than 9 people).
History of creation
At the turn of the 60-70s, a stylistic change took place in the composer's work. Pathetic symphonies appear one after another, not infrequently in minor key. They represent Haydn's new style, linking his quest for expressiveness with the German literary movement Sturm und Drang.
Symphony No. 45 was given the name Farewell, and there are several explanations for this. One, according to Haydn himself, was preserved in the memoirs of his contemporaries. At the time of writing this symphony, Haydn served in the chapel of Prince Esterhazy, one of the Hungarian magnates, whose wealth and luxury rivaled those of the emperor. Their main residences were located in the town of Eisenstadt and the Estergaz estate. In January 1772, Prince Nikolaus Esterhazy ordered that during his stay in Esterhaz, the families of the musicians of the chapel (there were 16 of them at that time) lived there. Only in the absence of the prince could the musicians leave Estergaz and visit their wives and children. An exception was made only for the bandmaster and the first violinist.
In that year, the prince stayed on the estate for an unusually long time, and the musicians, exhausted by the bachelor life, turned to their leader, the bandmaster, for help. Haydn wittily solved this problem and managed to convey the request of the musicians to the prince during the performance of his new, Forty-fifth Symphony. According to another version, the request concerned a salary that the prince had not paid to the orchestra for a long time, and the symphony contained a hint that the musicians were ready to say goodbye to the chapel. Another legend is just the opposite: the prince himself decided to dissolve the chapel, leaving the orchestra members without a livelihood. And, finally, the last, dramatic, put forward by the romantics in the 19th century: The Farewell Symphony embodies farewell to life. However, the title is missing from the manuscript of the score. The inscription at the beginning - partly in Latin, partly in Italian - reads: “Symphony in F sharp minor. In the name of the Lord from me, Giuseppe Haydn. 772", and at the end in Latin: "Praise be to God!".
The first performance took place in Estergaz in the autumn of the same 1772 by the princely chapel under the direction of Haydn.
The farewell symphony stands apart in Haydn's work. Its tonality is unusual - F-sharp minor, rarely used at that time. Not typical for the 18th century is the major of the same name, in which the symphony ends and in which the minuet is written. But what is most unique is the symphony's slow conclusion, a kind of additional adagio that follows the finale, which is why the Farewell Symphony is often considered a five-movement symphony.
Music
The pathetic character of the first movement is already determined in the main part, which opens the symphony at once, without a slow introduction. The expressive theme of the violins falling over the tones of the minor triad is exacerbated by the characteristic syncopated rhythm of the accompaniment, juxtapositions of forte and piano, and sudden modulations into minor keys. In one of the minor keys, a side part sounds, which is unexpected for a classical symphony (the major of the same name is assumed). The secondary, as usual with Haydn, is not melodically independent and repeats the main one, only with a falling groaning motif of violins at the end. The short final part, also in minor key, with winding, as if imploring moves, further enhances the woeful pathos of the exposition, which is almost devoid of major foundations. On the other hand, the elaboration immediately affirms the major, and its second section forms a bright episode with a new theme - pacified, gallantly rounded. After a pause, the main theme is proclaimed with sudden force - the reprise begins. More dynamic, it is devoid of repetitions, full of active development.
The second part - adagio - is light and serene, refined and gallant. It sounds predominantly a string quartet (the part of double basses is not highlighted), and the violins - with mutes, the dynamics within the pianissimo. The sonata form is used with similar themes, with a development performed by only strings, and a compressed reprise in which the main part is decorated with the "golden move" of the horns.
The third movement, the minuet, resembles a village dance with constant juxtaposition of piano (only violins) and forte (entire orchestra) effects, with a clearly defined theme and an abundance of repetitions. The trio begins with the "golden move" of the horns, and at the end of it there is an unexpected darkening - the major gives way to the minor, anticipating the mood of the finale. The return of the first section makes you forget about this fleeting shadow.
The fourth part figuratively echoes the first. The side part is again not melodically independent, but, unlike the main minor part, it is painted in carefree major tones. Development, although small, is a truly classic example of the mastery of motivated development. The reprise is gloomy, does not repeat the exposition, but suddenly breaks off on the rise ... After a general pause, a new adagio with variations begins. The tender theme, stated in thirds, seems serene, but the sonority gradually fades away, a feeling of anxiety arises. One by one, the instruments fall silent, the musicians, having finished their part, extinguish the candles burning in front of their consoles, and leave. After the first variations, the brass players leave the orchestra. The departure of the string band starts with the bass; the viola and two violins remain on the stage, and, finally, the duet of violins with mutes quietly finishes their touching passages.
Such an unprecedented finale always made an irresistible impression: “When the orchestra players began to extinguish the candles and quietly retire, everyone’s heart ached ... When, finally, the faint sounds of the last violin died away, the audience began to disperse hushed and touched ...” - wrote the Leipzig newspaper in 1799. “And no one laughed, because it was not written for fun at all,” Schumann echoed her almost forty years later.
A. Koenigsberg
