The history of the farewell symphony. Farewell Symphony (history of creation). I love these days, when the whole idea is already clear and the theme is guessed

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 nicely, 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 chicken - 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 man.

And this symphony appeared on this occasion:

Prince Esterhazy's musicians were not given leave for a long time and were not paid any money. 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.

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.

"Haydn's Farewell Symphony"

Essay

Completed by class 7A student Timofey O.

Introduction

A symphony is a piece of music for orchestra. As a rule, symphonies are written for a large orchestra of mixed composition, but there are also symphonies for string, chamber, wind and other orchestras; The symphony may include a choir and solo vocal voices.

About the composer

Joseph Haydn was born on March 31, 1732 (baptized on April 1, 1732) in the village of Rohrau (Lower Austria).

At the age of six, Haydn was sent to school in Hainburg, where he learned to play various musical instruments and sing. Already in 1740, Haydn, thanks to his beautiful voice, became a choirmaster at St. Stephen's Cathedral in Vienna. He sang in the cathedral choir until 1749. Living in extreme poverty and need, Haydn found joy only in music. In the Austrian capital, he met the Italian poet, playwright and librettist P. Metastasio, who in turn introduced Haydn to the composer and teacher N. Porpora.

From 1753 to 1756, Haydn worked as an accompanist for Porpora and at the same time studied the basics of composition. In 1759, he received the position of conductor of the chapel from the Czech Count Morcin. At the same time, he wrote his first symphony, which was a great success and won him the sympathy of Prince Esterhazy, who offered Haydn the position of conductor in his orchestra.

The musician accepted this offer in 1761 and served with the prince for 30 years. After Esterhazy's death in 1790, Haydn was left without a specific position, but his name as a composer was already widely known. Haydn was especially glorified by his symphonies. In total, he wrote 119 symphonies, including the 45th “Farewell” (1772), six Paris symphonies (1785-1786), the 92nd “Oxford” (1789), twelve London symphonies (1791-1786). 1795), which were a response to trips to London in 1791-1792 and 1794-1795.

In addition to symphonies, the composer wrote 22 operas, 19 masses, 83 string quartets, 44 piano sonatas and many other works.

History of creation

"Farewell Symphony". It is also called "Symphony by Candlelight". For number 45. F sharp minor. Written by Joseph probably in 1772. As you know, Haydn served as bandmaster under Prince Esterhazy for thirty years. There were times when writing “to order” was considered the norm. And this music “to order” was impeccable, soulful, emotional, imbued with the creative spirit of the composer. So, Mr. Esterhazy, a passionate fan of music, ordered it for numerous family holidays and more.

And then one day it happened that Prince Esterhazy did not let the musicians go on vacation for a long time, and according to another version, he stayed for a long time on his estate, delaying his return to Vienna. The musicians were bound by the harsh terms of the contract and could not leave the estate without permission. They were exhausted from work and waiting for rest, many of the choir members despaired and asked Joseph to write a piece with a hint. Then Haydn, a wise leader and sensitive composer, wrote an extremely subtle emotional symphony with an unusual structure. The 4 movements that usually make up the standard structure of a symphony were supplemented with a 5th movement. A surprise awaited the prince and his guests..! And it was in part 5 that the musicians, one after another, extinguished the candles on the consoles, leaving the stage. The last to leave was the first violin, Haydn himself. Only after finishing the sad and tremulous melody did the maestro leave. The hall plunged into darkness. Legend has it that Prince Esterhazy, a very educated man with a keen understanding of music, understood everything and left for Vienna, letting the chapel rest.

Sound description

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.

Conclusion

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... The result is a very pleasant and melodic piece

We are waiting for *Farewell Symphony*.
Last minutes.
Suddenly the candles in the hall go out
For some reason.

For two hundred years the tradition has been this:
All the musicians begin to play,
When the candles light up in front of them -
The piece will be performed.

Trembling, as if worried,
Candle flames.
And the music is beautiful
Endlessly.

They take off so quickly, alarmingly
Bows. And it’s impossible to tear yourself away
From the sounds that penetrate your soul.
And I want to listen to them, listen, listen...

The melody is in a hurry (and not in vain)
Express everything until the fire goes out.
It sounds, and there is no doubt about it,
Which is in unison with my heartbeat.

And that monologue is called musical
The creator of his farewell symphony.

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

J. Haydn “Farewell Symphony”

An amazing legend is associated with J. Haydn’s “Farewell Symphony”. Even more surprising is the impression this work makes on listeners who did not expect such an unusual ending. What is the secret of Symphony No. 45 Joseph Haydn and why is it called “Farewell”? The beautiful and understandable music of the Great Viennese classic, which fascinates and captivates from the first bars, will appeal to everyone, and its creation story will leave a mark on the listener’s heart for a long time.

History of creation Symphonies No. 45 Haydn, entitled “Farewell”, read the content and many interesting facts about the work on our page.

The history of the creation of the “Farewell Symphony”

Just imagine that you find yourself in such a difficult situation: your employer is keeping you at work for longer than expected and does not understand any hints that you want to go home. Nowadays this is impossible to imagine, but several centuries ago it was easily possible. The great Austrian composer and his musicians found themselves in such an unpleasant situation.

Of course, the first thought that will arise in anyone’s mind is who could hold such a composer, whose name has glorified his country throughout the world? Unfortunately, in Haydn’s time, musicians had a dependent position and, despite their fame, they were listed as servants in the palaces of noble persons. So Prince Esterhazy, for whom the composer served for about 30 years, treated him as a servant.

The great Viennese classic was forbidden to travel outside the palace without consent, and all the masterpieces written during this time belonged only to the prince. J. Haydn's responsibilities were limitless, he had to lead the chapel at the palace, perform music at the whim of the prince, train orchestra members, be responsible for all musical materials and instruments, and, finally, write symphonies and operas at the request of N. Esterhazy. Sometimes, he gave only one day to compose another masterpiece! But there were also advantages for the musician in all this. He could listen to his masterpieces in a live performance at any time and hone them, like a master working on a precious stone. But sometimes there were situations when Haydn was forced to use all his talent and ingenuity to help himself and his musicians.

One day, Prince Esterhazy prolonged his stay in the summer palace for too long. With the arrival of cold weather, the musicians began to get sick, the marshy area was to blame. They suffered greatly from endless illnesses, and most importantly, from long separation from their families, because they were forbidden to see them in the summer, and the orchestra members did not have the right to leave the service. But Haydn figured out how to get out of this difficult situation - he wrote a special work called “”. Just imagine, Prince Esterhazy and his guests gathered in the hall to listen to another masterpiece of the great maestro, but instead of the usual cheerful music, they presented him with sad and slow music. The first, second, third and fourth parts have passed, it would seem that now there will be a finale, but no! The fifth movement begins and then one by one the musicians get up, extinguish the candles on the music stands and silently leave the hall. The reaction of listeners can be predicted. So, only two violinists remain on stage, the part of one of them is played by Haydn himself, and their melody becomes more and more sad until it dies down completely. The remaining musicians also leave the stage in the dark. Prince Esterhazy understood his bandmaster’s hint and ordered everyone to get ready to move to Eisenstadt.

Interesting Facts

• The unusualness of Haydn's Symphony No. 45 is also due to the choice of tonal plan. F-sharp minor was very rarely used in those days by composers and musicians. It was also rare to find the eponymous major, in which the finale of the symphony sounds.
• The additional adagio heard at the end of the work is sometimes called the fifth movement of the cycle. However, there are real five-part cycles in his work - this is the “Noon” symphony. Haydn also composed three-part works, but this was only at the beginning of his creative career.
• Some of Haydn's symphonies are programmatic. So, he has symphonic cycles called “Bear” and “Chicken”. In the Surprise symphony, a sudden blow is heard in the middle movement, after which the music continues again quite calmly and leisurely. It is believed that with such a trick Haydn decided to “stir up” the too prim English public a little.
• Serving in the chapel of Prince Esterhazy, Haydn was forced to dress strictly according to the established pattern. Thus, the contract stipulated a special uniform.
• According to the memoirs of many contemporaries, in 1799, after the premiere of the “Farewell Symphony” in Leipzig, after the finale the audience left the hall silent and moved, which was very unusual at that time. The work made such a strong impression on them.
• Few people know, but there are other versions of why Haydn’s Symphony No. 45 is called “Farewell”. There is a legend that Prince Esterhazy planned to dissolve the entire chapel, which would leave the musicians without funds. Another version indicates that this work symbolizes farewell to life. This assumption was put forward by researchers in the 19th century. It is noteworthy that there is no title at all in the manuscript itself.

• Currently, the Farewell Symphony is performed as Haydn intended it. In the finale, the musicians leave their seats one by one. Sometimes the conductor himself leaves the stage.
• In fact, only a small part of Haydn’s symphonies has its own program: “Morning”, “Noon”, “Evening”. The composer himself gave these works their names. The remaining names belong to the listeners and express the general character of the symphony or the features of the orchestration. It is noteworthy that Haydn himself preferred not to comment on the figurative content of the works.
• It is noteworthy that in the period 60-70s Haydn appeared in a number of minor symphonies: No. 39, 44, 45, 49.

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

Sophisticated and bright The second part performed mainly by a string group (quartet). The themes are presented in a very subdued manner, the violins perform parts with mutes on pianissimo. In the reprise, Haydn uses the famous “golden move” horn ", which decorates the main party.

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

Fourth part at first it echoes the first, its graceful theme. The gloomy atmosphere appears only in the reprise, which suddenly ends, and right at the rise. After a short pause, an adagio with variations sounds. The theme itself is presented quite serenely, the feeling of anxiety begins to grow as soon as the sonority fades. The instruments fall silent one by one, having finished playing their part. The first to leave the orchestra are the musicians who play the winds, after which the basses and Joseph Haydn "Farewell Symphony"