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●★ Joseph Haydn : Symphony N.45 in f# minor
Hob.1-45『Farewell』★●
●
Allegro assai
●
Adagio
●
Minuetto Allegretto
●
Final;Presto-Adagio
Capella
Istana Orchtra
Barry
Wordsworth(Cond.)
■
Symphony No. 45 (Haydn) ■
● Symphony
No. 45 in F-sharp minor, known as the "Farewell" Symphony (in German:
Abschieds-Symphonie), was composed by Joseph Haydn and dated 1772
on the autograph score.[1]
● History
It was written for Haydn's patron,
Prince Nikolaus
Esterházy, while he, Haydn and the court orchestra were at the Prince's
summer palace in Eszterháza. The stay
there had been longer than expected, and most of the musicians had been forced
to leave their wives back at home in Eisenstadt, so in the last
movement of the symphony, Haydn subtly hinted to his patron that perhaps he
might like to allow the musicians to return home: during the final adagio each musician
stops playing, snuffs out the candle on his music stand, and leaves in turn, so
that at the end, there are just two muted violins left (played
by Haydn himself and the concertmaster, Alois
Luigi Tomasini). Esterházy seems to have understood the message: the court
returned to Eisenstadt the day following the performance.[2]
The first movement of Haydn's Symphony No. 85
includes a reference to this symphony.[3]
● Movements
The piece is written for two oboes, bassoon, two horns, and strings (violins divided into
two, violas, cellos and double
basses).
- Allegro
assai, 3/4
- Adagio, 3/8
- Menuet: Allegretto,
3/4
- Finale: Presto, 2/2
- Adagio,
3/8
The first movement of the work is a turbulent affair in F-sharp minor, an
extremely unusual key to use at the time of the work. It opens in a manner
typical of Haydn's Sturm und Drang
period, with descending minor arpeggios in the first violins
against syncopated notes in the
second violins and held chords in the winds. The movement can be explained
structurally in terms of sonata form, but it departs
from the standard model in a number of ways (just before the recapitulation, for
example, new material is introduced, which might have been used as the second
subject in the exposition in a more conventional work). Also, the exposition
moves to C-sharp minor, the
dominant minor, rather than the more usual relative major. Aside from these
departures from the norm, the first movement is "hardly able to be perceived as
revolutionary" and "is not at all that adventurous, containing a development
that ventures only to the levels of IV, ♭ II, and VI
in addition to the mediant and tonic."[4]
The second, slow, movement in A major and 3/8 time is also in
sonata form. It begins with a relaxed melody played by muted violins, featuring
a repeated "hiccuping" motif. The mood gradually becomes more somber and
meditative with an alternation between major and minor modes, resembling many
similar passages in the later work of Schubert. There follows a
series of dissonant suspensions carried across the bar line, which are extended
to extraordinary lengths by Haydn when the same material appears in the
recapitulation. James Webster [5]
hears this music as programmatic, expressing
the yearning for home.
The following minuet is in the key of F-sharp major; its main
peculiarity is that the final cadence of each section is made very weak (falling
on the third beat), creating a sense of incompleteness.
The last movement begins as a characteristic Haydn finale in fast tempo and
cut time, written in sonata form in the home key of F-sharp minor. The rhythmic
intensity is increased at one point through the use of unison bariolage in the first violin
part. The music eventually reaches the end of the recapitulation in a passage
that sounds very much as if it were the end of the symphony, but suddenly breaks
off in a dominant cadence.
What follows is a long coda-like section — in
essence a second slow movement — which is highly unusual in Classical symphonies
and was probably quite surprising to the Prince. This is written in 3/8 time, modulates from A
major to F-sharp major, and includes a bit of stage business that may not be
obvious to a listener hearing a recorded performance: Several of the musicians
are given little solos to play, after which they snuff out the candle on their
music stand and take their leave; other musicians leave without solos. The order
of departure is: first oboe and second horn (solos), bassoon (no solo), second
oboe and first horn (solos), double bass (solo), cello (no solo), orchestral
violins (solos; first chair players silent), viola (no solo). As the number of
remaining instruments dwindles, the sound emanating from the orchestra gradually
becomes audibly thinner. The first chair violinists remain to complete the work.
The ending is a kind of deliberate anticlimax and is usually performed as a very
soft pianissimo.
A typical performance of the Farewell Symphony lasts around twenty-five
minutes.
■ List of symphonies by
Joseph Haydn ■
There are 106 symphonies by the classical composer Joseph
Haydn. Of these, 104 have numbers associated with them which were originally
assigned by Eusebius
Mandyczewski in 1908 in the chronological order that was known at the
time.[1]
In the subsequent decades, numerous inaccuracies in the chronology (especially
in the lower numbers) were found, but the Mandyczewski numbers were so widely
used that when Anthony van Hoboken
compiled his catalogue of Haydn's
works, he incorporated the Mandyczewski number into Catalogue I (e.g., Symphony
No. 34 is listed as Hob. I/34).[1]
Also in that time period, two additional symphonies were discovered (which were
assigned non-Mandyczewskian letters "A" and "B") bringing the
total to 106.
● The symphonies
- Symphony No. 1 in
D major (composed by 1759)
- Symphony No. 2 in
C major (between 1757 and 1761)
- Symphony No. 3 in
G major (between 1760 and 1762)
- Symphony No. 4 in
D major (between 1757 and 1761)
- Symphony No. 5 in
A major (between 1760 and 1762)
- Symphony No. 6 in
D major, Le matin (1761)
- Symphony No. 7 in
C major, Le midi (1761)
- Symphony No. 8 in
G major, Le soir (1761)
- Symphony No. 9 in
C major (1762)
- Symphony No. 10
in D major (between 1757 and 1761)
- Symphony No. 11
in E-flat major (between1760 and 1762)
- Symphony No. 12
in E major (1763)
- Symphony No. 13
in D major (1763)
- Symphony No. 14
in A major (between1761 and 1763)
- Symphony No. 15
in D major (between1760 and 1763)
- Symphony No. 16
in B-flat major (between 1757 and 1761)
- Symphony No. 17
in F major (between 1757 and 1763)
- Symphony No. 18
in G major (between 1757 and 1764)
- Symphony No. 19
in D major (between 1757 and 1761)
- Symphony No. 20
in C major (by 1762)
- Symphony No. 21
in A major (1764)
- Symphony No. 22
in E-flat major, Philosopher (1764)
- Symphony No. 23
in G major (1764)
- Symphony No. 24
in D major (1764)
- Symphony No. 25
in C major (between 1761 and, most likely, in 1763)
- Symphony No. 26
in D minor, Lamentatione (1768, maybe 1769)
- Symphony No. 27
in G major (probably before 1760)
- Symphony No. 28
in A major (1765)
- Symphony No. 29
in E major (1765)
- Symphony No. 30
in C major, Alleluia (1765)
- Symphony No. 31
in D major, Hornsignal (1765)
- Symphony No. 32
in C major (between 1757 and 1763, probably 1760/1761)
- Symphony No. 33
in C major (1760/1761, or 1763-65)
- Symphony No. 34
in D minor (1765)
- Symphony No. 35
in B-flat major (1767)
- Symphony No. 36
in E-flat major (first half of 1760s)
- Symphony No. 37
in C major (by 1758)
- Symphony No. 38
in C major, Echo (between 1765 and 1769, perhaps 1768)
- Symphony No. 39
in G minor (1767/1768)
- Symphony No. 40
in F major (by 1763)
- Symphony No. 41
in C major (by 1769)
- Symphony No. 42
in D major (by 1771)
- Symphony No. 43
in E-flat major, Mercury (by 1771)
- Symphony No. 44
in E minor, Trauer (1772)
- Symphony No. 45
in F-sharp minor, Farewell (1772)
- Symphony No. 46
in B major (1772)
- Symphony No. 47
in G major, The Palindrome (1772)
- Symphony No. 48
in C major, Maria Theresia (1768/1769)
- Symphony No. 49
in F minor, La passione (1768)
- Symphony No. 50
in C major (1773 and 1774)
- Symphony No. 51
in B-flat major (1773/1774)
- Symphony No. 52
in C minor (1771/1772)
- Symphony No. 53
in D major, L'impériale (1778)/(1779)
- Symphony No. 54
in G major (1774)
- Symphony No. 55
in E-flat major, The Schoolmaster (by 1774)
- Symphony No. 56
in C major (by 1774)
- Symphony No. 57
in D major (1774)
- Symphony No. 58
in F major (1774)
- Symphony No. 59
in A major, Feuer (by 1769)
- Symphony No. 60
in C major, Il distratto (by 1775, probably 1774)
- Symphony No. 61
in D major (1776)
- Symphony No. 62
in D major (1780/1781)
- Symphony No. 63
in C major, La Roxelane (between 1779 and 1781)
- Symphony No. 64
in A major, Tempora mutantur (between 1773 and 1775)
- Symphony No. 65
in A major (by 1778)
- Symphony No. 66
in B-flat major (1775-1776?)
- Symphony No. 67
in F major (by 1779)
- Symphony No. 68
in B-flat major (by 1779)
- Symphony No. 69
in C major, Laudon (by 1779)
- Symphony No. 70
in D major (by 1779)
- Symphony No. 71
in B-flat major (by 1780)
- Symphony No. 72
in D major (between 1763 and 1765)
- Symphony No. 73
in D major, La chasse (1782)
- Symphony No. 74
in E-flat major (1780/1781)
- Symphony No. 75
in D major (between 1779 and 1781)
- Symphony No. 76
in E-flat major (1782)
- Symphony No. 77
in B-flat major (1782)
- Symphony No. 78
in C minor (1782)
- Symphony No. 79
in F major (1784)
- Symphony No. 80
in D minor (1784)
- Symphony No. 81
in G major (1784)
- The "Paris symphonies":
- Symphony No. 88
in G major (1787)
- Symphony No. 89
in F major (1787)
- Symphony No. 90
in C major (1788)
- Symphony No. 91
in E-flat major (1788)
- Symphony No. 92
in G major, Oxford (1789)
- The "London symphonies":
Hoboken also includes four other works in his "Symphony" category (Hob.
I):
- Hob. I/105 in B-flat major, better known as the Sinfonia
Concertante for violin, cello, oboe and bassoon (1792)
- Hob. I/106, for which only one part has survived (1769?)
- Hob. I/107 in B-flat major, often known not by a number but as Symphony A
(between 1757 and 1760)
- Hob. I/108 in B-flat major, often known not by a number but as Symphony B
(between 1757 and 1760)
Despite this, the number of "symphonies" by Haydn is usually given as
106.[2]
●
Complete recordings
Four conductors have recorded the complete symphonies of Joseph Haydn.
Christopher Hogwood
was to have recorded a complete cycle of Haydn symphonies with the Academy of Ancient
Music (AAM) for Decca's L'Oiseau Lyre imprint in a total of 15 volumes, each
containing 3 CDs. Between 1990 and 2000, a total of 10 of these volumes were
commercially released; these volumes contain Nos. 1–75, plus the two early
symphonies numbered 107 and 108, and are presented in a theoretical
chronological order rather than numerical order. (The program booklets contained
in each of these 10 volumes contain a concordance to the complete contents of
the 15 volumes.) Prior to the commencement of this project, Hogwood and the AAM
had recorded several of Haydn's later symphonies for L'Oiseau Lyre, which were
released on LP. These earlier recordings were never re-issued on CD, the
remaining five volumes of the series were never released, and the L'Oiseau Lyre
imprint was discontinued. Another attempt at a complete Haydn cycle on period
instruments begun around this time, by the Hanover Band led by Roy
Goodman for Nimbus, was also never completed.
● See
also
● Notes
- ^ a
b
Ethan Haimo, "Haydn's symphonic forms: essays in
compositional logic", Oxford University
Press, 1995, ISBN
0-19-816392-4, ISBN
978-0-19-816392-3.
- ^
Oxford Composer Companions: Haydn, ed. David
Wyn Jones, Oxford University
Press, 2002, p. 381. ISBN
0-19-866216-5
- ^
Haydn: Symphonies Nos. 1–5, Naxos. Review by Christopher
Howell, Music Web International[unreliable
source?]
- ^
http://entertainment.timesonline.co.uk/tol/arts_and_entertainment/music/cd_reviews/article6949003.ece
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