Sinfonia Rotterdam Conductor Conrad van Alphen Franz Joseph Haydn - Symphony no. 45 "Farewell Symphony" Live recording on 9 February 2018 in the Nieuwe Kerk in The Hague
Wonderful performance. If anyone doesn't know the story about this symphony, here it is. Prince Esterhazy had many residents, one of which was a hunting lodge, where he entertained his friends. On this visit he stayed longer than normal, and the musicians weren't happy. They loved working for their boss, but were missing their loved ones, and approached Haydn to ask the Prince can they go home. Haydn duly did, but got a polite no. Haydn then basically returned to his musicians to tell them the bad news, but, he added l've got an idea, trust me. Days later this piece of manuscript appeared, with a polite obey notice from Haydn. When in the programme this was performed isn't recorded, but its effect is. The Prince was put at ease as the first movement was performed, as his guests were enjoying his wonderful orchestra. The second movement was slightly sad, but enjoyable, but he sensed something was coming. The start of the fourth movement was a reassurance. So when the adagio started that did get his attention. The Prince wouldn't have been unduly worried if a musician or two left a performance. As more left though the Prince did start to get worried. After more musicians left then Haydn himself left. He then remembering his conversation with Haydn. Smiled, as to say l've got the message, then agreed to leave the next day, probably as long as the musicians returned to entertain his guests, to which they agreed. Remember that musicians when they put their candles out were basically calling it a night. So the message was loud and clear, and peaceful. Also, remember that Haydn himself was a bit of joker sometimes, so this type of thing any guest of the Prince would have chuckled at. This is if not the first, the first piece of musical protest about conditions in history. But also very entertaining at the same time. I have performed the last movement of this piece myself back in the day. In Cyprus in 1985 l was in the last 3 performers. In Brighton a few years later the last 2. It was great fun. The useless information you pick up as an assistant music librarian is amazing really. One hopes that this has been helpful. Once again. Fantastic performance, especially the conductor doing his Prince Esterhazy impression as the musicians leave. Most excellent. . Enjoyed this a lot as it brings back wonderful memories for me. Bravo everyone..
Too bad it probably isn't true. Haydn actually had the symphony composed and ready long before Esterhazy decided to stay stay longer. Unfortunately It's unclear what the true story behind that is. There are several theories out there like f.e. the other musicians were pissing him off so he decided to make some low key threat with the last movement like you're all expendable, I am not. Or it was some kind of critique against his boss Esterhazy or he just wanted to expand the possibilities of composing or whatever. The only thing of certainty is that this made quite the impact. People felt that intensily, they left the theatre shocked and sad. That's why there are so many theories. Because there HAS to be a reason for this, right? Well does it really? Anyway that's an awesome thing about classical music. There are always several interpretations possible
Hello There! The only thing worth adding is that Haydn did sometimes respond to particular circumstances whilst composing symphonies. The oboe solos in the Trio of the Minuet, and in the Finale of Symphony 38 (1768) for example, were almost certainly written in response to the engagement of the celebrated Italian oboe virtuoso Vittorino Colombazzo in 1768 whilst he was actually writing the symphony - Haydn was half way through the symphony then Colombazzo arrived as is clear from the music. Similarly, it is likely that the idea of the departing musicians in the final movement was a direct response to the problems arising from the Prince’s overstay at Eszterhaza, but it must be made clear that the finale is in no way an add-on, but a key part of the only musical resolution in the entire symphony. Worth noting too that autumn was always a busy symphony writing time for Haydn so your point about the symphony being ready ‘...long before’ is debatable, and the final adagio is the apotheosis and resolution to the symphony as a whole - the symphony is meaningless without it. The traditional story has in fact, probably has more going for it than some other Haydn stories.
@@elaineblackhurst1509. Well said. The story about 'Haydn's missing head' is even more intriguing. Should check it out. If you can get it, go to classic FM, and check out the podcast. It's worth the listen, honest.
So when I was in orchestra in high school, we played the last movement as our last senior piece. I was 2nd violin, 1st chair and I will never forget this. Still makes me tear up. Because it was me and one my of my friends finishing the piece, and it was amazing, finishing our senior year in orchestra. I need to start playing again.
A useful remedy to those throughout this thread who seem to find mistakenly something funny, humorous, and the like in the ending of this symphony. Mendelssohn in a letter to his sister Fanny described the ‘Farewell’ symphony as ‘…a curiously melancholy little piece’ after he had conducted it at one of his famous Gewandhaus concerts in Leipzig in 1838. Additionally, this sturm und drang symphony is intellectually and emotionally very challenging, indeed probably too difficult for high school students; vickiliee has done very well to feel about it as she does, and to understand it so well. Is it perhaps the most misunderstood symphony in the whole symphonic repertoire ?
@@theuzumakikay8647 This is a powerful, profound, and moving symphony, one of the greatest symphonies of the eighteenth century. The final few bars are melancholy and poignant. There is no joke - you are not supposed to laugh; it is just possible that you have completely mis-understood this powerful, intellectual, and deeply-felt symphony.
@@theuzumakikay8647 The pantomime of the exiting musicians in the ‘Farewell’ symphony (1772) disguises, and distracts us from what is in fact the apotheosis into F# major (during the second part of the Adagio section of the finale) of the greatest work of through-composition and cyclic integration of *any* work prior to Beethoven resolving his c minor Symphony 5 into C major thirty-six years later in 1808. How you perceive the music is none of my business: personally, I find the final Adagio section of the finale very poignant and moving - the resolution of a complex, and carefully planned journey from f# minor, via A major, to F# major - through 3rd-related keys - is both highly intellectual and musically satisfying. Also, given the well-known circumstances of the musicians wishes to return to Vienna, I think the players quitting the stage one-by-one was anything but amusing - every one of them risked summary dismissal. I think the players in 1772 would have been extremely nervous as to how Prince Nicholas would have reacted to the music - he even had his own executioner. None of the above suggests humour, jokes, or amusement - all much over-hyped facets of Haydn’s musical personality; hope you find these thoughts useful.
It was tradition for Seniors to play this piece in middle school. We all had special lights on our stands so we could turn them off one by one as the piece played. And by the end, the auditorium would be pitch black with the first and second violin until they turned off their lights and it was the end. Still a very good memory.
Haydn directed performances of his symphonies at Eszterhaza from the violin; the orchestra’s Ist violin leader Luigi Tomasini, along with Haydn himself were the last two players left on stage as they played the final few bars together and brought the symphony to a close. PS. For the avoidance of doubt, there was no harpsichord continuo used during symphony performances at Eszterhaza, so there was just these two violins - solo - left at the end.
The backstory whilst fascinating, is actually a massive distraction from what’s going on musically as Haydn reaches a musical apotheosis, in F# major, pianissimo, as we reach the only true resolution of the music in the entire work; Haydn’s ‘Farewell’ symphony (1772) is the single greatest work of through-composition and cyclic integration before Beethoven’s 5th (1808).
Thanks to all the classical musicians and the entire support system for the toil and hard work. It is easy for us to save and play a recorded version today. In the yesteryears composers could be copied but the sound could not be recorded and reproduced. Today both can be copied reproduced quickly. You are courageous and passionate to take to classical music in such times. A salute to you all. So many take you for granted. Especially, many mock opera and classical music online. This is unfortunate but those that are refined enough to understand the depth of classical music...their hearts are touched for ever. I started listening to classical music just 2 months back. My life has changed for the better. Above all it gives me hope. Hope that there are still things that are uncorrupted in this world. And people who are ready to brave the odds to maintain that purity. I am not good at writing, but all I can say is that words fall short to express my gratitude. Above all thanks to late Papa Haydn for enriching our lives!
Papa Haydn enriched our lives by giving us two musical sons - Joseph (to whom you refer here), and his younger brother Michael who worked for many years in Salzburg and knew Mozart well, as did Joseph later after his move to Vienna in 1781.
Fue escrita para el patrón de Haydn, el príncipe Nikolaus Esterházy, durante una estancia en la que Haydn y la corte de músicos permanecieron en el palacio de verano, en Eszterháza. La estancia fue más larga de lo esperado y los músicos en su mayoría fueron obligados a dejar a sus mujeres en casa, en Eisenstadt, por lo que en el último movimiento de la sinfonía, Haydn instó sutilmente a su patrón a dejarles volver a casa. Durante el adagio final cada músico deja de tocar, apaga la vela de su atril y se va en orden, dejando al final solo dos violines
Creo que añaden un toque de gracia el hecho de que los dos violines que quedaron fueron Haydn mismo y su ayudante; y el hecho de que el príncipe entendió la indirecta y emprendió el regreso el día siguiente.
I remember seeing this performed 30 years ago with Symphony Nova Scotia. When one of the wind players left the stage he knocked over a row of music stands. Oops!
Magnifica interpretación por esta prestigiosa orquesta neerlandesa dirigida por Conrad van Alphen de la Sinfonía Nº 45 de Joseph Haydn conocida como la "Sinfonía de Los Adioses" . Este compositor junto a W.A Mozart y Ludwig van Beethoven son sin duda los más importantes del Clasicismo. MUCHAS GRACIAS. Saludos desde España.
В Ульяновске была традиция,31 декабря был новогодний концерт."новый год при свечах". Там звучала 45 симфония Гайдна. Передать впечатление просто невозможно! Выходил из зала и думал-скорей бы Новый год!......
This is a unique symphony in classical music, because in the final movement all the musicians get up one-by-one and leave until there’s only two remaining!
Haydn’s f# minor Symphony 45 (‘Farewell’) written in 1772 is unique in a musical sense because it is the single greatest work of through-composition and cyclic integration prior to Beethoven’s 5th written 36 years later (1808). The pantomime of the exiting musicians is a massive distraction from one of the greatest symphonies of the 18th century, one of Haydn’s greatest symphonies, and one of the greatest symphonies of any age.
Je ne connais pas presque Haydn, mais chaque occasion j'ai pour lui écouter plus me plaît. Il est, je pense.un des meilleurs créateurs des symphoniques ouvrages de toujours. Manuel.
There is something very comic about the end where the two wonderful violinists take their bows together, obviously best friends and rather contrasting heights!
It is absolutely *not* comic - you are not supposed to laugh. It is a beautiful and very poignant ending to one of the greatest symphonies of the eighteenth century.
@@elaineblackhurst1509 honestly, though, it's kind of hard not to find the comedy when you know the backstory of how it was essentially Haydn telling his client "Let my musicians go home".
@@awzthemusicalreviews I get your point, but the Farewell pantomime at the end represents a major distraction from the greatness of this symphony as a whole, about which, if interested, you should check out James Webster’s 400 page forensic study of the work: *Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style’ (1991).* Regarding the comic aspect, you do know that if Prince Nicholas had taken offence, he did in fact have his own executioner - it was no laughing matter for the musicians!
Horst du?! Du musst nicht lachen!! Achtung! Du musst ein 400-seiten Buch lesen, Respekt zu lernen! Someone needs a happy pill. The height difference was funny and their embrace was cute. Thwy were obviously having a bit of fun, which is strictly verboten mit dieser hochklassischer Musik! Papa Haydn is rolling his eyes.
@@ejb7969 My happy pills don’t seem to be working; all I hear in this symphony is the greatest single work of through-composition and cyclic integration before Beethoven’s 5th. Humour is ok in classical music - in the *right* places. Haydn’s father made cart wheels, not sure why he is relevant.
Thank you to the helpful person (Mr. McQueen) who shared the story of this symphony. I had never heard the before (embarrassingly enough--although I will say I wondered why it was called the "Farewell" Symphony). This was a wonderful performance and a very wonderful historical background you're provided. I've listened to this symphony in the past but never watched it or attended a live concert, so this was all news to me.
I seem to recall this action in a piece in which I heard while in band in high school, but I totally forgot it until now. Being a French Horn player, I was mystified as to why he left. Then, as more parts left, I got the idea. Beautiful and clever piece by Hayden!
La ocasión en que tuve la oportunidad de escucharla en el teatro fue algo desconcertante e increíble a la vez. Ver como los músicos se retiraban fue algo que me impactó, no era la primera vez que asistía a un concierto de música clásica, por lo cual, me resultó sumamente extraño, después de conocer el nombre de la pieza me quedé más sorprendido y saliendo del teatro continúe pensando sobre ella, a quien iba conmigo le comenté si tal pieza podría ser considerada un performance, no recuerdo que me contestó, quizá se burló, pero cada que escucho y la veo nuevamente me convenzo más de estar viendo un performance.
Quizá fue el primer performance de la historia. Yo concuerdo contigo. De alguna manera lo fue, pues Haydn quiso expresar una idea con esa acción extra musical y la idea fue entendida por aquel a quien iba dirigida. Sabemos que la música funciona por sí misma, sepamos o no el contexto extra musical y esta sinfonía funciona por sus propios méritos musicales, pero la acción en sí, de ir retirándose del escenario, yo también la veo como una especie de performance, siglos antes de que existieran de manera formal. Saludos.
Есть несколько версий истории написания этой симфонии. Все они красивы и трогательны. Но вне зависимости от их количества великий венский классик был не только талантливым композитором, но и невероятно добрым и чутким человеком, что и отразилось в его прекрасной музыке.
I think it's remarkable how beautiful the final movement sounds even as musicians leave, and sounds the most tender with just the final violin and viola at the very end
This is a beautiful beautiful piece. Is this the one where they walked off one by one cause prince estahazy or whoever wouldn’t let them have vacation or something lol. Just finishing a book on Haydn. I didn’t know he was good good friends with Mozart !!
@@nfnairobi Don’t worry about it: Haydn was born in 1732, Schnittke 202 years later in 1934. Haydn could therefore not be giving ‘...the nod to Schnittke’, especially as his head was not re-united with the rest of the skeleton until 1954, having been stolen the night after his funeral on 1 June 1809. (Schnittke did do a departing musicians piece, a-la-Haydn, in his Symphony 1).
Never get Grammarly ever! The add came in at the worst possible moment just when the slow, expressive passage of the first movement was about to connect to the fast and powerful minor theme! Other than that, I thoroughly enjoyed this performance!
