The creator of the symphony genre is J. Haydn. Symphony - highest form instrumental music, presenting the composer with a wide scope for the embodiment of the most grandiose themes. The most important feature 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 the symphonic creativity Haydn but is of interest not only for studying the creative path of the great composer, but also for understanding the formation and development of classical symphony of the 18th century in general. Haydn's early symphonies still do not essentially differ 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 symphonic works there is a process of overcoming suiteness. While retaining links with the suite, Haydn's mature symphonies at the same time become integral works, the four parts of which, different in character, 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 major or minor scale in itself cannot be a criterion for determining the content of a musical work; in this case, the major key of the vast 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 undergoes a rather long independent development (continuous modulations in different keys, playing 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 also quite actively involved in its presentation and development, either doubling the violins, or alternating with them in carrying out the theme or its fragments. Cellos and double basses play the same bass line(double basses are only an octave below the cellos). Therefore, in Haydn's scores, their parts are written out on one line. 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, classic shape- 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 the best way displays 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.
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, the characteristic types of thematics and development techniques were established.
rich and complex world Haydn's symphonies possess remarkable qualities of openness, sociability, and focus on the listener. The main source of their musical language is genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they discover new figurative, dynamic possibilities.
In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion).
Almost all Haydnian symphonies non-program, they don't have a particular plot. The exception is three early symphonies, named by the composer himself "Morning", "Noon", "Evening" (Nos. 6, 7, 8). All other names given to Haydn's symphonies and fixed in practice belong to the listeners. Some of them convey the general character of the work (“Farewell” - No. 45), others reflect the peculiarities of the orchestration (“With a horn signal” - No. 31, “With a tremolo timpani” - No. 103) or accentuate some memorable image (“Bear” - No. 82, "Chicken" - No. 83, "Clock" - No. 101). Sometimes the names of symphonies are associated with the circumstances of their creation or performance (Oxford - No. 92, six "Paris" symphonies of the 80s). However, the composer himself never commented on the figurative content of his instrumental music.
Haydn's symphony 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 (the Noon, Farewell symphonies) or limited to three (in the very first symphonies). Sometimes, in order to achieve a special mood, he changed the usual sequence of movements (Symphony No. 49 begins with a mournful adagio).
Completed, perfectly balanced and logically built forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises sharpen interest in the very process of thought development, always fascinating, 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 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- "highlight". 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 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 have become the standard of vitality and optimism (it can be said that the composer's individuality is the traits of his personal nature- manifested themselves here most directly). Most often these are live scenes. 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 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 .
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 a complex process symphonic development, they discover new imaginative, 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 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.
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".
GENRE OF SYMPHONY IN HAYDN'S WORKS
Joseph Haydn – great representative viennese classical school. In history musical art is one of the brightest and most harmonious artists. Haydn received his well-deserved world recognition mainly in the field of instrumental music His chamber and symphonic work began in the 50s of the XVIII century, and contributed to the emergence of new genres and forms in this area. The last quartets and "London Symphonies" a brilliant result of the composer's long creative evolution.
It was one of the most daring and independent geniuses. No authority had the slightest power over him. "Art is free and should not limit itself to any craft ties" - Haydn said.
In every note of his compositions, his inexhaustible fantasy and infinite wealth sparkle. musical ideas. He was a great master, and the desire for mastery constantly directed his efforts. Haydn was pleased with the work itself, the feeling of "harmony". It was a real passion for creative work and the eternal search for artistic perfection.
Haydn's creative life was long and captured turning point musical development of Western Europe - from the origins to the full flowering of the Viennese classical school. Formation creative personality the composer is associated with the second half of the 18th century. Beginning in 1761, for almost 30 years, Haydn was in the service of Prince Esterhazy, nicknamed "The Magnificent". During these years, Haydn's life was extremely monotonous and devoid of external events. But at the same time, all his attention was directed exclusively to the field of music. Assuming the position of court Kapellmeister, Haydn signed an agreement that assigned him numerous duties:
- supervise the performance of music at the court of the prince and in the church
- train singers
- monitor discipline and order in the chapel
- Responsible for the safety of instruments and music
- twice a day to appear to the prince for orders.
And among this flow of affairs, the main thing for Haydn was to compose music, and any, at the request of the prince. Amusements and festivities in the Esterhazy estate did not stop for weeks, and sometimes for months. Therefore, the music sounded constantly - it belonged to one of the places of honor here. All this placed a great burden and responsibility, which fell on the lot of the Kapellmeister.
Haydn put his talent at the prince's full disposal. The music he composed was supposed to satisfy the tastes of his master and contribute to the greater splendor of the Esterhazy estate. At the same time, Haydn did not have ownership of his works: they belonged to the prince, and could perform or publish only with his consent. In addition, Haydn could not arbitrarily leave the possessions of Esterhazy, and his whole life was subject to strictly established regulations.
But, although the composer was completely dependent on the tastes of the prince and put his talent at his full disposal, nevertheless, this situation had its positive aspects.
Above all, Haydn appreciated the fact that he had the opportunity to compose. Of course, he wrote mainly on commission, but this did not prevent him from writing with true inspiration. His imagination was ready to work in any direction, and the supply of musical ideas was completely inexhaustible.
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In addition, everything that Haydn composed sounded as soon as the music was born. And, having a good instrumental chapel at his disposal, Haydn had the opportunity not only to perform the finished work, but also to try and experiment in the process of the work itself. Thus, he constantly improved his skills.
Even from the fact that the service of Prince Esterhazy forced Haydn to a solitary life, the composer's genius was able to benefit. Haydn drew artistic ideas only from of my own imagination. No recognized authorities could put pressure on him. In search of something new, Haydn relied in his work only on his own judgments and on his own taste. He said:
- "I was away from the light.
No one near me could shake my confidence in what I had planned.
Nobody guided me and I had to go my own way."
This feature largely determined the nature of Haydn's work. Least of all did he care about how his music meets the requirements of one style or another. For all the dependence of the situation, Haydn went exclusively on his own path, preserving the freedom and independence of the creative spirit.
During his service with Esterhazy, Haydn wrote the vast majority of his works. The amount of what he did under these conditions seems implausible and simply amazing. But even more striking is Haydn's perseverance and purposefulness.
During his work in the house of Esterhazy, Haydn turned from a novice composer into a major master of world significance. He created the first samples of the classical symphony and string quartet, and laid the foundations of the Viennese classical school. .
For about 40 years - from 1759 to 1795, Haydn was in the center of attention - the symphony. creative way Haydn can rightly be called the history of the symphony , since it largely coincides with the development of this genre .
Haydn's first symphonies were written by him at a time when the origins of European symphonism were just beginning to take shape. And in late period Creativity Haydn created classic examples of the symphonic cycle.
A remarkable feature of Haydn's creative personality was that, while working in the symphony genre, he did not imitate other composers, and did not strive to typical expressive means. viennese school could not bind Haydn with established traditions, since they had not yet been created. Haydn did not have the opportunity often hear contemporary music in Vienna, and, moreover, until 1790 he had never been abroad.
On the other hand, the secluded life on the Esterhazy estates nourished Haydn's creative consciousness with many musical impressions, which, apparently, passed by many composers of his era. For example, constantly observing peasant life, Haydn often turned to folk origins. The music of his symphonies uses:
Folk melodies various origins,
peasant dances,
The color of the sound of folk instruments.
While, folk themes and melodies close to folk were not typical for highly professional music, and in particular, for symphonic music. And for Haydn, such contact with the surrounding life fully corresponded to his musical taste. The images of folk life were close, kindred, organically understood for him and did not contradict the artistic concept of the symphony. It is thanks to folk themes that Haydn's mature symphonies differ from the works of his contemporaries, in particular, from the composers of the Mannheim Chapel, by the greater individuality of the appearance of each of them.
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Thus, compared to his predecessors, Haydn created new type of symphony. However, the noticeable results of his work did not immediately affect. Haydn went through a number of important stages for him before he reached creative maturity. Each 10th anniversary in his work marks the next, new stage of ascent to the heights of mastery
60s- this is the time of formation artistic style composer. During these years, the circle of images characteristic of Haydn was determined - bright, optimistic, but already permeated with deep lyricism.
Late 60s and early 70s- an important milestone in the work of Haydn. New tense and gloomy moods suddenly invade his music. In the symphonies of this period, a new Haydn appeared - rebellious and pathetic. This period coincided with the beginning of the movement "Storm and Stress" in German literature. New images are reflected in a number of minor symphonies. The brightest of them - "Farewell" And "Funeral". These works are distinguished by a special, subjective coloring.
Most often performed in concerts "Farewell Symphony" To a greater extent, this is due to the intriguing concept of her Finale, at the end of which Haydn used a curious trick: the musicians one by one finish their parts, extinguish the candles, collect their instruments and leave. The stage is gradually emptying. Finally, only two violinists remain, playing out a sad melody by the dim light of one candle. This plan of Haydn is interpreted in different ways. Either in a romantic way - farewell to life, then in everyday life - as if in this way Haydn hinted to Prince Esterhazy that the musicians were tired of living away from their families and it was time to give them a vacation.
However, this period was not long in Haydn's work, and by the end of 1772 the unexpected outburst of rebellious moods was overcome.
Middle and second half of the 70s This is a time of intensive accumulation of experience and skill.
80s- it's time for maturity. During these years, Haydn was already a recognized master. It was at this time that he came to the creation of artistically finished works in all major genres of creativity. Late sonatas appear at this time. High skill demonstrates Haydn in the field of string quartet.
The symphonic cycle reached its peak during these years. In the symphonies, the main world of Haydnian images was defined - folk-genre. It was these themes that became the main spokesmen for the composer's thoughts.
The features of a mature style were most clearly manifested in six Parisian symphonies (from No. 82 to No. 87). They were written by order of Paris for performance in "Spirit Concerts" and were first performed there in 1786 under the baton of François Gossec. All six symphonies reflect the festivity and solemnity of Parisian concerts. The score of the symphonies shows the classical composition of the orchestra:
Horns
timpani
And a string quartet.
Parisian symphonies brought Haydn great fame. By this time, Haydn's fame had spread far beyond Vienna. His works were published, articles were written about him in German and English newspapers. Orders came to him to compose music from various countries. He was invited to come with concerts in Paris and London. But Haydn was firmly attached to the princely estate. He could only occasionally travel to Vienna.
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It was at this time in Vienna that he often met with Mozart. The evenings where they played music together remained in Haydn's memory as the happiest in his life. Friendship with Mozart turned out to be creatively fruitful. So, under the influence of Mozart, Haydnian melos was enriched - it acquired greater flexibility, melodiousness and plasticity.
In turn, Mozart borrowed from Haydn the most forte his creative method is the mastery of thematic development.
90s- This new stage in life and supreme climax Haydn's work. In 1790 Prince Miklós Esterhazy died. The will indicated that he would grant Haydn a lifetime pension. The prince's successor, Anton Esterhazy, dissolved the choir and left only Haydn and the best violinist. This event brought freedom to the composer, which he used for his first concert tour. And at the end of 1790, Haydn went to London. This was his first journey, which continued until 1792.
For the first time, Haydn felt like a free and independent artist. In England, he was surrounded by enthusiastic attention. In 1791, Oxford University awarded him the honorary title of Doctor of Music. For this solemn ceremony, Haydn wrote Symphony No. 92 in G-dur, which was called "Oxford".
The second trip to London took place from 1794 to 1796. At this time, Haydn achieved great success in the main genres of his work - symphonies, quartets and sonatas. The impression of two trips to London led to the creation of two notebooks of symphonies: from No. 93 to No. 104. They received the name - "London".
In the late 800s, Haydn's genius unexpectedly revealed itself in a new genre. At this time, two didactic oratorios were written - "World creation" based on a poem by John Milton and "Seasons" based on a poem by John Thomson. The idea of turning to this genre was prompted by the impressions of the Handelian festivals that Haydn observed in England. The performance of these oratorios in Vienna surrounded the name of Haydn with a halo of glory.
FEATURES OF HAYDN'S SYMPHONISM
(on the example of the London symphonies)
The main thing in the work of Haydn has always been symphony. It was in this genre that he was destined to perpetuate his name.
Historically genre symphonies began its development on the basis of the Italian opera overture and initially repeated its cyclic scheme:
Fast - Slow - Fast. Therefore, in the early stages of the development of the genre, symphonies were predominantly 3-part.
Haydn worked on the symphony longer than any of his contemporaries. Gradually, in his work, they decided expressive possibilities orchestral writing - the role of groups and individual instruments, their participation in parts of the symphony, typical playing techniques and much more. Already in the 80s "Paris Symphonies" Haydn used almost "finished" the classical composition of the orchestra - with a quartet of strings and a pair of wind instruments. At this time, there are no clarinets in his orchestra, they will appear only in the second notebook "London Symphonies".
Haydn's symphonism was formed gradually - there were searches, the necessary was selected, and what was found was improved.
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The composer worked hard on the thematic material, looked for methods for its development and determined tonal patterns. In this regard, Haydn paid great attention to the sonata form
In parallel with this, work was constantly carried out on the symphonic cycle as a whole. Everything new was tested and selected in everyday practice. For Haydn, it was extremely important:
Understanding the function of each part in the loop
The ratio of parts to each other
As well as the general structure of the cycle
Initially, Haydn's main attention was focused on the first part of the symphonic cycle, which invariably used the sonata form. For Haydn himself was important thematism symphonies, with its utmost expressiveness. Haydn paid great attention main themes symphonies - GP and PP, capable of conveying new content within the framework of the Exposition. Gradually, forms were formed that most corresponded to the nature of the main themes.
But, in the end, Haydn was interested ways of development, who could discover the hidden possibilities of the main themes of the symphony. In this regard, the second section of the sonata form, Development, underwent large and qualitative changes. The main method of development for Haydn was motivational theme development or principle motivational exclusion.
Short motifs became independent of the main theme. They sounded in the Development in different keys and voices of the orchestra, intertwined with each other in unexpected combinations, received a new melodic continuation or completion. The motive technique of development was also enriched with polyphonic techniques - imitations and counterpoints. All this gave the development in sonata development an unprecedented effectiveness.
And although motive work was found not only in Haydn's music, but it was in his work that this technique became universal. Motivational development has been improved from year to year. She substantively deepened the symphony and fundamentally separated it from the genres and forms of everyday music.
The results of many years of work in the field of symphony led to the fact that in the work of Haydn:
Improved sonata Allegro
A symphonic cycle is being formed
All this titanic work was aimed at the main thing - symphony gradually moved away from everyday music. From entertaining music, it turned into a deeply meaningful work that required careful reflection. Gradually, in the symphonies of Haydn, the features of style characteristic of the works of close-up, which were intended for concert halls.
The pinnacle in the development of Haydn's symphony was the creation of 12 London symphonies. They differ markedly from other works written in the symphony genre. They are distinguished by the ideal purity of style, the significance of content and the strictest sense of proportion. "London Symphonies" unites concreteness intent, artistic idea, cycle designs and character parts. This gives grounds to talk about a certain type of symphony, which was formed as a result of creative pursuits Haydn. The London Symphonies reflect the characteristic techniques of his compositional technique and style. In each of the symphonies of this cycle, the hand of the great master is immediately discernible.
Therefore, it is necessary to dwell in detail on all the characteristic features inherent in the late Haydn.
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In in all symphonies, without exception, a 4-part cycle is preserved with a certain sequence of parts:
The common features of these 12 symphonies are so obvious that at first they even obscure the originality of each of the symphonies. So, for example, from twelve symphonies
- eleven are written in major keys and only one - No. 95 has minor key - c-moll.
– eleven begins with a slow introduction before the Allegro. There is no introduction only in the 95th symphony c-moll.
Thus, most often the London Symphonies begin with a brief slow entry solemn or contemplative character, usually in the tempo of Adagio or Largo. The introduction contrasts sharply with the ensuing Allegro. This kind of Introduction is successively connected with the first section of the Grave - Lully's operatic French overture. Similarly, some Concerto grossi and Baroque suites also began.
The usually slow Intros in Haydn's London Symphonies are not thematically related to the subsequent Allegro. To heighten the contrast between the Introduction and the sonata Allegro, Haydn sometimes uses a papal moll in the Introduction. An example of this kind is the beginning of Symphony No. 104.
The genre of symphony in Haydn's work passed a long way of development. And only his mature symphonies received the most perfect, classical form and finally took shape in a four-part cycle with a certain sequence of parts.
The first part of the symphony goes at a fast pace and sounds most often energetic and excited. The second part is slow. Her music conveys the lyrical mood of a person. Either bright and peaceful, or sad or concentrated. The third movement is the minuet. The very name speaks of its dancing, lively character. The minuet is one of the most beloved dances of the Haydn era. Introduction to symphonic music testifies to its popularity. The fourth part, or finale, is the last, final part of the work. Here again the fast pace returns. Very often the finale has a dance character and conveys a jubilant festive mood.
This is how Haydn built his symphonies, as well as his great contemporaries - Mozart and Beethoven. Composers of the following generations continued to develop the traditions of the classical symphony. Expanding and enriching its content and form.
The symphony is intended for a mass audience. This is due to the large scale of the work, the power of sound, because. The symphony is performed by a symphony orchestra.
The composition of the symphony orchestra was also established in the work of Haydn. It is based on four groups of instruments.
The leading string group of the orchestra includes violins, violas, cellos and double basses.
The wooden group consists of flutes, oboes, clarinets, bassoons.
Haydn's group of brass instruments consists of horns and trumpets.
From percussion instruments Haydn used only timpani in the orchestra.
In the work of subsequent composers, the composition of the symphony orchestra is significantly expanded due to, mainly, brass wind instruments.
The Symphony in E flat major is one of the twelve "London Symphonies". It begins with a timpani tremolo, which is why the entire symphony is called "Symphony with timpani tremolo".
The symphony has a bright cheerful character. Her themes are close to folk German-Austrian and Croatian melodies.
The symphony has four movements. The first part is fast, Allegro con spirito (fast with enthusiasm). The second movement is slow, Andante (slowly). The third movement is a lively minuet. The fourth movement is the finale, Allegro con spirito.
Haydn established not only the sequence of parts of the symphony. The nature and structure (or form) of each part were also determined.
The form of the first movement in symphonies is called sonata allegro (because it is usually written in allegro tempo) or sonata form. The first movement of the symphony in E-flat major begins with a slow introduction. After the tremolo, the timpani, reminiscent of a distant clap of thunder, sounds muffled. A somewhat mysterious subject.
The introduction sets off the cheerful and moving music of Allegro, which is based on two different themes. Their exposition, and then development and repetition, constitute the content of the first part.
The first theme (the main part) has a dance character.
The second theme, or the theme of the side part, is also danceable. It is not typical for a Haydn symphony to have a sharp distinction between main and side parts. In the seventh "London Symphony" in D major, the main and side parts are even the same. The side part in the symphony in E-flat major is distinguished by its elegance and lightness of sound. It is presented in a different key - B-flat major. The waltz accompaniment gives the music greater softness, sonority, and the sonority of the oboe gives a new color.
The presentation of two different themes constitutes the first section of the sonata allegro, its exposition.
The second section of the sonata allegro is called the development. Both the themes of the exposition and the theme of the introduction are developed here.
The third section of the sonata allegro is a reprise. In the same order as in the exposition, the main and side parts follow. All themes in the reprise sound in the main key.
After the fast and fun, full of contrasts of the first part, the second part of Andante brings acceleration. These are variations on two themes. Variations is such a form of work, where the theme sounds first, and then it is repeated several times in a measured (varied) form. Variations on two themes are called double variations.
The first theme is taken by Haydn from a Croatian folk song. The theme is narrative in nature, it sounds leisurely and calm.
The second theme has a marching cheerful, strong-willed character.
Despite the differences between the topics, they have much in common.
Then follow the variations, alternately on the first and second themes. It is interesting that variations on a minor, sing-song theme sound more and more tense, agitated, and variations on a march-major theme acquire features of softness. melodiousness. Thus, the contrast inherent in the themes is smoothed out. This is especially noticeable in the code, where the energetic motive of the second theme sounds smooth and easy.
In the third part - the minuet - Haydn combines the grace and flexibility inherent in this dance with an underlined, chased rhythm - the features inherent in his performance among the people.
The middle movement, a trio, is built on arpeggiated passages. Forming a smooth and continuous movement. The trio sounds very quiet, soft and smooth.
The final brings us back to the festive-dance mood of the first part. But there are no longer those contrasts. Which caused the tension of musical development at the beginning of the symphony.
The basis of the finale is a fast dance melody close to the Croatian folk song. The melody sounds string group orchestra against the background of horn moves, reminiscent of the inviting sounds of a forest hunting horn (hence the name of the horn: Waldhorn, which in German means "forest horn").
Such is Haydn's symphony "with timpani tremolo". All four parts of the symphony are closely bound together by a single festive mood music, the basis of which is dance melodies of the folk warehouse.
