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" symphonies (Nos. 93-104) were written by Haydn in England, during two tours organized by 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 three-part form, 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 mandatory there is internal contrast. 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 landler (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 holiday 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”.

This is real music! This is what should be enjoyed, this is what everyone who wants to cultivate a healthy musical sense, a sound taste should absorb into themselves.
A. Serov

The creative path of J. Haydn - the great Austrian composer, senior contemporary of W. A. ​​Mozart and L. Beethoven - lasted about fifty years, passed historical milestone XVIII-XIX centuries, covered all stages of the development of the Viennese classical school - from its origins in the 1760s. until the flowering of Beethoven's work at the beginning of the new century. The intensity of the creative process, the wealth 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 rare musical abilities. At the age of six he moved to Hainburg, singing in church choir, studied violin and harpsichord, and since 1740 lived in Vienna, where he served as a singer in the chapel of St. Stephen's Cathedral (Vienna Cathedral). However, in the chapel they valued only the boy’s voice - a treble of rare purity, and entrusted him with the performance of solo parts; and the composer's inclinations, awakened in childhood, remained unnoticed. When his voice began to break, Haydn was forced to leave the chapel. The first years of independent life in Vienna were especially difficult - he was poor, hungry, wandering without a permanent shelter; Only occasionally was it possible to find private lessons or play the violin in a traveling ensemble. However, despite the vicissitudes of fate, Haydn retained his openness of character, his sense of humor, which never betrayed him, and the seriousness of his professional aspirations - he studies the keyboard works of F. E. Bach, independently studies counterpoint, gets acquainted with the works of the greatest German theorists, takes composition lessons from N. . Porpora - famous Italian opera composer and teacher.

In 1759, Haydn received the position of bandmaster from Count I. Mortsin. The first instrumental works (symphonies, quartets, keyboard sonatas). When Morcin dissolved the chapel in 1761, Haydn entered into a contract with P. Esterhazy, the richest Hungarian magnate and patron of the arts. The duties of the vice-kapellmeister, and after 5 years the princely chief-kapellmeister, included not only composing music. Haydn had to conduct rehearsals, maintain order in the chapel, be responsible for the safety of notes and instruments, etc. All of Haydn’s works were the property of Esterhazy; the composer did not have the right to write music commissioned by others, and could not freely leave the prince’s possessions. (Haydn lived on the Esterhazy estates - Eisenstadt and Esterhaz, occasionally visiting Vienna.)

However, many advantages and, above all, the opportunity to dispose of an excellent orchestra that performed all the composer’s works, as well as relative material and everyday security, persuaded Haydn to accept Esterhazy’s offer. Haydn remained in court service for almost 30 years. In the humiliating position of a princely servant, he retained his dignity, inner independence and desire for continuous creative improvement. Living far from the world, with almost no contact with the wider musical world, during his service with Esterhazy he became the greatest master on a European scale. Haydn's works were successfully performed in major musical capitals.

So, in the mid-1780s. The French public became acquainted with six symphonies, called “Parisian”. Over time, the composites became increasingly burdened by their dependent position and felt loneliness more acutely.

The minor symphonies - “Mourning”, “Suffering”, “Farewell” - are colored with dramatic, anxious moods. The finale of “Farewell” gave many reasons for various interpretations - autobiographical, humorous, lyrical and philosophical - during this endlessly lasting Adagio, the musicians leave the orchestra one after another, until two violinists remain on stage, finishing the melody, quiet and gentle...

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 lives of peasants, in his works, in communication with loved ones. Thus, acquaintance with Mozart, who arrived in Vienna in 1781, grew into real friendship. These relationships, based on deep kinship, understanding and mutual respect, have had a beneficial effect on creative development both composers.

In 1790, A. Esterhazy, the heir of the deceased Prince P. Esterhazy, dissolved the chapel. Haydn, who was completely freed from service and retained only the title of bandmaster, began to receive a lifelong pension in accordance with the will of the old prince. Soon the opportunity arose to fulfill a long-standing 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 Haydn’s work, confirmed the maturity of Viennese classical symphonism (somewhat earlier, in the late 1780s, Mozart’s last 3 symphonies appeared) and remained the pinnacle phenomena in history symphonic music. London symphonies were performed in unusual and extremely attractive conditions for the composer. Accustomed to the more closed atmosphere of the court salon, Haydn performed for the first time in public concerts and felt the reaction of a typical democratic audience. He had at his disposal large orchestras, similar in composition to modern symphonies. The English public enthusiastically received Haydn's music. At Oxfood he was awarded the title of Doctor of Music. Under the impression of G. F. Handel’s oratorios 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, worthily crowned the composer’s creative path.

The last years of Haydn's life were spent in Vienna and its suburb of Gumpendorf. The composer was still cheerful, sociable, objective and friendly in his attitude towards people, and still worked hard. Haydn passed away at an alarming time, in the midst of Napoleonic campaigns, when French troops had already occupied the capital of Austria. During the siege of Vienna, Haydn consoled his loved ones: “Don’t be afraid, children, where Haydn is, nothing bad can happen.”

Haydn left a huge creative legacy - 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 cyclic forms (104 symphonies, 83 quartets, 52 keyboard sonatas) constitute the main, most precious part of the composer’s work and 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, ideally balanced form of 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 patterns of the genre were established (the relationship and order of the parts of the cycle - sonata Allegro, slow movement, minuet, fast finale), characteristic types of thematism and development techniques, etc. 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 - brought to unity and balance. The rich and complex world of Haydn's symphonies has the 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 imaginative, dynamic possibilities. 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 heighten interest in the very process of development of thought, which is always fascinating and filled with events. Haydn’s favorite “surprises” and “pranks” helped the perception of the most serious genre of instrumental music, giving rise to specific associations among listeners that were fixed in the titles of the symphonies (“Bear”, “Chicken”, “Clock”, “Hunting”, “School Teacher”, etc. .p.). Forming the typical patterns of the genre, Haydn also reveals the wealth of possibilities for their manifestation, outlining different paths of 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 stabilized, in which all instruments (two violins, viola, cello) become full members of the ensemble. Of great interest are Haydn's keyboard sonatas, in which the composer's truly inexhaustible imagination each time opens up new options for constructing a cycle, original ways of designing and developing the material. The last sonatas written in the 1790s. clearly focused on the expressive capabilities of the new instrument - the piano.

Throughout his life, art was Haydn’s main support and 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,” wrote the seventy-year-old composer, “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 affairs will draw moments of peace and relaxation.”

GENRE OF SYMPHONY IN THE WORK OF HAYDN

Joseph Haydn is a great representative of the 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 work began in the 50s of the 18th century, and contributed to the formation of new genres and forms in this area. The last quartets and "London Symphonies" brilliant long-term results creative evolution composer.

He was one of the most courageous and independent geniuses. No authorities had the slightest power over him. “Art is free and should not limit itself to any craft restrictions” – Haydn said.

Every note of his compositions sparkles with his inexhaustible imagination and endless wealth of musical ideas. He was a great master, and the desire for mastery constantly guided his efforts. Haydn was given joy by the work itself, the feeling of it "coherence". It was a real passion for creative work and the eternal search for artistic perfection.

Haydn's creative life was long and spanned a turning point musical development 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. Having assumed the position of court conductor, Haydn signed a contract that assigned him numerous responsibilities:

- direct the performance of music at the prince’s court and in church

- train singers

- maintain discipline and order in the chapel

- be responsible for the safety of instruments and notes

- Appear to the prince twice a day for orders.

And among this stream of affairs, the main thing for Haydn was to compose music, any music at the request of the prince. Amusements and celebrations on the Esterhazy estate did not stop for weeks, and sometimes for months. Therefore, music sounded constantly - it had one of the places of honor here. All this placed a great burden and responsibility, which fell on the bandmaster.

Haydn placed his talent at the prince’s complete 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 rights to his works: they belonged to the prince, and could be performed or published only with his consent. In addition, Haydn could not leave Esterhazy’s possessions without permission, and his whole life was subject to strictly established regulations.

But, although the composer was completely dependent on the prince’s tastes and placed his talent at his complete disposal, nevertheless, this situation had its positive aspects.

Above all, Haydn valued the fact that he had the opportunity to compose. Of course, he wrote mainly to order, but this did not stop him from writing with true inspiration. His imagination was ready to work in any direction, and his supply of musical ideas was completely inexhaustible.

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In addition, everything that Haydn composed sounded as soon as the music was born. And, having at his disposal a good instrumental chapella, 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 secluded life, the composer’s genius was able to benefit. Haydn drew artistic ideas only from 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 judgment and his own taste. He said:

- "I was away from the light.

No one next to me could shake my confidence in my plans.

Nobody mentored me and I had to go my own way."

This feature largely determined the nature of Haydn's work. He showed the least concern about how well his music met the requirements of one style or another. Despite all the dependence of his position, Haydn went exclusively his own way, preserving the freedom and independence of the creative spirit.

During his service with Esterhazy, Haydn wrote the vast majority of his works. The amount he accomplished under these conditions seems incredible and simply amazing. But what is even more striking is Haydn’s perseverance and determination.

During his time at the Esterhazy House, Haydn went from being a novice composer to becoming a major master of world significance. He created the first samples classical symphony And string quartet, and laid the foundations of the Viennese classical school .

For about 40 years, from 1759 to 1795, Haydn’s focus was on 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 Haydn created classical examples of the symphonic cycle.

A remarkable feature of Haydn’s creative personality was that, 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 to established traditions, since they had not yet been created. Haydn did not have the opportunity often hear modern music in Vienna, and, moreover, until 1790 he had never been abroad.

But 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 includes:

Folk melodies of various origins,

Peasant dances,

The color of the sound of folk instruments.

At that time, folk themes and melodies close to folk ones were not typical for highly professional music, and in particular for symphonic music. And for Haydn, such contact with the surrounding everyday life fully corresponded to his musical taste. The images of folk life were close to him, related, organically understood and did not contradict artistic concept symphonies. It is thanks to folk thematics that Haydn's mature symphonies differ from the works of his contemporaries, in particular from the composers of the Mannheim Chapel, by the greater individuality of the appearance of each of them.

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Thus, compared to his predecessors, Haydn created a new type of symphony. However, noticeable results of his work did not appear immediately. Haydn went through a number of important stages for him before reaching creative maturity. Every 10th anniversary of his work marks another, new step in his ascent to the heights of mastery

60s- this is the time of formation of the composer’s artistic style. During these years, the circle of images characteristic of Haydn was determined - bright, optimistic, but already imbued with deep lyricism.

Late 60s and early 70s- an important milestone in Haydn's work. 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 "Sturm and Drang" in German literature. New images are reflected in a number of minor symphonies. The brightest of them are "Farewell" And "Mourning" These works are distinguished by a special, subjective coloring.

Most often performed in concerts "Farewell Symphony". This is largely due to the intriguing concept of its Finale, at the end of which Haydn used a curious technique: the musicians take turns finishing their parts, extinguishing the candles, collecting their instruments and leaving. The stage gradually empties. Finally, only two violinists remain, finishing the sad melody in the dim light of one candle. This idea of ​​Haydn is interpreted in different ways. Either in a romantic sense - farewell to life, or in an everyday sense - as if in this way Haydn was hinting 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 in Haydn’s work was not long and by the end of 1772 the unexpected explosion of rebellious sentiments was overcome.

Mid and second half of the 70s This is a time of intensive accumulation of experience and mastery.

80s- it's time for maturity. During these years, Haydn was already a recognized master. It was at this time that he came to create artistically complete works in all major genres of creativity. At this time the late sonatas appear. Haydn demonstrates high skill in the field of string quartet.

The symphonic cycle reached its peak during these years. The symphonies defined the main world of Haydn’s images – the folk genre. It was these themes that became the main exponents of the composer’s thoughts.

The features of a mature style were most clearly manifested in six Paris symphonies (No. 82 to No. 87). They were written by order of Paris for performance in "Spiritual concerts" and were first performed there in 1786 under the direction of François Gossec. All six symphonies reflect the festivity and solemnity of Parisian concerts. The scores of the symphonies demonstrate the classical composition of the orchestra:

Horns

Timpani

And a string quartet.

Paris 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 to Paris and London. But Haydn was firmly tied to the princely estate. He could only occasionally travel to Vienna.

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It was during 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 of his life. Friendship with Mozart turned out to be creatively fruitful. Thus, under the influence of Mozart, Haydn’s melos was enriched - it acquired greater flexibility, melodiousness and plasticity.

In turn, Mozart borrowed most from Haydn strong point his creative method– mastery of thematic development.

90s- This new stage in life and the highest culmination of Haydn's work. In 1790, Prince Miklos Esterhazy dies. The will stated that he would grant Haydn a lifelong pension. The prince's successor, Anton Esterhazy, disbanded the chapel and left only Haydn and the best violinist. This event brought freedom to the composer, which he took advantage of for his first concert tour. And at the end of 1790, Haydn went to London. This was his first journey, which lasted 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 major, which was called "Oxford".

The second voyage 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 impressions of two trips to London led to the creation of two notebooks of symphonies: from No. 93 to No. 104. They were called - "London".

At the end of the 800s, Haydn’s genius unexpectedly revealed itself in a new genre. At this time, two didactic oratorios were written - "Creation of the World" based on the poem by John Milton and "Seasons" based on the poem by John Thomson. The idea of ​​turning to this genre was prompted by impressions of the Handel festivals that Haydn observed in England. The performance of these oratorios in Vienna surrounded Haydn's name with an aura of fame.

FEATURES OF HAYDN'S SYMPHONISM

(using the example of the London symphonies)

The main thing in Haydn's work was always symphony. It was in this genre that he was destined to immortalize his name.

Historically the genre symphonies began its development on the basis of the Italian opera overture and initially repeated its cyclic pattern:

Fast - Slow - Fast. Therefore, in the first stages of the development of the genre, symphonies were predominantly 3-part.

Haydn worked on the symphony longer than any of his contemporaries. Gradually, the expressive possibilities of orchestral writing were determined in his work - the role of groups and individual instruments, their share of participation in parts of the symphony, typical techniques games and much more. Already in the 80s in "Paris Symphonies" Haydn used almost "finished" classical composition of the orchestra - with a string quartet and a pair of winds. At this time there are no clarinets in his orchestra; they will appear only in the second notebook "London Symphonies".

Haydn's symphony was formed gradually - the search went on, the necessary was selected, and what was found was improved.

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The composer worked hard on thematic material, looked for methods for its development and determined tonal patterns. In this regard, Haydn paid great attention to 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 a loop

Relationship of parts to each other

And also the general structure of the cycle

At first, 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 thematicism symphonies, with its utmost expressiveness. Haydn paid great attention to main topics symphonies – GP and PP, capable of conveying new content within the framework of the Exposition. Gradually, forms emerged that best suited the nature of the main themes.

But in the end, Haydn became interested ways of development, which could reveal the hidden possibilities of the main themes of the symphony. In this regard, the second section of the sonata form - Development - underwent major and qualitative changes. The main method of development for Haydn was motive development of themes or principle motive isolation.

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, and received a new melodic continuation or completion. The motivic technique of development was also enriched with polyphonic techniques - imitations and counterpoints. All this gave development in sonata development an unprecedented efficiency.

And although motivic work was found not only in Haydn’s music, it was in his work that this technique became universal. Motivational development has improved from year to year. She deepened the symphony in a meaningful way and fundamentally separated it from genres and forms of everyday music.

The results of many years of work in the field of symphony led to the fact that in Haydn’s work:

Improving sonata Allegro

A symphonic cycle is 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 understanding. Gradually, Haydn's symphonies revealed the style features characteristic of the works close-up, which were intended for concert halls.

The pinnacle in the development of Haydn's symphonism was the creation of the 12 London symphonies. They differ markedly from other works written in the symphony genre. They are distinguished by ideal purity of style, significance of content and the strictest sense of proportion. "London Symphonies" brings together specificity plan, artistic idea, the design of the cycle and the nature of the parts. This gives reason to talk about a certain type of symphony that emerged as a result of Haydn’s creative quest. The London Symphonies reflect the characteristic techniques of his compositional technique and style. In each of the symphonies of this cycle, the hand of the great master is immediately recognizable.

Therefore, it is necessary to dwell in detail on all the characteristic features inherent in the late Haydn

Copyright © Andreeva E. G.

In all symphonies, without exception, retain a 4-part cycle with a certain sequence of parts:

General signs of these 12 symphonies are so obvious that at first they even obscure the originality of each of the symphonies. So, for example, out of twelve symphonies

– eleven are written in major keys and only one - No. 95 is in a 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, more often than not, London symphonies begin with a short slow introduction of a solemn or contemplative nature, usually in the tempo of Adagio or Largo. The introduction contrasts sharply with the subsequent Allegro. This kind of Introduction is closely related to the first section of Grave - Lully's French operatic overture. Some Concerto grossi and suites of the Baroque era also began in a similar way.

Typically, the slow Introductions in Haydn's London symphonies are not thematically connected to the subsequent Allegro. To enhance the contrast between the Introduction and the sonata Allegro, Haydn sometimes uses a parallel moll in the Introduction. An example of this kind is the beginning of Symphony No. 104.

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SYMPHONY CREATIVITY

"Farewell" symphony. "London" symphonies. Concerts

Haydn created his symphonies over a third of a century (from the late 50s to the 90s of the 18th century). The academic edition lists 104 symphonies, although in reality there were more. Haydn's first symphonies date back to the period when European classical symphonism was being formed through the efforts of various national schools - and Haydn's early symphonies, along with the symphonies of the Mannheim masters, were an important link in the process of forming the stylistic foundations of the mature symphony of the Viennese classical school. Haydn's later symphonies were written when all of Mozart's symphonies already existed and when the young Beethoven was developing the principles of his symphonic thinking in piano sonatas and chamber ensembles, approaching the creation of the first symphony.
Thus, the evolution of Haydn’s symphonic work is of interest not only for studying creative path great composer, but also for understanding the processes of formation and development of classical symphonism of the 18th century in general. Haydn's early symphonies are still essentially no different from the chamber music that he wrote at the same time, and almost do not go beyond the usual entertainment and everyday genres of that era. Only in the 70s did works appear that expressed more deep world images and feelings (“Funeral Symphony”, “Farewell Symphony” and some others).
The “Farewell Symphony,” with its pathetically excited character, stands out sharply from all other works of Haydn written in the same 70s and occupies a special place in his work.
Instead of the usual four movements, the symphony has five movements. As a matter of fact, the first four parts could form a complete, complete cycle; The 5th movement was introduced additionally for a specific and original purpose, justifying the name of the symphony “Farewell”: as we already know, during the performance of this finale the orchestra musicians gradually disperse, and by the end only two violinists remain, finishing the symphony. This is probably the first time that a symphonic cycle ends with a slow movement (Adagio).

One can note in this symphony the unity of the cycle, expressed both in the thematic connections between in separate parts, and in the general character and mood of the music in the first and fourth parts. The first movement (sonata allegro), especially its main theme, is full of dramatic expression and pathos. As in some other Haydn symphonies, here the main and secondary parts are based on the same thematic material.

Syncopated movement of accompanying chords, sforzando accents, tonic-subdominant progressions, the second low degree in minor - all these are means that together give the music an excited and dramatic character. Particular attention should be paid to the structure of the theme based on chord sounds, which later (in Mozart and Beethoven) would become a frequent occurrence, as well as to the harmonic sequence of the tonic triad and the second chord of the second degree (the first four measures), which enhances the drama of the musical expression. (Remember the tragic nature of that the same harmonic sequence in the music of P. I. Tchaikovsky.)
The tonal plan of the exposition of the first movement, rare for 18th-century music, is unique: the side part (based on the same thematic material as the main part) sounds in A minor (the major parallel of the same name), the final part - in C-sharp minor. A third chain of minor keys is created, located on the sounds of the F-sharp-minor triad (the main key of the symphony). One cannot help but see in this an anticipation of the distant future, when in the works of romantic composers great value will receive colorful tertian juxtapositions of minor or major keys.
But all this does not exhaust the originality of this sonata allegro: a new song theme appears in development, introducing lyrical contrast and compensating for the lack of contrast in the exposition and, therefore, in the reprise of this part.

The second, slow part of “Farewell” is lyrically song (Adagio), the third part is dance (minuet). Above it was said about the thematic connections between the individual parts of the symphony. In this regard, let us pay attention to the sequence of descending third moves in the theme of the minuet.

The incompleteness of the minuet, ending with a third sound without a harmonic basis, is very original, which, apparently, implies the performance of the next, fourth part without a break (atacca). The tonal incompleteness of the fourth movement, which stops at the dominant and, therefore, requires a direct transition to the finale, anticipates similar cases in Beethoven's 5th and 6th symphonies or the characteristic tendency of romantic symphonism to merge parts of the cycle. The direct transition from the fourth movement to the finale further emphasizes their contrast.

The fourth part echoes the first part with its excited, excited character. As in the first movement, the general character here is determined by the main theme, which is the main part of this movement (written in sonata form).

The melodious slow fifth movement brings calm to the excited music of the symphony, the dramatic impulsiveness of which is resolved in the calm lyrics of the finale. The tonal plan of this major finale has some analogy with the tonal plan of the exposition of the first part of the symphony: there was a third chain of minor keys (F-sharp, A, C-sharp), forming the sounds of the F-sharp-minor triad; here is a chain of major keys that form the same sounds (the finale begins in A major, in its central part C-sharp major is temporarily fixed, it ends in F-sharp major - the major of the same name in relation to the main tonality of the symphony). Finale, calm down lyrical character so sharply contrasting with the dramatic first part, at the same time, in terms of tonalities, it is a kind of reprise of it, which also contributes to the unity of the cycle. These are the features of this exceptional symphony in Haydn’s work, echoing some phenomena in symphonic music of the 19th century.

Gradually, as the composer’s creative evolution progresses, Haydn’s symphonies become saturated with increasingly deeper socially significant content. While maintaining connections with the dance suite, the symphony as a genre is an independent integral work, the four parts of which, different in nature, have, following the example of “Farewell,” an organic unity. All this was largely achieved in Haydn's 1786 Paris Symphonies.
But the highest achievements of Haydn's symphony are the 12 “London” symphonies. With the exception of one (C minor), Haydn's London symphonies are written in major keys.
As a rule, they begin with a short, slow introduction of a solemn, concentrated or lyrical, contemplative nature (usually in Adagio or Largo tempo).
This kind of slow introduction sharply contrasts with the subsequent allegro, which is actually the first part of the symphony, and at the same time prepares it. These introductions are successively associated with the initial Grave in French opera overtures (such as the overtures of Lully and Rameau), as well as with the opening movements in some Concerti Grcssi and in suites (such as the English suites for the clavier or the orchestral suites of J. S. Bach). The slow introductions in Haydn's London symphonies are usually not thematically connected to the subsequent allegro. However, there are exceptions: for example, the opening theme from the Symphony in E-flat major No. 103 (“with tremolo timpani”) appears in its basic form in the coda of the first movement and in a different form in the development.
From the theme of the introduction to the symphony in D major Ns 101 (“The Hours”) grows the theme of the main part of the first movement. This name, like other names of Haydn’s symphonies (“Military”, “With the Impact of the Timpani”, “Bear”, etc.), were not given by the composer himself and are associated with some external sign music.

In the vast majority of Haydn's symphonies there is no such direct thematic connection between the slow introduction and allegro. The bright contrast between the slow introduction and the subsequent allegro compensates for the lack of contrast in the character of the main and secondary parts, which is common in Haydn’s “London” symphonies. Both of them are usually of a folk song and dance nature. There is only a tonal contrast: the main tonality of the main parts is contrasted with the dominant tonality of the side parts.
Even in cases where the main and secondary parts differ in thematic material, they are largely similar in the nature of the music and in their figurative structure.

There are frequent cases in Haydn's symphonies when the main and secondary parts are built on the same thematic material, while the final part is based on new material; an example is the first movement of the “Military” Symphony in G major No. 100.
The themes of the main and final parts are not contrasting in general character. Their dance nature is beyond doubt.

The main and secondary parts are built on the same thematic material in the symphony in D major (No. 104).
As you can see, the difference between the main and secondary parts is only tonal (the main part is in the main key, the secondary part is in the dominant key).
The following technique is characteristic of Haydn, producing a humorous effect: a group of string instruments led by the first violins plays the piano theme of the main part; but at the moment when the theme ends with the tonic of the main key, the whole orchestra tutti suddenly invades on a forte or fortissimo tonic triad, cheerfully collapsing with a mass of sounds and giving a sharp dynamic contrast to the theme that has just sounded.

Developments were significantly developed in Haydn's symphonies. What is new here is that the development is built through motivic isolation: a short, but most active segment is separated from the theme of the main or secondary part and undergoes independent development, continuously modulating into different tonalities, passing through different instruments and in different registers. This gives developments a dynamic and aspirational character.

In some cases, such developments take on dramatic overtones; witty combinations and unexpected shifts and tonal juxtapositions often create a humorous and sometimes dramatic effect, depending on the overall context. Finally, the dominant of the main key is reached and the reprise begins. But after a development in which the thematic material of the allegro is subjected to such intensive development, the reprise is not a simple repetition of the exposition, despite the formal return of the themes of the main and secondary parts and in the same sequence.
Unlike the exposition, both themes in the reprise sound in the main key, thereby decisively asserting the tonic.

The second (slow) movements have a different character: sometimes thoughtfully lyrical, concentrated, sometimes songlike, in some cases march-like. And they vary in form. Most often there is a complex three-part and variational form. For example, the second movement (Andante) from the symphony in E-flat major No. SW (“with tremolo timpani”), the main theme of which was borrowed by Haydn from a Croatian folk song, was written in the form of double variations.

Another theme, intonationally related to the first, but contrasting with it modally (the major of the same name), has a march-like character.

The second part of the symphony in G major No. 94 was written in variation form; The topic of this part is very popular and known to everyone since childhood, sounds in Simon's aria from Haydn's oratorio "The Seasons".

The second movement (Andante) of Symphony No. 104 in D major is written in a complex three-part form with a developing middle and a varied and extended reprise, which also contains elements of development.
The second movement of another D major symphony No. 100 (“The Clock”) is similar in terms of form. (This name is given to the symphony due to the uniform, monotonous movement (“ticking of the clock”) of the accompaniment in the second movement.) In both cases, the development process in the middle part of the three-part form introduces some drama.

The third movements of Haydn's London symphonies are always called "Menuetto" ("Minuet"). But in his minuets, Haydn went far from the prim, gallant court minuet. Many minuets of Haydn's symphonies acquired the character of village dances with their somewhat heavy gait, sweeping melody, unexpected accents and rhythmic shifts, often creating a humorous effect. The three-beat size of the traditional minuet is preserved, but the figurative and semantic content of the music becomes different: the minuet loses its aristocratic sophistication and turns into a democratic, rural, peasant dance. The form of the classical minuet (including Haydn’s) is always complex, three-suited, with an exact reprise (“da capo” form) and usually with a contrasting middle. Most often, the middle part of the minuet (trio) is distinguished by transparent instrumentation, soft and quiet dynamics (piano or pianissimo), some sophistication and “gallantry”, which creates a contrast to the extreme and main parts, in which forte dynamics dominate, denser instrumentation (orchestral tutti ), where sharp accents of sforzando give the music the character of a heavy folk dance.

In the finales of Haydn's symphonies, genre images that also go back to folk dance music usually attract attention. The fast finale brings a cheerful conclusion to the upbeat symphony. Some of the finales of Haydn's London symphonies are written in sonata form, such as Symphony No. 104 in D major, but the rondo sonata form is more common (Symphony in E flat major No. 103).
In the Symphony in D major (No. 104), the theme of the main part of the finale is a modified popular Croatian folk song; it is also related to the Czech folk song “Be with me, my dear.” This dance theme is contrasted with the lyrical theme of the side part.

Almost all the finales of Haydn’s “London” symphonies widely use the techniques of variation and polyphonic (imitation) development, further spurring the rapid movement of the music and dynamizing, making the entire fabric mobile.

The orchestra in Haydn's symphonies is of the usual pair composition: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, a pair of timpani, a string quintet; “heavy” brass (trombones, tubas) is completely absent. Trombones, as is known, will be used for the first time in symphonic music only in the finales of some Beethoven 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.) In the G major (“War”) symphony, the clarinet participates only in the second movement. Only in the scores of Haydn’s last two “London” symphonies (E-flat major and D major) there are 2 clarinets along with pairs of flutes, oboes and bassoons.
The leading role is played by the first violins, who are entrusted with presenting the main thematic material. But flutes and oboes also actively participate in its presentation and development, either doubling the violins or alternating with them in carrying out the theme or its passages. Cellos and double basses play the same bass line - the double basses are only an octave lower than the cellos. Therefore, in Haydn’s scores, their parts are written on the same line.
Horns and trumpets, as a rule, perform a very modest function, emphasizing harmony and rhythm here and there. Only in cases where all the instruments of the orchestra (tutti) play the forte theme in unison do the horns and trumpets participate on equal terms with the other instruments. But such cases are rare. Can be given as an example main party from Symphony No. 97 in C major, performed by the whole orchestra tutti.

Genres of symphonic music include concerts for various instruments with orchestra. Haydn wrote about fifty concertos for piano, violin, cello, and various wind instruments. Typically representing a three-part cycle (sonata allegro, slow movement, fast finale), Haydn's concertos combine the principles of solo and concerto-symphonic music, which is typical for this genre in general. The virtuoso and expressive properties of the solo instrument possible in that era were used to the maximum. In terms of orchestral sound (especially in moments of tutti, in orchestral expositions of the first movements, etc.), in scale and in methods of developing thematic material, Haydn’s concerts of his mature period are not inferior to symphonies.
The genres of symphony and recital existed before Haydn, but Haydn's work was one of the peaks of European symphonism at an early stage of its development.

The creator of the symphony genre is J. Haydn. A symphony is the highest form of instrumental music, providing the composer with wide scope for embodying the most grandiose themes. Key Feature symphonic music is that the ideological concept of the work - deep and significant - is revealed in a broad and diverse development, sometimes conflicting, contradictory, intensely dramatic. The conflict, energy and conceptuality of the first part of the symphony are balanced in general in two ways: either through the fundamental contrast of “easy - complex” (after the sonata allegro - the dance part of the minuet or 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). Haydn's 28 program symphonies.

Haydn created his symphonies from the late 50s to the mid-90s. Haydn's first symphonies date back to the period of formation of European classical symphonism, and they were an important link in the process of forming the stylistic foundations of mature symphonism Viennese school. Haydn's later symphonies were written when all of Mozart's symphonies already existed and the young Beethoven was developing the principles of his symphonic thinking in piano sonatas and chamber ensembles, approaching the creation of his first symphony. Haydn's late symphonies demonstrate mature classical symphonism.

The evolution of Haydn's symphonic work is of interest not only for studying the creative path of the great composer, but also for understanding the formation and development of classical symphonism of the 18th century in general. Haydn's early symphonies are still in no way essentially different from chamber music (which he wrote at the same time) and almost do not go beyond the usual entertainment and everyday genres of that era. Only in the 70s did works appear that expressed a deeper world of images (“Funeral Symphony”, “Farewell Symphony” and some others). Gradually, as the composer evolves creatively, his symphonies become saturated with deeper dramatic content. If many of Haydn's early symphonies differed little from the suite with its somewhat externally contrasting arrangement of parts, mainly of a dance nature, then gradually in symphonic works there is a process of overcoming suiteness. While maintaining connections with the suite, Haydn's mature symphonies at the same time become complete works, the four parts of which, different in nature, are different stages in the development of a single circle of images. All this was 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 are the 12 “London” symphonies.

"London" symphonies. With the exception of one (C minor), all of Haydn's London symphonies are written in major keys. Although major or minor scale in itself cannot be a criterion for determining the content piece of music, in this case, the major character 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 short slow introduction of a solemnly majestic, thoughtfully focused, lyrically pensive or calmly contemplative character (usually at a largo or adagio tempo). The slow introduction sharply contrasts 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 clear figurative contrast between the themes of the main and secondary parts. Both of them are usually of a folk song and dance nature. There is only a tonal contrast: the main tonality of the main parts is contrasted with the dominant tonality of the side parts. In those cases where the main and secondary parts differ in thematic material, they are largely similar in the nature of the music and in their imagery.

Developments that are built through motivic isolation received significant development in Haydn's symphonies. A short, but most active segment is separated from the theme of the main or secondary part and undergoes a rather long independent development (continuous modulations in different keys, carried out with different instruments and in different registers). This gives developments a dynamic and aspirational character.

Slow parts. The second (slow) movements have a different character: sometimes thoughtfully lyrical, concentrated, sometimes songlike, in some cases march-like. They also vary in shape. The most common are complex three-part and variation forms.

Minuets. The third movements 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 gait, sweeping melody, unexpected accents and rhythmic shifts, often creating a humorous effect. The three-beat size 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 finales of Haydn's symphonies, genre images that also go back to folk dance music usually attract attention. Cheerfully and naturally rushes into fast pace the music of the finale, completing the entire symphony, which is cheerful and essentially genre-dance in its figurative structure.

The form of finales is most often sonata or rondo sonata. In some finales of Haydn’s “London” symphonies, the techniques of variation and polyphonic (imitation) development are widely used, further emphasizing the rapid movement of the music and dynamizing the entire musical fabric.

The orchestra in Haydn's symphonies consists of the usual paired composition: 2 flutes, 2 bassoons, 2 horns, 2 trumpets, a pair of timpani, a string quintet. Trombones were used for the first time in symphonic music only in the finales 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 (“War”) 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 flutes and oboes also actively participate in its presentation and development, either doubling the violins or alternating with them in carrying out the theme or its passages. The cellos and double basses play the same bass line (the double basses are only an octave lower than the cellos). Therefore, in Haydn’s scores, their parts are written on the same line. Horns and trumpets generally have a very modest function, emphasizing harmony and rhythm in some places. In cases where all the instruments of the orchestra (tutti) play the forte theme in unison, the horns and trumpets participate on equal terms with the other instruments. Most often this is associated with fanfare themes. You can refer as an example to the main part (presented by the whole orchestra, from Symphony No. 97 in C major.

Haydn is the creator of the classical symphony genre. The symphony also went through a long development path 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 movements, where the composer likes to imitate something: this is how the “Military” symphony arose, where military fanfares are heard in the second movement, and this is how the “Clock” symphony arose, where the second movement begins with “ticking”... There are also the “Bear” symphony, the “Hunting” symphony and the “Chicken” symphony.

The first movement of Symphony No. 48, 1773, named after the Austrian Empress Maria Theresa, perfectly conveys the upbeat atmosphere of Haydn's music, its constant cheerfulness and wit. "Farewell" symphony (No. 45, 1772). Haydn got its name from the finale. 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 summer estate of Esterhazy to the warm Eisenstadt, and the departure was scheduled for the very next day after the premiere. The finale of the Farewell Symphony clearly demonstrates characteristic features 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, favored by nobles, but continued to work tirelessly as always. He accomplished everything he was called to do: the London symphonies radiate contentment and peace, joy and light. They express the philosophical optimism and constant desire for action so characteristic of the Age of Enlightenment.

Symphony No. 100, 1792, “Military”, I movement. The sonata allegro best reflects the contrasts and variability of existence, expresses the theatricality and effectiveness of the Enlightenment.

Symphony No. 103, Es major, begins with a timpani tremolo, which is how it gets its name. The symphony has a bright, cheerful character.

CREATIVITY OF B. Smetana.

The many-sided activities of B. Smetana were subordinated to a single goal - the creation of professional Czech music. Outstanding Composer, conductor, teacher, pianist, critic, musical and public figure, Smetana spoke at a time when the Czech people realized themselves as a nation with its own, distinctive culture, actively opposing the domination of Austria in the political and spiritual sphere.

Smetana writes a lot of piano music, especially in the genre of miniatures: polkas, bagatelles, impromptu.

Opera creativity Sour cream is extremely diverse in theme and genre. The first opera, “The Brandenburgers in the Czech Republic” (1863), tells about the struggle against the German conquerors in the 13th century; the events of distant antiquity here directly resonated with modern times. Following the historical-heroic opera, Smetana wrote the cheerful comedy “The Bartered Bride” (1866) - his most famous and extremely popular work. The inexhaustible humor, love of life, and song and dance nature of the music make it stand out even among the comic operas of the second half of the 19th century. The next opera is "Dalibor" (1868) - a heroic tragedy written on the plot old legend about a knight imprisoned in a tower for sympathy and patronage of the rebel people, and his beloved Milada, who dies trying to save Dalibor.

On Smetana's initiative, a nationwide fundraiser was held for the construction of the National Theater, which opened in 1881 with the premiere of his new opera "Libushe" (1872). This is an epic about the legendary founder of Prague Libuš, about the Czech people. The composer called it a “solemn picture.” And now in Czechoslovakia there is a tradition of performing this opera on national holidays, especially significant events. After Libushe, Smetana wrote mainly comic operas: Two Widows, The Kiss, The Secret.

Smetana became the creator of not only the national classical opera, but also the symphony. More than a symphony, he is attracted to the programmatic symphonic poem. Smetana's highest achievement in orchestral music was created in the 70s. the cycle of symphonic poems “My Homeland” is an epic about the Czech land, its people, and history. The poem “Vysehrad” (Vysehrad is the ancient part of Prague, “the capital city of the Czech princes and kings”) is a legend about the heroic past and former greatness of the homeland. The romantically colorful music in the poems “Vltava, From Czech Fields and Forests” paints pictures of nature, the free expanses of the native land, through which the sounds of songs and dances are heard. In "Sharq" ancient stories and legends come to life. "Tabor" and "Blanik" talk about Hussite heroes and glorify the "glory of the Czech land."

The theme of the homeland is also embodied in the chamber piano music: “Czech Dances” is a collection of pictures of folk life, containing the whole variety of dance genres of the Czech Republic (polka, skochna, furiant, soysedka, etc.).

The quartet "From My Life" (1876) is being created - a story about own destiny, inseparable from the fate of Czech art. Each part of the quartet has a programmatic explanation by the author. Youth full of hope, readiness “to fight in life,” memories of fun days, dancing and musical improvisations in salons, a poetic feeling of first love and, finally, “joy when looking at the path traveled in national art.” But everything is drowned out by a monotonous high-pitched sound - like an ominous warning. In addition to the works already mentioned last decade Smetana writes the opera "Devil's Wall" symphonic suite"Prague Carnival" begins work on the opera "Viola" (based on Shakespeare's comedy "Twelfth Night"), the completion of which was prevented by increasing illness.

Smetana’s creativity is distinguished by its strong national identity. The pinnacles of his composer's heritage are operatic and programmatic symphonic works. The founder of Czech opera, Smetana developed its genres - heroic-patriotic ("Brandenburgers in the Czech Republic", dedicated to the expulsion of the Germans in the 13th century; the music is permeated with song-march intonations), lyric-comic ( “The Bartered Bride”, the music uses the rhythms and intonations of Czech folk songs and dances), tragic (“Dalibor”), epic (“Libuše”, glorifies the wisdom and strength of the Czech people). The symphonic cycle “My Homeland” established the classical traditions of Czech symphonic music (continued and developed by A. Dvořák) - democracy, national identity, patriotism. In his work on the cycle, Smetana, relying on the traditions of romantic program symphonism (mainly F. Liszt), used historical material, folk legends and melodies. Many chamber instrumental works are tragic in nature, colored by personal experiences (the death of loved ones, one’s own illness and hearing loss). Folk song intonations permeate vocal works, rhythms folk dances- many piano pieces.

THE WORK OF F. LIST.

Liszt is considered a seminal figure in the history of music. As a composer and transcriptionist, he created more than 1,300 works. Leaf in its composer activity gave the palm to the solo piano. Probably the most popular work Liszt - Dreams of Love, and among the grandiose list of his other works for piano are 19 Hungarian Rhapsodies, a cycle of 12 Transcendental Etudes and three cycles of small pieces called Years of Wanderings. Liszt also wrote more than 60 songs and romances for voice and piano and several organ works, including a fantasy and a fugue on the theme BACH.

Most of the composer's piano heritage is transcriptions and paraphrases of music by other authors. Liszt's transcriptions include piano transcriptions of Beethoven's symphonies and fragments from works by Bach, Bellini, Berlioz, Wagner, Verdi, Glinka, Gounod, Meyerbeer, Mendelssohn, Mozart, Paganini, Rossini, Saint-Saëns, Chopin, Schubert, Schumann and others.

Liszt became the creator of the genre of one-movement semi-programmed symphonic form, which he called the symphonic poem. This genre was intended to express extra-musical ideas or retell works of literature and fine arts. The unity of the composition was achieved by introducing leitmotifs or leitthemes running through the entire poem. Among Liszt's orchestral works (or plays with an orchestra), the most interesting are the symphonic poems, especially the Preludes (1854), Orpheus (1854) and Ideals (1857).

For different compositions with the participation of soloists, choir and orchestra, Liszt composed several masses, psalms and the oratorio The Legend of Saint Elizabeth (1861). In addition, we can mention the Faust Symphony with choral finale (1857) and the Symphony to Divine Comedy Dante with a Female Chorus at the End (1867): Both works draw heavily on the principles of symphonic poems. Liszt's piano concertos are still performed today: A major (1839, editions 1849, 1853,1857, 1861) E-flat major (1849, editions 1853, 1856). Liszt's only opera, the one-act Don Sancho, was written by a 14-year-old composer and staged at the same time (it ran for five performances). The opera's score, long considered lost, was discovered in 1903.

The chromatisms used by Liszt not only enriched the romantic style of the last century, but also, more importantly, anticipated the crisis of traditional tonality in the 20th century. Liszt was a supporter of the idea of ​​a synthesis of all arts as the highest form of artistic expression.