The creator of the symphony genre is J. Haydn. Symphony - highest form instrumental music, which provides the composer with a wide scope for the embodiment of the most grandiose themes. The most important feature of symphonic music is that the ideological concept of the work - deep and significant - is 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 ah 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 are still essentially no different from chamber music(which he wrote at the same time) and almost do not go beyond the usual entertainment genres for that era. Only in the 70s did works appear that express a deeper world of images (“Funeral Symphony”, “Farewell Symphony” and some others). Gradually, with the creative evolution of the composer, his symphonies are saturated with deeper dramatic content. If many of Haydn's early symphonies differed little from the suite with its somewhat external contrasting arrangement of parts, mainly of a dance character, then gradually in 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 nature, are different stages in the development of a single circle of images. All this is achieved to a certain extent in Haydn's "Paris" symphonies of 1786, as well as in individual earlier symphonies. But the highest achievement of Haydn's symphony is the 12 "London" symphonies.
"London" symphonies. With the exception of one (C minor), all of Haydn's "London" symphonies were 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. From the topic of the main or side party a short but most active segment is separated and undergoes a rather long independent development(continuous modulations in different keys, conducting with different instruments and in different registers). This gives the developments a dynamic and striving character.
Slow parts. The second (slow) parts have a 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 for the first time symphonic music were used only in the finals of some of Beethoven's symphonies. Of the woodwind instruments, not all of Haydn's symphonies use clarinets. The clarinet, invented in the 17th century, was practically introduced into symphonies by composers of the Mannheim school. For example, in the G major ("Military") symphony, they participate only in the second movement. Only in the scores of Haydn's last two "London" symphonies Nos. 103 and 104 are there two clarinets along with two flutes, oboes and bassoons. The leading role is played by the first violins, who are entrusted with the presentation of the main thematic material, but the flutes with oboes are quite actively involved in its presentation and development, now doubling the violins, now alternating with them in carrying out the theme or its fragments. Cellos and double basses play the same bass part (double basses are only an octave below the cellos). Therefore, in Haydn's scores, their parts are written out on one line. Horns and trumpets, as a rule, perform a very modest function, in some places emphasizing harmony and rhythm. In cases where all the instruments of the orchestra (tutti) play the forte theme in unison, the horns and trumpets participate on an equal footing with other instruments. Most often this is associated with themes of a fanfare nature. One can refer as an example to the main part (recited by the whole orchestra, from the Symphony in C Major No. 97.
Haydn is the creator of the classical symphony genre. The symphony also went through a long path of development in Haydn's work. And only his mature symphonies received the most perfect, classical form - a four-part cycle with a certain sequence of parts.
Many of Haydn's symphonies have their own titles: "Morning", "Noon", "Evening and Storm". Haydn's symphonies most often owe their names to the second parts, where the composer likes to imitate something: this is how the "Military" symphony arose, where military fanfares are heard in the second part, this is how the symphony "The Hours" arose, where the second part begins with a "ticking" ... There is also the symphony "Bear", the symphony "Hunting" and the symphony "Chicken".
The first movement of Symphony No. 48, 1773, named in honor of the Austrian Empress "Maria Theresa", perfectly conveys the elevated atmosphere of Haydn's music, its unfailing cheerfulness and wit. "Farewell" symphony (No. 45, 1772). Haydn got its name from the ending. During the performance, the musicians gradually leave the stage one by one. So Haydn hinted to his patron, Prince Nicholas, that the musicians were waiting for their departure from the Esterhazy summer estate to the warm Eisenstadt, and the departure was appointed the very next day after the premiere. The finale of the "Farewell" symphony clearly demonstrates the characteristic features of the 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'S SYMPHONYThe first group of symphonies (more than 40) = symphonies of the 50s-60s = divertissements (or “cassations”) are intended for the inhabitants of the Esterhazy Palace, chamber, entertaining, close to the suite and to the “Mannheim symphonies”. The Mannheimers (Jan Stamitz, Kannabich, Richter in Germany) developed the idea of a four-movement symphony with a minuet. The first part (the main one) is based on two contrasting themes without motivated development. "Mannheim rocket" - a fanfare flying up or down on a tonic triad. "Mannheim sighs" minor detentions on strong beat(for example, es 2 -a 1 -b 1, where the sound "la" is a half note). "Mannheim crescendo" - a gradual increase in sound). There are 3-5 parts in them, there are 16 instruments in the orchestra, there is a lot of polyphony in symphonies, in some there is a program-visual beginning: for example, “The Teacher in Love”, “Queen”, No. 6,7,8 - “Morning”, “Noon”, "Evening" (in No. 6, Haydn's introduction appears for the first time, and the sonority in it grows from pianissimo to fortissimo, since these bars paint a picture of the rising sun). Software symphonies Haydn will write later. No. 44 - "Funeral", No. 45 - "Farewell", No. 49 - "Suffering", No. 67 - "The Lark", No. 73 - "The Hunt" (the finale was taken by Haydn from his opera "Rewarded Loyalty", where this music depicted a hunting scene), No. 82 - "Bear", No. 83 - "Chicken", No. 100 - "Military" (part 2 on the theme of the French romance "Little Young Lisette", but suddenly a trumpet signal, tremolo timpani and tutti sounds before the coda (whole orchestra), No. 94 - “Surprise” (in Andante, the theme is presented on piano and pianissimo, fortissimo and tutti are given on tonic triad, programmaticity is present (1st group of symphonies). Quartet No. 2, quartet “with a minuet for witches” , "frog quartet".
The second group is symphonies of the 70-90s. 48 symphonies = creative maturity. Best: 6 Parisian symphonies - No. 82-87, performed for the first time in Paris in 1786, 12 London symphonies. In these symphonies, the STS (sonata- symphonic cycle), and the structure of the sonata form in the first part, the structural clarity of the cycle and the figurative unity within the parts were outlined, the genre-type thematicism was formed, and with it appeared in music new type contrast - genre. The pair composition of the orchestra was established with a clear division into groups (in the previous compositions of the orchestra there was no clear division, there was only string group, the rest arbitrarily in composition, a continuous bass with an unfixed voice leading basso continuo, a bow quartet and a pair of wind instruments were singled out. Clarinets were first introduced in #99-101, #103, #104.
^ SYMPHONY No. 103 ES-DUR (WITH TITAURUS TREMOLOS). 1795
The symphony got its name from the fact that it begins with the introduction of the timpani (there is an introduction in all London symphonies). In the spirit of humor characteristic of Haydn, the introduction is fraught with the effect of deceit; it sounds mysterious, menacing, but Allegro was neither mysterious nor dramatic.
Adagio. The introduction is based on the unison carrying out of the theme of the dialogic structure, the double bass and cello creeping in the bass and additional woodwind chords. The nature of the theme is epic, narrative, in-depth, at the same time it has solemnity, majesty (typical of the introduction). The theme of the introduction starts from a small second and the theme of the introduction is exhibited in 6 bars, and then the development is motivated and tonal, both the theme and texture vary (accompanied by
Nie). The theme of the introduction will appear in development and before the coda, which rarely happens with a sonata allegro.
Within the first part, the contrast between the themes is very toned down. GP and PP are different in topics, but similar in images. They were united by the method of generalization through the genre - Lendler (Alschwang's term. Waltz was formed from two folk dances Austrian Lendler (name from the Lendl region in Austria) and the second Provençal theme. The tradition of introduction will pass from Haydn to Berlioz, Mahler, Schubert, etc.)
GP is a clear four-cycle repeat period. In the orchestra - pizzicato strings. After the presentation of the GP, the fragmentation of the theme immediately begins, the isolation of individual motifs, the sequential development, and as a result, everything is brought to the Dominant triad in B-flat major, and after a pause, the PP goes in the same key. It is entrusted to woodwinds and strings. From the second sentence, the development begins, which introduces the final game (CF).
Exposition and Development in Handel are approximately equal (in size). Haydn was the first to introduce a real thematic reprise into a symphony, as an independent section based on the isolation of motifs and on a large dynamic pressure: a short motif stands out from the theme, which begins to actively develop.
Reprise features. There is no SP (connecting party), and the GP and PP go in the same key. The coda looks like a stretto of part 1 - it repeats the theme of the introduction, GP, PP, ZP.
II part. Andante in C major. Double variations (two themes). Between the two themes there is a contrast of tempo, mode and tonality. The first theme is a Croatian folk melody. It sounds on the piano in C minor with elements of the Lydian mode (quart).
The second theme is played on the forte in the major of the same name on the tonic organ point. The theme is brought together by the related nature of the movement (rising with a return). The themes vary intonationally, dynamically, each of the themes varies twice.
III part. Minuet. The most moving part. The minuet is written in the three-part da capa form.
IV part. The final. Generalization of the whole cycle. The key is Es-dur (i.e. the same as in the first and third parts). The form is a native sonata, but with elements of polyphony.
^ HAYDN'S SONATAS
See Givental 2 vol. Page 176.
Haydn devoted almost 40 years of his activity to clavier creativity. He wrote 52 sonatas, many fantasies, variations and rondos. There is a lot of lyricism in the sonatas, moreover, of a pre-romantic nature, which is not found in the symphonies. Haydn was the forerunner of the piano sonatas. Several of his sonatas are piano, not clavier, the figurative world is the same as in the symphonies. They are technically perfect, although Haydn was not a virtuoso in this area. Early sonatas are modest in scale, entertaining and close to divertissements. Later ones have a different content. The gallant theme completely disappears, the minuet gives way to Adajio and other non-dance material. Reduced embellishments. Most mature sonatas are written in three parts, but there are exceptions: No. 21 - 2 parts (both parts are rondo), No. 39, 42.48 without Allegro, with variations.
Haydn, one of the first Viennese classics in clavier art certain types of texture began to take shape, for example, Albertian basses (in honor of Dominik Albertov) - a 1 -e 2 -c 2 -e 1, ascending and descending passages - a-h-c-d.
THE EVOLUTION OF THE SYMPHONY IN THE WORK OF HAYDN (1732 - 1809)
Meaning. Haydn's creative life was long and captured as a turning point musical development Western Europe, and the era of maturation and full maturity of the Viennese classical school. In his youth, he turned out to be a contemporary of the "war of the buffons", the heyday of comic opera genres, the formation of the Mannheim school. Under him, the activities of the sons of Bach proceeded, under him the Gluck reform was launched and completed. The whole life of Mozart completely passed in his memory. Musical culture French Revolution took shape at the same time that he reached the highest creative maturity. During Haydn's lifetime, six Beethoven symphonies were composed. Having begun to create in the years of the late Handel, Haydn finished his creative work on the eve of the appearance of Beethoven's Heroic Symphony, and died only when the young Schubert had already begun to compose.
On this vast creative path, which runs, as it were, through different eras musical art, Haydn, who never composed any author's programs, showed amazing independence. She brought him closer in principle to Bach, Handel, Gluck and singled him out among the early symphonists (in whose ranks he was called to enter), expressing himself in the fact that he not only perfectly mastered the artistic achievements close to him, but also boldly brushed aside everything excessive, sometimes even rejected the newly found for the sake of higher musical goals
Far from being a polyphonist, like the masters of the older generation, at the same time he did not stop at that elementary homophonic writing style that was characteristic of the turning point. Developing the symphonic concept, working on the sonata allegro, he temporarily rejected the sharp contrast that was established among the Mannheimers and, apparently, still prevented the achievement of unity in the first part of the cycle. And at the same time, Haydn created a new, higher type of symphony in comparison with all his predecessors.
His mature symphonies differ from the symphonic works of the Mannheimers by a greater individualization of the appearance of each of them due to the freshness of the images, often - folk thematics, and also to a large extent - due to the possibilities and features of development in the allegro and the cycle as a whole. Rising high above the level of the early Viennese symphony, the composer keeps in touch with everyday themes, but completely overcomes the applied, entertaining nature of the former symphony and puts new, significant content into his mature symphonic works.
Haydn was the first to carry out the developmental principle of development in sonata allegro with such rigorous consistency, and he especially deepens the understanding of variations in the corresponding parts of symphonies. The nature of his images and, thus, the appearance of his thematics is closely related to the principles of development in the symphonic cycle, whether it be development in the allegro or variation in the slow movement. Other thematicism, other thematic contrasts would not have given the possibility of a broad further development while maintaining unity in the first part of the cycle. At the same time, limiting development, squeezing it out or completely ignoring it would not correspond to those impulses of movement, effectiveness, which came from the exposition, from the chosen topics. Haydn's symphonic music is both simple, rising from the ground, from life images, and sublime, because it embodies and develops these images into a large, generalizing concept.
In his spiritual image, Haydn is still an artist of a turning point, a representative of a new, young culture of the Enlightenment, constrained, however, by the old social conditions. Simple, direct, solid, without much reflection, he is not like such figures as Handel or Gluck, who defend their principles in a wide public arena. Living a great inner creative life, he, unlike Bach, is no longer so deep into his spiritual world and is much less connected with the sphere of sacred music. Always turned to the outside world, simply and optimistically perceiving it, he - seemingly so simple-hearted and thoroughly "earthly" - without realizing it, can essentially act as a philosopher in his creative concepts, as evidenced by his oratorio "The Seasons ”, as the results of his symphony convince of this. His philosophy is much simpler than Bach's, it is more free from religious ideas, firmly connected with everyday life, sober, like everyday life itself, but at the same time asserts its own ideals, derived from life and therefore extremely persistent. In the last oratorios of Haydn, a kind of creative results in this sense are summed up and the foundations of his worldview are revealed with the greatest completeness. folk life in harmony with nature, labor as the only true virtue of man, love for life as it is, poetry of native nature with all its annual circulation - this is the best "picture of life" for Haydn, this is his artistic generalization and at the same time the path to his ideal.
Haydn and contemporaries. Haydn's art is related in its style to art glitch and art Mozart, but the circle of his images and his concepts have their own characteristics. The lofty tragedy that inspired Gluck is not his domain. Antique samples attract him little. However, in the sphere of lyrical images, Haydn comes into contact with Gluck. It suffices to compare Gluck's song arias (for example, in Iphigenia in Aulis) and Haydn's songs, Gluck's lyrics and Haydn's serious instrumental Adagio. Both are interested in different topics, as it were different sides world, but where their interests coincide, expressive means reveal kinship, style becomes similar. The generalized tragic principle in Gluck corresponds in its own way to the generalized everyday principle in Haydn's work. Haydn and Mozart are closer in style, but here the ratio of creative individuals and is more complex, which is best seen on the example of Mozart.
The world of Haydn's images is predominantly a world of not tragic, not heroic, but other, often more ordinary, but always poetic images and feelings. However, the sublime is not alien to Haydn, only he finds it not in the realm of tragedy. Serious reflection, noble sensibility, poetic perception of life, its joys and difficulties, bold and sharp jokes, the search for a bright genre color, the expression of a healthy and romantic sense of nature - all this can become sublime for Haydn. Moreover, one can find in him, especially in his later works, an amazing, almost romantic subtlety and a peculiar brilliance in conveying lyrical feelings, tender, but not sentimental daydreaming. The world of his images is not only wide: for all its external simplicity, it is fresh and new for musical art and completely new for major instrumental genres of generalizing significance.
creative heritage haydn extraordinarily extensive. He tried almost all the genres that existed then, and in most of them he created many works: 104 symphonies, 83 string quartets, about 200 trios for different compositions, 52 clavier sonatas, 35 concertos for different instruments, more than 20 operatic works various genres, 4 oratorios, 47 songs for voice with accompaniment, more than 400 arrangements of Scottish, Irish and Welsh songs, 14 masses, many small instrumental compositions, vocal ensembles, clavier pieces, musical numbers for dramatic performances.
Hierarchy of genres. Not all areas of Haydn's creativity are equally significant: his instrumental music as a whole is of greater interest and is more characteristic of his creative appearance. Of the major vocal works, the last two stand out especially. oratorios.
operas Haydn, which arose over many years (1751 - 1791), remained mostly manuscripts in the archives of Esterhazy, were not studied until recently and could, it seemed, now lead to a revision of the established estimates of his work.
With regard to spiritual writings, in particular mass, then their content is to some extent overlapped by the same instrumental works that are most characteristic of the composer; church music Haydn is not only close to his secular, but also has much in common with her in the nature of the images and the range of dominant emotions. Whoever Haydn addresses to - to humanity or to a deity, wherever his works sound - on a concert stage or in a temple, the world is one for him and the system of his images is ultimately the same. Of course, the ritual framework of the mass put him inevitable restrictions in the composition, the thematic parts, but at the same time he remained himself.
Historical significance of Haydn determined primarily by his innovation in creating sonata-symphony forms. No matter how over time our ideas about his work are supplemented with new data (for example, about the concreteness of his images, “confirmed” by music with word and action), they only become richer, but do not deviate to the side. Symphony, quartet, sonata - the main areas of his search and his accomplishments. Haydn began to write quartets a little earlier than symphonies and at first called them cassations, divertissements, nocturnes. They have not yet budded in his mind from the music of a direct domestic purpose. Almost to the same extent, Haydn's early symphonies are associated with such music. At first, the genre differences between the symphony and the quartet did not appear with the distinctness that would be achieved later, the distinction between the symphonic and chamber genres occurred precisely in the process of their formation and further development.
Haydn's 104 symphonies were written between 1759 and 1795. In addition to them, more than 60 symphonies are attributed to him, the authorship of which has not been fully established. For 37 years, the composer most consistently, without tangible interruptions, worked on the symphony. It is unlikely that at least one year passed with him without a new symphony.
Timeline of symphonies. Haydn wrote especially many symphonies in the first decade: about forty. Then he not only composed more slowly, but gradually went deeper into each work: in the 1770s, more than 30 symphonies were created, in the 1780s - 18, in the 1790s - 12 symphonies. Over time, the symphony itself became different for him, more meaningful, more extensive, more individual in each case. Between the first symphony, which arose in 1759, and the last (Nos. 103, 104), relating to 1795, lies precisely the history of this genre, as Haydn created it - from the origins to full maturity. Modern researchers distinguish at least six different stages along the path of the Haydnian symphony, sometimes singling out four years in a separate period.
Haydn's first five symphonies(1759 - 1761?) were written for a small composition (strings, 2 oboes, 2 horns), and the wind parts are of subordinate importance. The overall scale of the cycle is very modest: it consists either of three (without a minuet), or of four (with a minuet) parts. Thematism is clearly demarcated in connection with the functions of the parts. The themes of the first parts are not yet bright. The theme of the first movement in the first symphony, taking off on a crescendo, is close to the typical themes of the first movements around the middle of the century by the Mannheimers, in the Italian overture, then by Gossec.
The initially scale-like theme in the second symphony is also very little individual. In the second symphony, two allegro themes are already outlined. In the fourth symphony, the second theme is presented polyphonically. In the third and fourth symphonies, Haydn moves towards a three-part sonata allegro, choosing a kind of "intermediate" option: theme I (T), theme II (D), I (D), development elements, I (T), II (T). Within narrow limits, however, sonataness is already defined. The two themes of the first movement in the fifth symphony are more clearly distinguished. So far, these are not at all "Haydnian" themes, by which the appearance of his symphony will then be identified. The second, slow movements of these early symphonies are more emotional: the Andante of the third with its "Mannheim sighs" and the graceful Andante of the fourth with a concert violin. In the third and fifth symphonies, the finals are fugues. Their liveliness, their dynamism are already outlined, but they still lack the Haydnian characteristic of this kind of music. All five symphonies are written in major - and so it will be up to the twenty-sixth.
In 1761, three Haydn symphonies appeared with program titles: "Morning", "Noon", "Evening" (No. 6 - 8). It was in the spirit of the times. Even Vivaldi's concertos from the cycle "The Seasons" are known. And Haydn's predecessor in his position in the Esterhazy Chapel, G. I. Werner, once created "A new and very curious musical instrumental calendar ... for two violins and a bass in twelve months of the year." Haydn understood programming in these cases more generally than Vivaldi, and certainly without the naive detailing that Werner showed. Only the very choice of "declared" topics is indicative.
Programming. For Haydn, in particular, programming, even in its most general sense, played an important role at that time: the images gradually became clearer, the thematic was concretized, the methods of composition and the composition of the orchestra were somewhat expanded. In the symphony "Morning" the flute and bassoon were added to the previous orchestral composition. It opens with a small introductory Adagio, which begins with the first violins pp, and then, over the course of only five measures, the sonority grows to ff - the rest of the instruments gradually enter (example 154). Apparently, it was supposed to depict the sunrise. As a pictorial episode, such an Adagio is still quite naive, but in principle the slow introduction leading into the first movement turned out to be a very essential feature of Haydn's composition in the future, precisely in its figurative sense. The brass parts in this symphony became more independent (flute solo in the first movement, bassoon solo in the minuet). In the symphony "Noon" there are five parts of the cycle. Of interest here is the second, slow movement, in which Haydn freely uses the techniques of dramatic music: passages of strings and oboes harmonies are interrupted by an expressive solo "recitative" of the violin, to which, as in opera stage, then the developed "duo" of violin and cello joins. In the symphony "Evening" features of pastorality are outlined. Her ending is "The Tempest". Haydn follows a rather stable tradition of the 18th century with his "storms" in operas and instrumental plays - both pictorial and generalized dynamic, that is, natural precisely in the function of the finale. Haydn's "The Tempest" is still modest in scale, but in places it is very dynamic.
This clarification of the images of the symphony was the main consequence of the original programming in Haydn's symphonic work. In the future, he was not inclined to give program headings to parts of symphonies or in any other form to reveal their program design. At the same time, the gradual individualization of each work, associated both with the nature of the images and with the peculiarities of the composition, often led to the fact that his symphonies received their own “names”, for example: “Philosopher” (No. 22), “Moaning” (“Lamentatione” , No. 26), "Hallelujah" (No. 30), "With the signal of the horn" (No. 31). When and who gave these names is unknown, but they are firmly entrenched in these (and many later) Haydn symphonies.
1760s. The composer's work on the symphony between 1763 and 1766-1768 was unusually intense and strenuous, when he wrote more than thirty works. He moved forward very quickly, looking for something new in different directions, made some kind of experiments, kept something found, rejected something, affirmed one thing for a long time, tested the other many times and still did not take it as the basis of his expressive means. Before Symphony No. 31 (1765), he hesitated in the composition of the cycle, "trying" first four, then three parts; further, he firmly settled on a four-movement symphony. In a number of cases, the cycle began with a slow movement (No. 11, 21, 22), the nature of which, for example, determined the title of the symphony No. 22 - "The Philosopher"; sometimes he thought of the first movement as a French overture (No. 15) or simply gave it a fugue presentation (No. 29). Inside the sonata allegro, Haydn either smoothed out the contrast between themes, then emphasized it, then expanded the form, then limited himself to modest frames. The orchestra also changed over time in terms of both the composition and the interpretation of parts and groups of instruments.
The most important thing on the general path of the Haydnian symphony was in the 1760s the composer's searches aimed at enrichment of the figurative-thematic sphere, as well as to achieving the scale of the cycle and its parts. Concerning imagery of symphonies, then we should talk not only about thematics, but also about characteristic expressive elements that have a certain national-genre significance. So far, Haydn still exists, as it were, separately. The thematic material of the early symphonies, of course, does not yet possess brightly individual, authorial features and is not particularly original. There are also echoes of Mannheim thematism, and "Italianisms" (Sicilian as the second movement in Symphony No. 27), and even Gregorian chant melodies (in Symphonies No. 26 and 30). Along with this, one can find a kind of "predictions" of the new heroics, and folk (Austrian, Hungarian or Slavic) musical features, and the first manifestations of Haydn's own playful and mischievous astringency. The composer does not shy away from the circle of images typical of his time, only trying to individualize them over time. However, he selects relatively few and focuses mainly on two figurative spheres: on images of serious, lyrical, contemplative and pathetic, on the one hand, and on images of dynamic, genre and colorful, more objective, on the other. The first sphere, as everyone knows from Haydn's mature symphonies, will not lose its significance further, but it will already set off other images and themes more characteristic of them (not to mention the fact that it will become much more original itself). As for the second, it will evolve for a long time, but it will also not lose its role in the symphonic cycle, especially in its last two parts, most of all in the finale.
Lyrical contemplative images. Far from all the music in Haydn's early symphonies is perceived as expressively saturated: at first, it contains a lot of "neutral", uncharacteristic, general forms of movement, traces of still applied purpose. It is precisely this that the composer overcomes with particular intensity throughout the 1760s. And the first in this stream to “emerge” in their expressiveness are serious-lyrical images in their either calmly contemplative, or expressively pathetic “variant”. Hence the slow first parts of the symphonies: the contemplative Adagio in No. 11, the "important" and profound Adagio in the symphony "Philosopher". But the lyrical beginning is especially characteristic of the slow parts of the cycle (actually its lyrical centers): Andante Symphony No. 10 (with Mannheim dynamic contrasts), Andante Symphony No. 19 (with an elegiac touch), Adagio cantabile Symphony No. 24 (with solo flute), Sicilian Symphony No. 27 (an idyllic concept), the stringed Adagio ma non troppo of Symphony No. 32 (a poetically subtle realization of lyrical dreams), Andante of Symphony No. 33 (replete with intonations of sighs). It is noteworthy that Haydn in those years sought to lyrically fill the first part of the cycle, moreover, not necessarily making it slow. The fast first part of the symphony included no longer lyric-contemplative, but pathetic images. This first happened in Symphony No. 26, known as the Lamentations. Its first part is therefore not even without drama. Note that in this and in the second parts of the cycle the composer used the melody of the Gregorian chant: the first of Haydn's symphonies, written in minor, with features of pathos in the first part, it also differs in such a feature. In all likelihood, the composer felt its turning point: too much is concentrated here for the sake of achieving a new serious general tone. Symphony No. 30 also uses the Gregorian chant (in the first movement) - hence its name "Hallelujah". The first movement in symphonies No. 35 and 36 is dramatized in its figurative content with heroic and pathetic accents. Symphony No. 49, f-moll, which concludes this period (its serial number does not correspond to the chronology: it was composed in 1768) was given the expressive name “Suffering” (“La Passione”) by contemporaries.
Genre. In another sphere of images, more characteristic of the third and fourth parts of the cycle, Haydn, perhaps, earlier shows tendencies towards independence and finds means of expression specific to them. This applies even to such a simple part of the cycle as the minuet. It usually comes in third place; as an exception - on the second (symphony No. 32). Quite often it is for the minuet, especially for his trio, that Haydn, as it were, reserves some special effect, which can be both comic, and timbre, and folklore, and harmonic. Thus, the minuet trio in Symphony No. 13 is interesting for the virtuoso-whimsical flute solo. Beginning with the minuet in Symphony No. 3, polyphonic devices are used from time to time in this part of the cycle - in a light, almost comical spirit. In some trios, researchers note clearly folklore features: for example, Slavic in symphonies No. 28 and 29. By the way, in the slow part of the same symphony No. 28, Hungarian-Gypsy elements appear. But perhaps most characteristic of Haydn is the slightly scherzo sharpness achieved in the minuet of Symphony No. 34 (sharp jumps with the change of p and f), in the trio of Symphony No. 37 (second consonances on strong beats), in the trio of Symphony No. 38 (jumps in oboe parts with change of registers). Here, in the embryo, there is already something typically Haydnian, which is also characteristic of the London symphonies in 1791-1795. Gradually, this also manifests itself in the nature of the finals, for example, in Symphony No. 25.
The scope of each part of the cycle is gradually expanding, which has special meaning for sonata allegro. However, it is precisely here that this process does not develop in a straight line: in Symphonies No. 24, 25, 35, 36 the thematic contrast is clearly and vividly revealed, while in Symphony No. 28 it is insignificant. The scale and composition of developments are different, which are still far from being developed. Although the development becomes dynamic already in Symphony No. 11 (with increasing sonority), it is very compressed in Symphony No. 37. Different types of rondos predominate in the finales of the symphonies, although variations serve as the finale in Symphony No. 31. This big symphony, incidentally, can serve as an example of Haydn's later inclusion of colorful everyday sounds inside a major instrumental work. It is no coincidence that it received the name “With a horn signal” or “On the pull”: it really sounds (bars 9 - 15 of the first movement) the signal of a hunting horn5, cutting through the exposition of the sonata allegro. For the sake of this, four horns were introduced into the score, which are widely used in all the other three parts of the symphony.
Orchestral facilities during this period are expanding and deepen mainly due to the activation of wind instruments. Already in the minuet of Symphony No. 11, the parts of oboes and horns are emancipated, four horns and timpani are introduced into the score of Symphony No. 13, symphonies No. 20 - trumpets and timpani, symphonies No. 22 - English horns.
1970s. From the beginning of the 1770s, a long period in the development of Haydn's symphonism began, too long to become a turning point, and yet a turning point, contradictory, replete with contrasts in creative searches, and eventually leading to the wonderful maturity of the second half of the 80s and 90s. In special modern studies devoted to Haydn's symphonies abroad, and after that in our country, the conviction is expressed that after Haydn's pathetic, dramatic symphonies in the early 1770s, he had a creative crisis: he no longer rose to this level in the spirit of the Sturm-und-Drang-era, but rather retreated back to less bold and more ordinary concepts, to works that had more ingenuity than significance.
Indeed, in the symphonies of 1772 and some close to them (No. 45, “Farewell”; No. 44, “Funeral”; even No. 49, “Suffering”), minor-pathetic thematicism and the tension of the general development on a rather large scale attract special attention . However, there are very few such symphonies, they are to a certain extent prepared by the Haydnian pathos of past years (beginning with the Lamentation symphony) and represent only bringing this line of his figurative searches to the highest point, after which pathos and even romantic moods do not escape Haydn's music, and either retreat in his symphonies before the images and themes of folk genre origin, or concentrate in his later quartets and sonatas. For Haydn's mature symphony, for Haydn's generalizing "picture of the world", these images and themes remain necessary, but not paramount: such is his figurative system, such is his creative image, such is his individual style.
In the 1770s, Haydn, as if experiencing the pathetic possibilities of symphonism, created a number of beautiful works, the significance of which did not decrease in the future, but was nevertheless overshadowed by his classics - the symphonies of the second half of the 1780s and London. You can put minor works in one row - No. 26, d-moll, “Lamentations”, No. 49, f-moll, “Suffering” (or “Passion”), No. 44, e-moll, “Funeral”, No. 45, fis-moll, "Farewell", - and they cover the years 1766 - 1772, and their pathos will clearly increase with a climax in "Farewell" ...
Further in the symphonies of the 1770s - early 1780s in a minor-pathetic beginning no longer comes to the fore, but repeatedly manifests itself in one or another symphony, as a rule, however, without defining their thematics in the sonata allegro.
There are exceptions: the general tone of Symphony No. 78 is dramatic, light pathos in the spirit of Mozart from the first bars of the main party declares itself in the Presto Symphony No. 75 - it is preceded by the introductory Grave (example 156). With more or less certainty, pathetic moments appear from time to time in the slow parts of a number of works. However, it is precisely for the allegro sonatas that Haydn seeks a different theme. It is very significant that the main part of the cycle, the center of its gravity, is not considered by the composer as an expression of the pathetic beginning par excellence. Pathetic allegro sonatas do not become typical of Haydnian symphonism, which is best seen in the most mature symphonies. On the samples of Haydn's symphonic work until the mid-1780s, one can trace how the composer experiences various types of thematics, various expressive devices in the first parts of the symphonies. At the same time, they are united by one thing: they become more objective than lyrical or lyric-pathetic, although their emotional range is quite wide: festivity, heroism, joyful dynamics, light humor, brilliance and grace, etc. The figurative meaning of symphonies continues to be perceived as bright and specific: they were also given names (not copyright!) - "Mercury" (No. 43), "Maria Theresa" (No. 48), "Majestic" (No. 53), "School Teacher" (No. 55), "Flame" (or "Fiery" symphony, No. 59), "Scattered" (No. 60), "Roxelana" (No. 63), "Loudon" (No. 69), "Hunt" (No. 73).
The influence of the theater on the symphony. Some of these works originated in certain cases, others are connected with the theatrical works of Haydn. The origin of the symphony "Maria Theresa" has already been discussed. It is possible that the name "Feuersymphonie" arose in connection with the arrangement of festive fireworks in Esterhase, and the symphony "Laudon" is somehow connected with the honoring of the Austrian Field Marshal Gideon Ernst de Laudon. It was during this period that Haydn wrote especially many operas: between 1768 and 1783 he created eleven operatic works, mostly in the buffa genre. Symphony No. 60 received the name "Scattered" because it was performed as theatrical music during the production of the comedy of the same name by J. F. Regnard in Vienna in 1776: the first part of the symphony served as an overture, the remaining parts of the cycle were performed during the play as intermissions and insert numbers. But since the same comedy had been performed at Esterhase even earlier, perhaps Haydn then wrote the music for the play, and then “composed” a symphony from it: the composition of the cycle is very exceptional for him - from six parts. One way or another, his symphonic works of those years are not isolated from the musical theater. In the Roxelana symphony, the first movement was an overture in Haydn's buffa Lunarworld (1777).
Here real music! This is what should be enjoyed, this is what should be sucked in by everyone who wants to cultivate a healthy musical feeling, healthy taste.
A. Serov
creative path J. Haydn - the great Austrian composer, an older contemporary of W. A. Mozart and L. Beethoven - lasted about fifty years, crossed the historical border of the 18th-19th centuries, covered all stages of the development of the Viennese classical school - from its inception in the 1760s gg. until the heyday of Beethoven's work at the beginning of the new century. The intensity of the creative process, the richness of imagination, the freshness of perception, the harmonious and integral sense of life were preserved in Haydn's art until the very last years of his life.
The son of a carriage maker, Haydn discovered a rare musical ability. At the age of six, he moved to Hainburg, sang in the church choir, learned to play the violin and harpsichord, and from 1740 he lived in Vienna, where he served as a chorister in the chapel of St. Stephen's Cathedral (Vienna Cathedral). However, in the chapel only the boy's voice was appreciated - a rare treble purity, they entrusted him with the performance of solo parts; and the composer's inclinations awakened in childhood went unnoticed. When the voice began to break, Haydn was forced to leave the chapel. The first years of independent life in Vienna were especially difficult - he was in poverty, starved, wandered without a permanent shelter; only occasionally did they manage to find private lessons or play the violin in a traveling band. However, despite the vicissitudes of fate, Haydn retained both the openness of character, and the sense of humor that never betrayed him, and the seriousness of his professional aspirations - he studies the clavier work of F. E. Bach, independently studies counterpoint, gets acquainted with the works of the largest German theorists, takes composition lessons from N Porpora - a famous Italian opera composer and teacher.
In 1759, Haydn received the place of Kapellmeister from Count I. Mortsin. The first instrumental works (symphonies, quartets, clavier sonatas) were written for his court chapel. When in 1761 Mortsin disbanded the chapel, Haydn signed a contract with P. Esterhazy, the richest Hungarian magnate and patron of the arts. The duties of the vice-kapellmeister, and after 5 years of the princely chief-kapellmeister, included not only composing music. Haydn had to conduct rehearsals, keep order in the chapel, be responsible for the safety of notes and instruments, etc. All Haydn's works were the property of Esterhazy; the composer did not have the right to write music commissioned by other persons, he could not freely leave the prince's possessions. (Haydn lived on the Esterhazy estates - Eisenstadt and Estergaz, occasionally visiting Vienna.)
However, many advantages and, above all, the ability to dispose of an excellent orchestra that performed all the works of the composer, as well as relative material and domestic security, persuaded Haydn to accept Esterhazy's proposal. For almost 30 years, Haydn remained in court service. In the humiliating position of a princely servant, he retained his dignity, inner independence and striving for continuous creative improvement. Living far from the world, with almost no contact with the wide musical world, he became the greatest master of European scale during his service with Esterhazy. Haydn's works were successfully performed in major musical capitals.
So, in the mid-1780s. the French public got acquainted with six symphonies, called "Paris". Over time, composites became more and more burdened by their dependent position, more acutely felt loneliness.
Dramatic, disturbing moods are painted in minor symphonies - "Funeral", "Suffering", "Farewell". Many reasons for different interpretations - autobiographical, humorous, lyric-philosophical - were given by the finale of "Farewell" - during this endlessly lasting Adagio, the musicians leave the orchestra one by one, until two violinists remain on the stage, finishing the melody, quiet and tender...
However, a harmonious and clear view of the world always dominates both in Haydn's music and in his sense of life. Haydn found sources of joy everywhere - in nature, in the life of peasants, in his work, in communication with loved ones. So, acquaintance with Mozart, who arrived in Vienna in 1781, grew into true friendship. These relations, based on deep inner kinship, understanding and mutual respect, had a beneficial effect on the creative development of both composers.
In 1790, A. Esterhazy, heir to the deceased Prince P. Esterhazy, dissolved the chapel. Haydn, who was completely freed from service and retained only the title of Kapellmeister, began to receive a lifetime pension in accordance with the will of the old prince. Soon there was an opportunity to fulfill an old dream - to travel outside of Austria. In the 1790s Haydn made two tours to London (1791-92, 1794-95). The 12 "London" symphonies written on this occasion completed the development of this genre in the work of Haydn, approved the maturity of the Viennese classical symphony (a little earlier, in the late 1780s, Mozart's last 3 symphonies appeared) and remained the pinnacle of phenomena in the history of symphonic music. The London symphonies were performed in unusual and extremely attractive conditions for the composer. Accustomed to the more closed atmosphere of the court salon, Haydn first performed in public concerts, felt the reaction of a typical democratic audience. At his disposal were large orchestras, similar in composition to modern symphony ones. The English public was enthusiastic about Haydn's music. At Oxford, he was awarded the title of Doctor of Music. Impressed by the oratorios of G. F. Handel heard in London, 2 secular oratorios were created - “ The Creation of the World" (1798) and " The Seasons" (1801). These monumental, epic-philosophical works, affirming the classical ideals of beauty and harmony of life, the unity of man and nature, adequately crowned the composer's creative path.
The last years of Haydn's life were spent in Vienna and its suburb Gumpendorf. The composer was still cheerful, sociable, objective and friendly towards people, he still worked hard. Haydn passed away at a troubled time, in the midst of the Napoleonic campaigns, when the French troops had already occupied the capital of Austria. During the siege of Vienna, Haydn consoled his loved ones: "Do not be afraid, children, where Haydn is, nothing bad can happen."
Haydn left a huge creative heritage- about 1000 works in all genres and forms that existed in the music of that time (symphonies, sonatas, chamber ensembles, concerts, operas, oratorios, masses, songs, etc.). Large cyclical forms (104 symphonies, 83 quartets, 52 clavier sonatas) constitute the main, most precious part of the composer's work, determine his historical place. P. Tchaikovsky wrote about the exceptional significance of Haydn's works in the evolution of instrumental music: "Haydn immortalized himself, if not by inventing, then by improving that excellent, perfectly balanced form of the sonata and symphony, which Mozart and Beethoven later brought to the last degree of completeness and beauty."
The symphony in Haydn's work has come a long way: from early examples, close to the genres of everyday and chamber music (serenade, divertissement, quartet), to the "Paris" and "London" symphonies, in which the classical laws of the genre were established (the ratio and order of the parts of the cycle - sonata Allegro, slow movement, minuet, fast finale), characteristic types thematism and development techniques, etc. Haydn's symphony acquires the meaning of a generalized "picture of the world", in which different aspects of life - serious, dramatic, lyrical-philosophical, humorous - are brought to unity and balance. The rich and complex world of Haydn's symphonies possesses remarkable qualities of openness, sociability, and focus on the listener. Their main source musical language- genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they discover new figurative, dynamic possibilities. Completed, perfectly balanced and logically built forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises sharpen interest in the very process of thought development, always fascinating, filled with events. Haydn's favorite "surprises" and "pranks" helped the perception of the most serious genre of instrumental music, gave rise to specific associations in the listeners, which were fixed in the names of symphonies ("Bear", "Chicken", "Hours", "Hunting", " School teacher" and so on.). Forming the typical patterns of the genre, Haydn also reveals the richness of the possibilities for their manifestation, outlining different paths for the evolution of the symphony in the 19th-20th centuries. In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion). The composition of the quartet is also stabilizing, in which all instruments (two violins, viola, cello) become full members of the ensemble. Of great interest are Haydn's clavier sonatas, in which the composer's imagination, truly inexhaustible, each time opens up new options for building a cycle, original ways of arranging and developing the material. The last sonatas written in the 1790s. clearly focused on the expressive possibilities of a new instrument - the pianoforte.
All life art was for Haydn the main support and a constant source of inner harmony, peace of mind and health, He hoped that it would remain so for future listeners. “There are so few joyful and contented people in this world,” the seventy-year-old composer wrote, “everywhere they are haunted by grief and worries; perhaps your work will sometimes serve as a source from which a person full of worries and burdened with business will draw his peace and rest for minutes.
GENRE OF SYMPHONY IN HAYDN'S WORKS
Joseph Haydn - great representative Viennese classical school. In the history of musical art, he is one of the brightest and most harmonious artists. Haydn received well-deserved world recognition mainly in the field of instrumental music. His chamber and symphonic works began in the 50s of the 18th 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 real passion creative work and the eternal search for artistic perfection.
Haydn's creative life was long and captured the turning point in the musical development of Western Europe - from the origins to the full flowering of the Viennese classical school. The formation of the composer's creative personality 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.
Copyright © Andreeva E. G.
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 your 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. Haydn's creative path 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. The Viennese school could not bind Haydn with established traditions, since they had not yet been created. Haydn did not have the opportunity often hear modern music in Vienna, and besides, before 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.
At that time, 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. images folk life were for him close, related, organically understood 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.
Copyright © Andreeva E. G.
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 milestones that were important to him before reaching artistic 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. He received orders 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 strongest side of his creative method- 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.
Above symphony Haydn worked 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.
Copyright © Andreeva E. G.
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
And general structure 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. great attention Haydn paid 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, Haydn's symphonies revealed the features of the style characteristic of close-up works that 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. IN " London symphonies" reflects 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 guessed.
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.
