Joseph Haydn Symphony No 45 F♯ minor Farewell Abschieds Ádám Fischer Haydn Philharmonie minor Abschieds (Farewell) Ádám Fischer conducts Österreichisch Ungarische Haydn Philharmonie in Eszterháza palace located in Fertod (Hungary) where the symphony was composed and premiered in 1772 Symphony No. 45 in F-sharp minor, known as the "Farewell" Symphony (in German: Abschieds-Symphonie), was composed by Joseph Haydn in 1772. 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. The first movement of Haydn's Symphony No. 85 includes a reference to this symphony. Movements The piece is written for two oboes, bassoon, two horns, and strings (violins divided into two, violas, cellos and double basses). 1. Allegro assai, 3/4 0:00 2. Adagio, 3/8 5:15 3. Menuet: Allegretto, 3/4 15:50 4. Finale: Presto, 2/2 - Adagio, 3/8 19:43 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." 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 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 and modulates from A major to F-sharp major, during which time the musicians take their leave. As the number of remaining instruments dwindles, the sound emanating from the orchestra gradually becomes audibly thinner. The ending is a kind of deliberate anticlimax and is usually performed as a very soft pianissimo. This final adagio 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 just before departing. 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). The first chair violinists remain to complete the work.

• published: 27 Feb 2014
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