Joseph Haydn: "Farewell Symphony". Joseph Haydn - "farewell symphony" Haydn symphony 45 farewell history of creation

Summary of a music lesson in 2nd grade.

Subject: Joseph Haydn: "Farewell Symphony"

• -Hello guys. My name is Valentina Olegovna, today I will give you a music lesson. Please stand up gracefully, please sit down. The topic of today's lesson: The work of Joseph Haydn and his work: "Farewell Symphony".
• - (1 slide) Franz Joseph Haydn - (2) the great Austrian composer, founder of classical instrumental music and the founder of the modern orchestra. Haydn is considered by many to be the father of the symphony and quartet.
• (3) Joseph Haydn was born 283 years ago in the small town of Rohrau, Lower Austria, into the family of a wheelwright. The composer's mother was a cook. The love of music was instilled in little Joseph by his father, who was seriously interested in vocals.
• (4) The boy had excellent hearing and a sense of rhythm, and thanks to these musical abilities he was accepted into the church choir in the small town of Gainburg. (5) Later he would move to Vienna, where he would sing in the choir chapel at the Cathedral of St. Stefan.
• (6) Until the age of 18, he performed soprano roles with great success, and not only in the cathedral, but also at court. At the age of 17, Josef’s voice began to break and he was kicked out of the choir.
• (7) Already at the age of 27, the young genius composed his first symphonies.
• (8) At the age of 29, Haydn became the second bandmaster (i.e., the leader of the choir and/or orchestra) at the court of the Esterházy princes, one of the most influential families in Austria. During his rather long career at the Esterházy court, he composed a huge number of operas, quartets and symphonies (104 in total). His music evokes the admiration of many listeners, and his skill reaches perfection. He becomes famous not only in his homeland, but also in England, France, and Russia. Life has been too stressful, and the composer’s strength is gradually leaving him. (9) Haydn spent his last years in Vienna, in a small secluded house.
• (10) The great composer died on May 31, 1809.
• (11,12)
• -And now, guys, we will get acquainted with the work of Joseph Haydn, which is called “Farewell Symphony”, do you know what a symphony is? (If they don’t answer, then:
• -For whom is the symphony performed?
• -Large or small work?)

A symphony is a large piece of music written for a symphony orchestra, usually consisting of 4 movements.

• -First, let's listen to it.
• -You will have the following task: How did the music sound? What changes have you noticed in her?
• (Listen to the piece)
• -So, we listened to the “Farewell Symphony”. How did the music sound? What changes have you noticed in her?
• -Did you like this work?
• -What kind of music suits your mood?
• -What instruments sound in the symphony?
• -Composer Joseph Haydn was a very cheerful person. His music was just as cheerful and cheerful.

Almost every symphony - and he wrote most of them - has something unexpected, interesting, funny.

Either he will portray a clumsy bear in a symphony, or the clucking of a hen - these symphonies are then called “Bear”, “Chicken”, or he will buy various children’s toys - whistles, rattles, horns and include them in the score of his “Children’s” symphony. One of his symphonies is called “The Hours”, another - “Surprise” because there, in the middle of slow, quiet and calm music, a very loud blow is suddenly heard, and then again slowly, as if nothing had happened, the calm, even what -important music.

All these inventions, all these “surprises” were explained not only by the cheerful character of the composer. There were other, much more important reasons. Haydn began writing music when works in the form of a symphony were just beginning to appear. That is why this wonderful German composer invented so much when he wrote his music - he tried, searched, created a new type of musical work.

It is now almost impossible for us to imagine that the “father of the symphony,” “the great Haydn,” as he was called during his lifetime, was just the court conductor of the Austro-Hungarian prince Nicolò Esterhazy.

His symphony - "Farewell" - ends with music that can be called sad rather than cheerful. But it is this symphony that comes to mind when you want to talk about Haydn - a cheerful and kind person.

And this symphony appeared on this occasion:

Prince Esterhazy's musicians were not given leave for a long time and were not paid. Their “father Haydn” could not achieve this with any prayers or requests. The orchestra members became sad, and then began to grumble. Haydn was so good at getting along with his musicians, but then they stopped listening to him - it became difficult to work and rehearse. And the prince demanded that a new symphony be performed at the upcoming holiday.

And Haydn wrote a new symphony.

What kind of music this was, the prince did not know, and perhaps he was not very interested - in this he completely trusted his bandmaster. But the orchestra members suddenly showed extraordinary zeal for rehearsals...

The day of the holiday has arrived. The prince informed the guests in advance about the new symphony, and now they were looking forward to the start of the concert.

The candles on the music stands were lit, the notes were opened, the instruments were prepared... A thick, stocky “Papa Haydn” came out in full dress uniform and a freshly powdered wig. The symphony began...

Everyone listens to the music with pleasure - one part, another... third... finally, fourth, the finale. But then it turned out that the new symphony had one more movement - a fifth, and, moreover, a slow, sad one. This was against the rules: a symphony was supposed to have four movements, and the last, fourth, should be the liveliest, the fastest. But the music is wonderful, the orchestra plays very well, and the guests sit back in their chairs. They are listening.

The music is sad and seems to complain a little. Suddenly... What is it? The prince frowns angrily. One of the horn players played some bars of his part; closed the notes, then carefully folded his instrument, extinguished the candle on the music stand... and left!

Haydn does not notice this and continues to conduct.

Wonderful music flows, a flute enters. The flutist played his part, just like the horn player, closed the notes, put out the candle and also left.

And the music continues. No one in the orchestra pays attention to the fact that the second horn player, followed by the oboist, is slowly leaving the stage.

One after another, the candles on the music stands go out, the musicians leave one after another... What about Haydn? Doesn't he hear? Can't he see it? Seeing Haydn, however, is quite difficult, since at the time in question, the conductor sat facing the audience, with his back to the orchestra. Well, he heard it perfectly well, of course.

Now it’s almost completely dark on the stage - only two violinists remain. Two small candles illuminate their serious, bow-bowed faces.

This is what an amazing “musical strike” Haydn came up with! Of course, it was a protest, but it was so witty and graceful that the prince probably forgot to be indignant. And Haydn won.

The “Farewell” symphony, written for such a seemingly random occasion, still lives today. Until now, the orchestra players, one after another, leave the stage, and the orchestra sounds quieter and weaker: the lonely violins still fade away, and sadness creeps into the heart.

Yes, he, of course, was a very cheerful person, “the great Haydn,” and so was his music. And what the composer came up with to help his orchestra can be called a joke, a musical hint. But the music itself is no joke. She's sad.

Kapellmeister Haydn was not always happy.

What are the features of this symphony?

Children's answers

• (The peculiarity of this symphony is that it is performed by candlelight, mounted on the musicians’ music stands; the traditional finale is followed by an additional slow movement, during the performance of which the musicians, one after another, stop playing, extinguish the candles and leave the stage. First, all wind instruments are excluded the instruments in the string group are turned off, then the cellos, violas and second violins are completed by only the first 2 violins (one of which was played by Haydn himself, since the first violinist was also the conductor of the orchestra), who extinguish the candles after the music is completed. and leave after the others.)
• Slide 13 (crossword) symphony orchestra composer Haydn

Reflection:

• -What composer’s work have we met today?
• -Which work of Joseph Haydn did we listen to?
• - What impression did this work make on you?
• -Did you like today's lesson?
• -What was interesting in the lesson?
• -What do you remember?
• -Thank you for the lesson. Goodbye.

So, today is Saturday, July 29, 2017, and we traditionally offer you answers to the quiz in the “Question and Answer” format. We encounter questions ranging from the simplest to the most complex. The quiz is very interesting and quite popular, we are simply helping you test your knowledge and make sure that you have chosen the correct answer out of the four proposed. And we have another question in the quiz - What do musicians traditionally do during the performance of Haydn's Farewell Symphony?

• Putting out the candles
• Sending air kisses
• Putting on hats

The correct answer is A. TURNING OUT CANDLES

Everyone listens with pleasure to Haydn’s beautiful music - one part of the symphony, another, a third... finally a fourth, the finale. And then it turned out that the new symphony had one more movement - a fifth, and a slow, sad one at that. This was unexpected and unusual: a symphony is supposed to have four movements, and the last one should be the liveliest, the fastest. The listeners look at each other. But the music is excellent, they play beautifully, and the guests sit back in their chairs. They are listening.

...The music is sad and seems to be complaining. Suddenly... What is it?! The prince frowns angrily. One of the horn players played some bars of his part, closed the notes, then carefully put down the instrument, put out the candle on the music stand and... left!

Haydn does not notice this and continues to conduct. (Do you remember? After all, his back is to the orchestra.)

Wonderful music is flowing. The flute enters. The flutist played his part... then, just like the horn player, he closed the notes, put out the candle and also left.

The music continues. No one in the orchestra pays attention to the fact that the second horn player, and behind him the oboist, are calmly putting down their instruments, extinguishing the candles and leaving the stage.

One by one, the candles on the music stands go out, one by one the musicians leave... What about Haydn? Doesn't he hear? Can't he see it?

Seeing Haydn, as we know, is quite difficult. Well, he heard it perfectly well, of course.

It's almost completely dark on the stage. Only two violinists remained. Two small candles slightly illuminate their serious faces, leaning toward the violins.

This is what an amazing “musical strike” the composer and bandmaster Haydn came up with! Of course, it was a protest, but so witty and elegant that the prince probably even forgot to be indignant and, of course, understood the hint perfectly. Haydn won.

Orchestra composition: 2 oboes, bassoon, 2 horns, strings (no more than 9 people).

History of creation

At the turn of the 60s and 70s, a stylistic turning point occurred in the composer’s work. One after another, pathetic symphonies appear, often in a minor key. They represent Haydn's new style, linking his search for expressiveness with the German literary movement of Sturm und Drang.

The name Farewell was assigned to Symphony No. 45, and there are several explanations for this. One thing, according to Haydn himself, was preserved in the memoirs of his contemporaries. At the time of writing this symphony, Haydn served in the chapel of Prince Esterhazy, one of the Hungarian magnates, whose wealth and luxury rivaled those of the Emperor. Their main residences were located in the town of Eisenstadt and the Esterhaz estate. In January 1772, Prince Nikolaus Esterhazy ordered that during his stay in Esterhazy the families of the chapel musicians (there were then 16 of them) should live there. Only in the absence of the prince could the musicians leave Eszterhaz and visit their wives and children. An exception was made only for the conductor and first violinist.

That year, the prince stayed at the estate for an unusually long time, and the orchestra members, exhausted by their bachelor life, turned to their leader, the bandmaster, for help. Haydn cleverly solved this problem and managed to convey the musicians' request to the prince during the performance of his new, Forty-fifth Symphony. According to another version, the request related to the salary that the prince had not paid to the orchestra for a long time, and the symphony contained a hint that the musicians were ready to say goodbye to the chapel. Another legend is exactly the opposite: the prince himself decided to dissolve the chapel, leaving the orchestra members without a livelihood. And finally, the last, dramatic one, put forward by the romantics in the 19th century: The Farewell Symphony embodies farewell to life. However, the title is missing from the score manuscript. The inscription at the beginning - partly in Latin, partly in Italian - reads: “Symphony in F sharp minor. In the name of God from me, Giuseppe Haydn. 772,” and at the end in Latin: “Praise God!”

The first performance took place in Eszterhaz in the autumn of the same 1772 by the princely chapel under the direction of Haydn.

The farewell symphony stands apart in Haydn's work. Its tonality is unusual - F-sharp minor, rarely used at that time. The eponymous major, in which the symphony ends and in which the minuet is written, is also not typical for the 18th century. But what is most unique is the symphony's slow conclusion, a kind of additional adagio following the finale, which is why the Farewell Symphony is often considered a five-movement symphony.

Music

The pathetic character of the first movement is already determined in the main part, which opens the symphony immediately, without a slow introduction. The expressive theme of the violins, falling along the tones of a minor triad, is aggravated by the characteristic syncopated rhythm of the accompaniment, juxtapositions of forte and piano, and sudden modulations into minor keys. A side part sounds in one of the minor keys, which is unexpected for a classical symphony (the major key of the same name is assumed). The secondary, as usual with Haydn, is not melodically independent and repeats the main one, only with a falling moaning motif of the violins at the end. The short final game, also in a minor key, with winding, seemingly pleading moves, further enhances the woeful pathos of the exposition, almost devoid of major foundations. But the development immediately asserts the major key, and its second section forms a bright episode with a new theme - peaceful, gallantly rounded. After a pause, the main theme is announced with sudden force - the reprise begins. More dynamic, it is devoid of repetitions and is full of active development.

The second part - adagio - is light and serene, refined and gallant. The sound is predominantly of a string quartet (the double bass part is not highlighted), and the violins are muted, the dynamics are within the pianissimo range. A sonata form with similar themes is used, with a development performed by strings alone, and a compressed reprise, in which the main part is decorated with a “golden move” of horns.

The third movement - the minuet - is reminiscent of a village dance with a constant juxtaposition of the effects of piano (only the violin) and forte (the whole orchestra), with a clearly articulated theme and an abundance of repetitions. The trio begins with a “golden move” of horns, and at the end there is an unexpected darkening - the major gives way to the minor, anticipating the mood of the finale. The return of the first section makes one forget about this fleeting shadow.

The fourth part figuratively echoes the first. The side part is again not melodically independent, but, unlike the minor main part, it is colored in carefree major tones. The development, although small, is a truly classic example of the mastery of motivic development. The reprise is gloomy, does not repeat the exposition, but suddenly ends on the rise... After a general pause, a new adagio with variations begins. The gentle theme, presented in thirds, seems serene, but the sonority gradually fades away, and a feeling of anxiety arises. One by one, the instruments fall silent, the musicians, having finished their part, extinguish the candles burning in front of their consoles and leave. After the first variations, the wind instrument players leave the orchestra. The departure of the string section musicians begins with the bass; a viola and two violins remain on stage and, finally, a duet of violins and mutes quietly finishes their touching passages.

Such an unprecedented finale always made an irresistible impression: “When the orchestra members began to extinguish the candles and quietly leave, everyone’s hearts sank... When the faint sounds of the last violin finally died away, the listeners began to leave, silent and moved...” wrote a Leipzig newspaper. in 1799. “And no one laughed, because it was not written for fun,” Schumann echoed almost forty years later.

A. Koenigsberg

Haydn wrote 104 symphonies, the first of which was created in 1759 for the chapel of Count Morcin, and the last in 1795 in connection with the London tour.

The symphony genre in Haydn’s work evolved from examples close to everyday and chamber music to the “Paris” and “London” symphonies, in which the classical patterns of the genre, characteristic types of thematics and development techniques were established.

The rich and complex world of Haydn's symphonies has the remarkable qualities of openness, sociability, and focus on the listener. The main source of their musical language is genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they reveal new 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 of Haydn's symphonies non-programmatic they do not have any specific plot. The exception is three early symphonies, called by the composer himself “Morning”, “Noon”, “Evening” (Nos. 6, 7, 8). All other names given to Haydn's symphonies and established in practice belong to the listeners. Some of them convey the general character of the work (“Farewell” - No. 45), others reflect the features of the orchestration (“With a horn signal” - No. 31, “With tremolo timpani” - No. 103) or emphasize some memorable image (“Bear” - No. 82, “Chicken” - No. 83, “Clock” - No. 101). Sometimes the names of symphonies are related to 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 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 movements to five (symphonies “Noon”, “Farewell”) or limited himself 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).

Complete, ideally balanced and logically constructed 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, which is always fascinating and filled with events. Haydn’s favorite “surprises” and “practical jokes” helped to perceive 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 from the late 60s - early 70s stands out. This is symphony No. 39 ( g-moll ), No. 44 (“Mourning”, e- moll ), 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

The highest achievement of Haydn's symphony is his 12 “London” symphonies.

"London" The symphonies (Nos. 93-104) were written by Haydn in England, during two tours arranged by the famous violinist and concert entrepreneur Salomon. The first six appeared in 1791-92, another six - 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 typical Haydn model of the symphony is different:

All London symphonies open slow intros(except minor 95th). Introductions serve a variety of functions:

• They create a strong contrast in relation to the rest of the material in the first part, therefore, in its further development, the composer, as a rule, does without comparing disparate themes;
• The introduction always begins with a loud statement of the tonic (even 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 another key, which creates the direction of the music forward to the coming climaxes;
• Sometimes the introduction material becomes one of the important participants in thematic drama. Thus, in symphony No. 103 (Es-dur, “With tremolo timpani”) the major but gloomy opening theme appears both in the development and in coda I part, and in development it becomes unrecognizable, changing tempo, rhythm and texture.

Sonata form in the “London Symphonies” is very unique. Haydn created this type of sonata allegro , in which the main and secondary themes are not contrasting with each other and are often generally based on the same material. For example, the expositions of symphonies No. 98, 99, 100, 104 are monotonous. I parts Symphony No. 104( D-dur ) the song and dance theme of the main part is presented by strings alone p , only in the final cadence does the whole orchestra enter, bringing with them fervent fun (this technique has become an artistic norm in the “London” symphonies). In the side part section, the same theme sounds, but only in the dominant key, and now the woodwinds and woodwinds alternately perform in the ensemble with strings.

In exhibitions I parts of symphonies No. 93, 102, 103 secondary themes are built on independent, but not contrasting in relation to the main topics material. So, for example, in I parts Symphony No. 103 Both themes of the exposition are perky, cheerful, in terms of genre they are close to the Austrian landler, both are major: the main one is in the main key, the secondary one is in the dominant key.

Main party:

Side batch:

In sonatas developments"London" symphonies dominate motive type of development. This is due to the dance nature of the themes, in which rhythm plays a huge role (dance themes are more easily divided into individual motifs than cantilena themes). 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 motive of 3-4 bars of the main theme is developed as the most capable of change: it sounds either questioning and uncertain, or menacing and persistent.

Developing thematic material, Haydn shows inexhaustible ingenuity. He uses bright tonal comparisons, register and orchestral contrasts, and polyphonic techniques. Topics are often heavily rethought and dramatized, although no major conflicts arise. The proportions of sections are strictly observed - developments are most often equal to 2/3 of the exhibitions.

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 intonationally close and therefore peacefully adjacent to each other. In this form it is written, for example, the famous Andantefrom 103 symphonies: both of its themes are in folk (Croatian) flavor, both play out the upward movement from T to D , dotted rhythm, alteration present IV fret degree; however, the minor first theme (strings) is focused and narrative in nature, while the major second theme (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 we vary a theme that is particularly simple. This deliberate simplicity causes the flow of music to suddenly be interrupted by a deafening blow from the entire orchestra with timpani (this is the “surprise” with which the name of the symphony is associated).

Along with variation, the composer often uses and complex tripartite shape, as, for example, in Symphonies No. 104. All sections of the three-part form contain here something new in relation to the initial musical thought.

According to tradition, the slow parts of sonata-symphonic cycles are the center of lyrics and melodious melodicism. However, Haydn's lyrics in the symphonies clearly gravitate towards genre. Many of the themes of the slow movements are based on a song or dance basis, revealing, for example, features of a minuet. It is significant that of all the “London” symphonies, the direction “singingly” is present only in the Largo 93rd symphony.

Minuet - the only movement in Haydn’s symphonies where internal contrast is necessarily present. Haydn's minuets became a standard of vital energy and optimism (one could say that the composer's individuality - the traits of his personal character - manifested themselves most directly here). Most often these are live scenes of folk life. Minuets predominate, bearing the traditions of peasant dance music, in particular, the Austrian Ländler (as, for example, in Symphony No. 104). A more gallant minuet in the “Military” Symphony, a fanciful scherzo (thanks to the sharp rhythm) in Symphony No. 103.

Minuet of symphony No. 103:

In general, the emphasized rhythmic sharpness in many of Haydn’s minuets so modifies their genre appearance that, in essence, it directly leads 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 actually play here (or, in any case, the texture becomes lighter and more transparent).

The finales of the “London” symphonies are all, without exception, major and joyful. Here Haydn's predisposition to the elements of folk dance was fully demonstrated. Very often the music of finales grows out of truly folk themes, as in Symphony No. 104. Its ending 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 often) - 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 full pair 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 decorous progress of the guards parade, interrupted by the sound of a military trumpet. In No. 101, D-dur, the Andante theme unfolds against a background of mechanical “ticking” of two bassoons and pizzicato strings, which is why the symphony was called “The Hours”.