Haydn's last symphony. Joseph Haydn: "Farewell Symphony"

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 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 - 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".

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 so: "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 parts, 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, since 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.

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.

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 parts, 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, since 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, weaker: the lonely violins still freeze ...

Joseph Haydn

Symphony No. 45 in F sharp minor (Farewell Symphony) is a symphony by Joseph Haydn (1772).

This symphony was written for the chapel and home theater of the Hungarian princes Esterházy. That year, the Esterhazy family lingered in their summer palace, where it was quite cool. The musicians suffered from cold and disease. Haydn decided to hint to the prince that it was time to leave with the help of music. The peculiarity of this symphony is that it is performed by candlelight, fixed on the music consoles of the musicians; the finale, traditional in form, is followed by an additional slow part, during which the musicians one by one stop playing, extinguish the candles and leave the stage. First, all wind instruments are excluded. In the string group, double basses are turned off, then cellos, violas and second violins. Only the first 2 violins finish the symphony (on one of which Haydn himself played at one time, since the first violinist was also the conductor of the orchestra), which, after the end of the music, extinguish the candles and leave after the others. Prince Esterhazy understood this elegant hint, and soon he and the musicians left the summer residence.

The composition of the orchestra: two oboes, bassoon, two horns, strings (1st and 2nd violins, violas, cellos and double basses).

Music

The symphony begins immediately with the introduction of the main part, without any introduction and is pathetic in nature. In general, all First part kept in the same spirit. Dancing and even quite graceful features of the main part set the general mood of the movement. Dynamic reprise only reinforces this image.

Exquisite and light The second part performed mainly by a string group (quartet). The themes are very subdued, the violins perform parts with mutes on pianissimo. In the reprise, Haydn uses the famous "golden move of the horns", which adorns the main part.

The third part- this is a minuet, but Haydn made it very unusual by comparing two effects: the melody performed by the violins on the piano and the sound of the entire orchestra on the forte. This movement also features the "golden horn move" that the composer used in the trio. At the end of the minuet, a minor appears suddenly. This is no coincidence, because with this technique Haydn anticipates the general mood of the finale.

Joseph Haydn

Fourth part at first echoes the first, its graceful theme. A gloomy atmosphere arises only in the reprise, which suddenly breaks off, moreover, on the very rise. After a short pause, an adagio with variations sounds. The theme itself is presented rather serenely, the feeling of anxiety begins to grow as soon as the sonority fades away. The instruments fall silent one by one, having played their part. The first to leave the orchestra are the musicians who play the wind instruments, after which the basses and violas leave the stage. Finally, two violins, who play the theme with mutes, touchingly and anxiously finish playing their parts, also leaving the hall.

Joseph Haydn Symphony No. 45 (Farewell)

Joseph Haydn Symphony No. 45 (Farewell)

Who does not have time to listen to the entire symphony can listen to the finale.

Joseph Haydn - Farewell Symphony. The final

Joseph Haydn - Farewell Symphony. The final

Artist: Slobodan Trpevski

Yuri Levitansky

I love these days when the whole idea is already clear and the theme is guessed ...

I love these days when the whole idea is already clear and the theme is guessed,

And then faster and faster, obeying the key -

As in the "Farewell Symphony" - closer to the finale - do you remember

at Haydn

The musician, having played his part, extinguishes the candle

And he leaves - everything is more spacious in the forest now - the musicians leave -

Foliage score burns line by line -

The candles in the orchestra go out one by one - the musicians leave -

Soon, soon all the candles in the orchestra will go out one by one -

Birches quietly go out in the autumn forest, mountain ash burns out,

And as the foliage flies from the autumn aspens,

The forest becomes more and more transparent, exposing such depths,

That the whole secret essence of nature becomes apparent, -

Everything is more spacious, everything is quieter in the autumn forest - the musicians are leaving -

Soon the last violin will fall silent in the violinist's hand -

And the last flute will freeze in silence - the musicians leave -

Soon, soon the last candle in our orchestra will go out ...

I love these days, in their cloudless, in their turquoise frame,

When everything is so clear in nature, so clear and quiet all around,

When you can easily and calmly think about life, death, glory

And there are many other things to think about, many other things.

Artist Jeff Rolland

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