Joseph Haydn: "Farewell Symphony". "Farewell" (N45) symphony by J. Haydn Farewell symphony by Haydn history

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.

Composer Joseph Haydn was a very funny man. His music was just as cheerful and cheerful.
Almost every symphony - and he wrote more than a hundred - 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.
It is difficult to believe that the composer, whom all of Europe knew, whose concerts were awaited in Paris and London as a holiday, this same composer every time had to ask “the master” for permission to leave the Esterhazy estate to organize his concerts.
The prince loved music, but not enough to refuse such a “profitable” servant.
Haydn's bandmaster contract stipulated his many responsibilities. Haydn was in charge of the Esterhazy home chapel - choir, soloists and orchestra. Haydn was responsible for all the problems, all the quarrels and deviations from the rules of conduct for servant-musicians. He was also responsible for the quality of music performance, as he was the conductor. He had to compose any music at the prince's request, without having any rights to his own compositions - they also belonged to the prince, like Haydn himself.
And he couldn’t even dress according to his desire and taste. The uniform of clothing - from stockings to wig - was established by the prince.
Haydn lived with Esterhazy for thirty years and remained a “serf servant” for all thirty years. This is how he called himself, and this is how Prince Nikolo Esterhazy considered him.
And yet the composer Haydn was a cheerful person!

One of his symphonies - "Farewell" - ends with music that can be called sad rather than cheerful. But it is this symphony that comes to mind when you want to talk about Haydn - a cheerful and kind person.
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? Doesn't he see? 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, weaker: the lonely violins still fade away...

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

Portrait of J. Haydn (Thomas Hardy, 1792)

Composer Joseph Haydn was a very cheerful person. His music was just as cheerful and cheerful.
Almost every symphony - and he wrote more than a hundred - has something unexpected, interesting, funny.
Either he will portray a clumsy bear in a symphony, or the clucking of a hen - these symphonies are later 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.
It is difficult to believe that the composer, whom all of Europe knew, whose concerts were awaited in Paris and London as a holiday, this same composer every time had to ask “the master” for permission to leave the Esterhazy estate to organize his concerts.
The prince loved music, but not enough to refuse such a “profitable” servant.
Haydn's bandmaster contract stipulated his many responsibilities. Haydn was in charge of the Esterhazy home chapel - choir, soloists and orchestra. Haydn was responsible for all the problems, all the quarrels and deviations from the rules of conduct for servant-musicians. He was also responsible for the quality of music performance, as he was the conductor. He had to compose any music at the prince’s request, without having any rights to his own compositions - they also belonged to the prince, like Haydn himself.
And he couldn’t even dress according to his desire and taste. The uniform of clothing - from stockings to wig - was established by the prince.
Haydn lived with Esterhazy for thirty years and remained a “serf servant” for all thirty years. This is how he called himself, and this is how Prince Nikolo Esterhazy considered him.
And yet the composer Haydn was a cheerful person!
One of his symphonies - "Farewell" - ends with music that can be called sad rather than cheerful. But it is this symphony that comes to mind when you want to talk about Haydn - a cheerful and kind person.
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? Doesn't he see? 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.

Engravings by N. Kuznetsov.

Haydn's Farewell Symphony

Summary of a music lesson in 2nd grade.

Subject: Joseph Haydn: "Farewell Symphony"

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

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

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

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

Either he will portray a clumsy bear in a symphony, or the clucking of a 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 person.

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? Doesn't he see? 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 instruments. In the string group, the double basses are turned off, then the cellos, violas and second violins. The symphony is completed by only the first 2 violins (one of which was played by Haydn himself at one time, since the first violinist was also the conductor of the orchestra), who, after completing the music, extinguish the candles 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.