Joseph Haydn: from freelance musician to the “father” of the Viennese classical school. "Papa Haydn
In 1767, the Elector of Bavaria Maximilian III (1727-1777, Elector from 1745) asked Mozart (1756-1791) musical theme and, doubting talent young genius, wished that the boy would compose in his presence.Mozart took a pen and, without going near the instrument, quickly wrote a piece, which he immediately performed in the presence of the Court and His Majesty to everyone’s admiration.
Activities of a twelve year old
In 1768, Mozart composed a mass for the consecration of the Orphan Church in Vienna, and then conducted the orchestra in the presence of the entire Imperial family.“Miserere”
In 1770, Mozart came to Rome during Holy Week. On this day, the famous “Miserere”, which was composed by Gregorio Allegri (1582-1652) in 1630, was performed annually in the Sistine Chapel. The pontiffs treasured this work very much: the only copy of the score of this work was classified, and only the musicians who performed “Miserere” once a year had access to it. Copying the Miserere or parts of it was prohibited under penalty of excommunication.Mozart listened to the entire performance of the secret work in the cathedral and, coming home, wrote down the entire score of “Miserere” from memory. A few days later this work was performed again, and Mozart listened to it again to eliminate possible mistakes.
Soon Mozart performed “Miserere” in one house: he sang and accompanied himself on the harpsichord. Even the First Roman soprano, who performed her part in the Sistine Chapel, was forced to admit that Mozart did not make a single mistake in a single note.
So the score “Miserere” was published, and in 1771 famous traveler Charles Burney (1726-1814) published a copy of the "counterfeit" Mozart copy in England, but, unfortunately, the Mozart copy itself has not survived to this day.
Opera under contract
In 1769, the Director of the La Scala Theater in Milan signed a contract with Mozart, according to which young composer pledged to write an opera for the 1771 carnival.At the end of 1770, Mozart returned to Milan and on December 26 handed in the score of the opera “Mithridat” (“Mitridat, Re di Ponto”). The opera was enthusiastically received by listeners and was performed more than twenty times.
Delighted by the success of the opera, the director of the theater immediately concluded a new contract with Mozart, and soon received the score of the opera “Lucio Silla,” which was performed more than thirty times.
Mozart and Haydn
It is known that Mozart and Haydn treated each other with great respect and always spoke approvingly of the work of their musical colleague. One day, in Haydn’s presence, they began to discuss Mozart’s opera “Don Giovanni”, but Haydn himself remained silent. When forced to express his opinion, Haydn said:"All I can say is that Mozart is the best composer [of music] in the world today."Joseph Haydn (1732-1809).
Outstanding Quartet
It is known that on February 12, 1885, a quartet evening took place in Mozart’s house.The first violin was played by Karl Dieters von Dittersdorf (1739-1799), the second violin by Joseph Haydn, Mozart himself played the viola, and the cello was entrusted to Johann Baptist Wangal (1739-1813). This star cast performed several Mozart quartets, after which Haydn approached Mozart’s father and said soulfully:
“I tell you, as an honest man before God, that your son is the greatest composite artist I know personally and by name. He has taste, and moreover, the greatest knowledge in composition.”By the way, Mozart dedicated his collection of quartets to Haydn.
Don't blaspheme Haydn!
One of the talented court musicians did not like Haydn very much, and with the release of each new work of the latter, he ran to Mozart and, foaming at the mouth, proved that Haydn’s works were no good. Mozart usually listened to this musician, but did not answer him.One day Mozart could not stand another stream of ignorant slander and flared up:
“My sir! If you and I are melted together, then even half of Haydn will not come out of us!”
Tuner
In a small German town where Mozart was passing through, he called a local instrument tuner to adjust a few strings on his travel harpsichord. Having completed his work, the tuner remained standing near the composer, and Mozart asked:"What do you want, good old man?"The tuner bowed to Mozart and began:
"Do I dare call you..." -after which he listed all the addresses known to him, calling Mozart successively His Honor, Excellency and the highly venerable Mr. Kapellmeister of His Imperial Majesty.
Mozart burst out laughing and gave the old man several ducats.
Passing through Leipzig
When Mozart visited Leipzig, local musicians gave a concert in his honor. Mozart warmly praised both the orchestra and the singers, and then began asking local musicians about their income. As a result of the conversation, Mozart distributed to the poorest of them all the money he had with him.It should be noted that at that time Mozart was in rather cramped circumstances, and came to Germany, hoping to improve his financial situation.
The composer died during the French army's invasion of Vienna. One of his dying phrases
there was an attempt to calm the servants after a cannonball fell near his house:
“Fear not, my children, for where Haydn is there can be no harm.” Image: iClassicalCom, 2015
Joseph Haydn (1732–1809) did not have a professional music education or noble birth. The composer gradually became famous thanks to his talent, modest and cheerful disposition. Throughout his life, he worked his way up from an accompanist at weddings and funerals to a director and conductor of an entire opera house at the court of the Esterhazy princes. ABOUT creative path founder of the symphony and string quartet.
On Haydn's place in the history of music:
This “ordinary” - what distinguishes the homophonic-harmonic style from polyphony, the secular from the spiritual, the low from the high - this coincides in Europe with what is called nationality. This is what Haydn has in common with other Austrian composers - with Mozart and Schubert. Quite a lot has been written about folk music in Haydn’s work, and very different things. From stories about how Haydn was engaged in “field work”, i.e., collecting folklore. Before the theory that the people adapted Haydn's music and performed it as folk music.
Haydn used, in addition to German-Austrian, Hungarian, Gypsy, Scottish and French folk music. And even one Croatian musicologist believes that Haydn belonged to his people.Now, if we stop at the fact that he is serene and popular, adding to this description “folk humor” and this is his “niche” - then everything seems clear.
But the more I listened and read, the more contradictions I noticed. The joyful nature of Haydn’s music corresponds general mood in the art of that time. The Thirty Years' War is long over. In Vienna, the creation of that luxury and prosperity that we see to this day began.
On the other hand, it was in the middle of Haydn’s life that the “storm and stress” movement became extremely popular in literature and theater, which, in general, leads us to romanticism, to the theatricality of images, to the conflict of the individual and his environment.
On the one hand, he created the quartet genre - in the form in which it exists to this day, and created the composition of the symphony orchestra in the form in which it exists now.
On the other hand, many despise the orchestra and consider it boring, and the quartet was created by accident - on the estate where Haydn composed music to order, there were only two violins, a viola and a cello. They laughed at him because of the illogical composition.
And his life is also full of contradictions: he was very gifted musically, but he began to compose music only when he was approaching thirty; He spent his entire childhood and youth in severe poverty, but the second half of his life was excellently arranged materially, he was respected and famous.He was extremely unhappily married - but at the same time he loved and was mutually loved by beautiful women.
He spent many years “locked up,” but the cage was impossibly good, simply perfect.
He was lucky to twice read the message about his own death and magnificent funeral, and for one of the funerals a special mass was written by the composer Cherubini.
HUMORABLE writes:
Haydn was born in 1732 in the town of Rohrau on the border of Austria and Hungary, into a simple peasant family - a carriage-maker father and a cook mother. They didn't study music. True, my father played the harp, self-taught, various folk songs, just as our musical children play the guitar by ear. Songs in Austria and Germany have always occupied a special place.Originating from the Minnesingers and other singers, they, through urban and village genres, through church hymns blossom in Haydn, Mozart, Beethoven, Schuber, Schumann, Wolf, Mahler - to Weill/Brecht's zongs, cabaret... etc. Not without reason german word“song” - Lied - became the name of the genre. Actually, we find similar stories of the development of urban folklore in different countries Europe, but it was in Germany and Austria that this genre reached breathtaking heights in the 19th - early 20th centuries - when poetry sounded so expressive that it acquired deadly expressiveness. Here are some Lied examples: Haydn, Mozart, Schubert and Mahler:
HUMORABLE writes:
In 1750, I.S. died. Bach, Mozart was born in 1756, Handel died in 1759 - the last of the Mohicans - Haydn would hear his music only many years later.And in the same 1759, finally, after nine years of struggle, fortune smiled on him. Haydn is engaged as a court musician by a representative of a famous aristocratic family, Count Karl von Morzin.
In Vienna, as in other noble houses of Europe, it was customary to entertain guests with divertissements and concerts.
Haydn's music is full of such service, applied music, a background for small talk.
Haydn worked for Count Morzin for about a year - with a free apartment, a summer trip to the estate and a luxurious residence in Vienna - in the winter.
And although the contract stated that he was not supposed to marry, he married the daughter of the court hairdresser Keller.
All researchers and biographers agree that this marriage was extremely unsuccessful - Haydn married out of gratitude: the bride’s father helped him in difficult years. Another version is that Haydn made acquaintance with the Kellers because of his youngest daughter, and she went to a monastery.The marriage did not bring children, but Anna went down in history as a woman: she used notes on tires for kitchen pots, or twirled curler curls from them... She was four years older than her husband, grumpy and ignorant.
But this is not why Haydn stopped working for Mortsin - he was simply unable to maintain a luxurious lifestyle, including an orchestra with a composer...
And the next job turned out to be for Haydn - like a marriage - for life. "..allwo ich zu leben und zu sterben mir wünsche“ - “here I would like to live and die". Here - on the estate of Prince Esterhazy.
Almost all the luxury of Austrian art of the 19th century was created with the money of several noble families of Austria - Liechtenstein, Lobkowitz, Thun and others. Among them is Esterhazy.
This genus has been known since the 11th century. At first, their clan called itself the Salomon family. Salomon and Esther Ghazi made my left eyebrow rise and my heart beat faster. But it turns out that the name of King Solomon was given when the pagan clan was baptized - the name of one of the forefathers. The surname "Esterházy" appears in the 14th century, from the name of the locality, Eszterházy.
Diverting once again to a very distant topic, I will still say that the cities of Eisenstadt are where their family estate was located. from the 16th century until the Second World War. Prince Janos Esterhazy is a controversial figure and a separate issue. In some sources he is glorified as having saved the lives of Jews and as the only member of the parliament of the Slovak Republic who voted against deportation... In others he is called an accomplice of the fascists.
By the time Haydn arrived, the Esterhazy estate in Eisenstadt - between Vienna and Bratislava - was luxuriously furnished.
A beautiful palace and park - 60 km south of Vienna - but at that time it was a wilderness, quiet, a golden cage.
Before Haydn began his work, there were very few musicians; it was an ensemble, but not symphony orchestra.
This type of hostel where it probably wasn't so boring. There were often cases when musicians created families among themselves.And now orchestral musicians are leading nomadic image life. For example, my former classmate and fellow student lives and works in Brazil. There, on the basis of the Philharmonic, there are special rest rooms, because... The rehearsals are so intense that the orchestra members do not have the opportunity to spend the night at home. And another musician I know works very, very far from home, visiting his family once every few months.
The Esterhazys hired Haydn as vice-kapellmeister, since the old Kapellmeister, Werner, was still working.
The terms of the contract may seem humiliating to us, subordination - like in Downton Abbey.
In reality, the Esterhazys always met Haydn’s wishes, and the more he served them, the more respect, also measured materially, he received.For comparison, I’ll cite Berlioz’s story, which has torn my soul throughout my life.
“Two years ago, at a time when the state of my wife’s health left some hope for improvement and required the greatest expenses from me, one night I heard in a dream a symphony that I dreamed of writing. Waking up in the morning, I remembered almost entirely its first movement, which (this is the only thing I remember) was in two-beat time (allegro), in A minor. I already went to the table to write it down, but then I thought: if I write down this passage, I will get carried away and start composing further. An outpouring of feelings to indulge in
Now I always strive with all my soul to bring this symphony to grandiose proportions. I will spend, perhaps, three or four months on this work alone... I will no longer be able, or almost impossible, to write feuilletons, and, therefore, my income will decrease even more. Later, when the symphony is written, I, of course, will yield to the insistence of my copyist; I will give it to correspondence and thus immediately incur a debt of one thousand to one thousand two hundred francs. After all the parts have been rewritten, I will begin to be tormented by the temptation to hear my work. I will give a concert, the proceeds from which will just cover half of my expenses. This is now inevitable. I will lose what I have left, I will deprive my unfortunate patient of the most necessary things, I will have nothing left to cover my personal expenses and to pay my pension
to his son on the ship he is about to leave for.
All these thoughts made me tremble, and I put down my pen, saying:
- Bah! Tomorrow I will forget this symphony!The next night the stubborn symphony returned and sounded in my head again. I clearly heard the same allegro in A minor and - moreover- I saw it written. I woke up full of nervous excitement and sang the theme allegro, the form and character of which I liked extremely. I was about to get up, but... the same thoughts as the day before again held me back. I suppressed it in myself
temptation, hoping for only one thing - to forget. Finally I fell asleep again, and
the next morning, upon awakening, and in fact, the memory disappeared and never returned.”Haydn never had to look for income, adapt to other people's tastes, or skimp on rehearsals or composition. He had his own orchestra and later two opera houses at his disposal. We will return to the various delights of material prosperity.
I will only say that starting with 400 guilders per annum, at the end of his life he came to 2300.About Haydn's operas and friendship with Mozart:
Despite the fact that Haydn never visited Italy - he first saw the sea-ocean at the age of 58 - studying with Porpora introduced him to culture Italian opera- to melody, naturalness of vocals.
Towards lightness and fluidity of texture. Despite magical stories, the music still has that general lyrical or comic character - and this again leads to compliance with the perpendicular rule.If there were excessive visualization in music, then we would return to Hanswurst.
This opera was written long before The Magic Flute", but how similar are the duets comic heroes!
HUMORABLE writes:
In 1779, among other musicians, violinist Antonio and Polzelli and his wife, singer Luigia, were invited to Estoraz. The violinist turned out to be sick with tuberculosis, his wife, a 19-year-old singer, showed rather limited vocal capabilities. The couple should have been fired, but an affair occurred between 45-year-old Haydn and Luigia, and the couple was left, out of respect for Haydn. Especially for Luigia, Haydn wrote inserted arias in operas, such that they would fit her range and did not require a special vocal gift.Looking ahead, I will say that when Miklos died and his heir dispersed the whole party, Luigia returned to Italy, and Haydn continued to subsidize her and both of her children (there were rumors that the youngest was his son), helping them find employment. Haydn promised to marry Luigia in the event of his wife’s death, or, as he delicately put it: “ if two pairs of eyes close".
Haydn's second, well-known novel is in letters, like those of Sir Bernard Shaw and Miss Campbell, or Tchaikovsky and Baroness von Meck.
These letters are like current communication in social networks— brightened up Haydn’s isolation, which after many years was quite a burden.
True, Haydn more than once met with his friend, Marianne von Genzinger, the wife of the attending physician of the Esterhazy family, an intelligent aristocrat who studied music seriously - so much so that she was able to make arrangements of Haydn’s scores for the piano, and Haydn himself approved of them.
During his visits to Vienna, Haydn visited the Genzingers. One of the biographers writes that for Haydn this was an illustration of how his life could have developed under different circumstances: an intelligent lady who appreciated his work, who did not forget about his favorite dishes, musically gifted and smart children. Marianne died shortly after Haydn left for England.Here is one of the letters that the composer wrote to her upon returning to the Esztergsai estate after a visit to Vienna:
And in London, a third romance took place: sixty-year-old Haydn, with pianist Rebecca Schröter, twenty years younger than him. This case is the passion of a fan for her idol, for the celebrity of the season. Rebecca's notes to Haydn are full of heat and passion, replete with underscores and exclamation marks.
I am proud to emphasize: all of Haydn’s lovers were musicians!
And, of course, feelings for him included, to a large extent, admiration for his lover’s talent.By the end of the 80s, Haydn's fame had already reached the stage when he began to be counterfeited.
He increasingly began to sell his works to the outside, and even in England he paid a fee, since he sold the publishing rights to two publishing houses at once.As I already mentioned, after Miklos’s death, Esterhazy’s financial policy changed. Economy and thrift came into fashion - signs of the new, bourgeois century.
After the dissolution of the orchestra, Haydn was owed both a salary and a pension.
Haydn could have done nothing more from now on and lived comfortably...He settled in Vienna, wrote on commission for various royal courts, but eventually succumbed to the persuasion of the violinist and entrepreneur. Returning to Vienna, Haydn ended up with the new Esterhazy, Nikolaus II. Again he is asked to compose for the princely court, but his freedom of movement is not limited.
Haydn now lives in Vienna.
Among the works of this time are wonderful quartets, which someone compared in genre to poetry, in contrast to symphonic drama... The most curious fate is that of the quartet “Emperor”, the slow part of which became alternately the anthem of Austria-Hungary and Germany. Known to us, unfortunately, due to bad associations.
IN early works- this is simplicity due to the desire for “transparency”, which seems rather poor to us.
It reminds me of a movie where the plot develops in a single line - it can be a lyrical film, sweet in execution. But for a viewer who is accustomed to conceptual cinema, who knows that there is always an underlying message behind the external plan, it will be unusual for him.
And the first quartets, and the first sonatas.Then there is such a feeling of freedom - the composer is not bound by a concept or form. It is no coincidence that Haydn could not become Beethoven’s teacher, as he promised. He did not have a formal, systematic education in the field of composition techniques... He could only convey his emotions and vision of the world.
At sunset - it was rebirth, a walk into outer space!
Unfortunately, age did not allow the development of those trends that could have been realized.
But the life of an artist is always too short to realize his plans.
Page 5 of 21
Meeting with I. Haydn. Creative results.
The wider Beethoven's talent developed, the more conscious his artistic quest, the more obvious the futility became later life V
Bonnet. Beethoven the virtuoso had long had the right to be ranked with the greatest pianists in Europe, but as a composer he needed not only to deepen, but also to update his entire stock of knowledge, thoughts, and feelings. There is an increasingly urgent need for a change of environment, a craving for the living conditions of a big city with a constant influx of new people, meetings, and impressions.
The persistent desire to leave Bonn was helped by the chance visit to this city of Joseph Haydn. In 1792, on his way back from London to Vienna, Haydn stopped briefly in Bonn. At a celebration organized on this occasion by the musicians of the chapel, Beethoven was introduced to the venerable composer. Interested in the writings of Bonn
musician, Haydn promises him his help and recommends going to Vienna. Inspired by Haydn's words, and having secured letters to influential persons in Vienna, Beethoven soon said goodbye to his hometown forever.
For ten creative years(from 1782 to 1792), that is, by the age of twenty-two, Beethoven wrote about fifty works. Among them are small piano pieces and three piano sonatas, three piano quartets and several ensembles for different compositions, songs, two cantatas, a small ballet. At the same age Mozart was
already the author of several hundred works in all genres and was on the threshold of the highest creative flourishing. The maturation of Beethoven as a composer seemed to proceed slowly, outwardly, but in hidden processes, in an incessant internal work The strictest selection and severe evaluation of means took place, and there was an intense search for a method capable of embodying the significance of the problems raised by modern times. The new that reality brought penetrated the composer’s consciousness in many invisible ways and persistently demanded its expression. To break through the wall
established musical norms of the 18th century, it took a huge amount of work over many years.
The importance of the Bonn period cannot be underestimated in Beethoven's ideological and artistic development. Even then, the direction was outlined, the prospect for the movement of creative thought was outlined. Early plays Beethoven has dynamism, determination, energy; they reveal the features of that Beethovenian drama, which in the near future will “explode” the calmly balanced forms of music of the 18th century. During the Bonn period
Beethoven also discovered a special affinity for instrumental music. It was in its large forms - symphonies, sonatas, quartets, concerts - that the composer expressed himself most deeply and perfectly. During the Bonn period, the foundations of Beethoven's worldview, ethical and aesthetic principles, which guided him in his further personal and creative life.
In the autumn of 1792, Beethoven arrived in Vienna. The time of youth is over, it has come new stage- ascent to maturity, to colossal creative achievements.
PREDECESSORS
Viennese classics
Ludwig van Beethoven, as well as Joseph Haydn and Wolfgang Amadeus Mozart, are traditionally considered to be among the “ Viennese classics" IN in this case we're talking about not about the classical composers themselves, who actually lived in Vienna, but about the musical style that they represented. This style was determined in the second half of the 18th century and was called “Viennese” by researchers in contrast to other influential musical styles of the era - for example, “Mannheim”. The features of the classical Viennese style - balanced and dynamic form, energy, emotional uplift, the desire to express the subtlest shades of feelings - are also present in other schools. However, only in the Viennese musical style did they combine into such a unique and easily recognizable fusion.
It is easy to imagine the three great Viennese classics as generations of the same musical family. Mozart (1) (born 1756) could be the son and Beethoven (born 1770) the grandson of Joseph Haydn (2) , born in 1732. However, there was no continuity among the three "stars". Beethoven's acquaintance with Mozart in 1787 turned out to be fleeting. According to the legend told by musicologist Otto Jahn, Mozart, having heard the play of seventeen-year-old Beethoven (then still dreaming of a career as a pianist), exclaimed: “This young man will make everyone talk about himself!” Only a year after Mozart’s death, Beethoven came to Vienna for the second time - this time to study composition and “receive the spirit of Mozart from the hands of Haydn.”
Elderly and worldwide famous Joseph Haydn had already settled in Vienna by that time, having forever left the estate of Prince Esterhazy, where he spent 30 years, by his own definition, “in isolation from the world.” The composer had no right to perform his music, go on tour or publish his compositions without the permission of the prince. It is not even known whether they could have met 
Haydn and Mozart until the death of Prince Esterhazy and the end of Haydn's contract.
The relationship between Haydn and the young Beethoven did not work out from the very beginning: Beethoven reacted negatively to the teaching principles of the old master, and later transferred criticism to Haydn’s music. He judged many of Mozart's works just as harshly. Until the end of his life, Beethoven admiringly called Johann Georg Albrechtsberger his favorite teacher. (3) (1736-1809), a respected composer in Vienna, today known only to music historians.
Johann Schobert (1735-1767)
The music of this young German composer, who died in Paris under mysterious circumstances three years before Beethoven’s birth, was called “terrible” and “cursed” by his contemporaries, to better express their admiration. A Silesian by birth, a harpsichordist for Prince Conti by profession, a favorite of aristocratic salons, Johann Schobert was the first to bring a rebellious storm of passions and free improvisation within a given form to keyboard music. The freedom and expression of Schobert's style, his self-absorption, combined with sudden bursts of pain and rage, captivated his contemporaries. At one time, young Mozart was also influenced by the German-Parisian composer. Schobert made a discovery that would only be appreciated in Beethoven's era: he transferred the symphonic style to keyboard music. With him, the piano begins to take first place in the family of instruments - it already declares its desire to replace the entire orchestra. So in French salons shortly before the Great french revolution a new model was created chamber music, the continuation of which will be many of Beethoven’s works.
Antonio Salieri (1750-1825)
Erich Schenk wrote about him: “With his open and versatile mind, innate understanding of the beauty and joys of nature, Salieri represents that type of musician of the era early romanticism, which is familiar to us, in particular, from the figure of Beethoven.”
Salieri's presence enriched musical life Vienna with new perspectives opera house and dramatic singing, reflecting the ideas of pre-revolutionary enlightenment. The Viennese associated all these innovations with the figure of Christoph Willibald Gluck (1714-1786). The great Gluck, who worked in Paris for many years, said about Salieri: “Only this foreigner adopted my style, which no German wanted to learn.” Gluck's operatic style and Salieri's style were at first so similar that listeners often wondered who was who. This was especially true for the opera “Danaids”, godfather which was Gluck.
One of the most famous operas Salieri's Tarar, based on a libretto by Beaumarchais, was staged in Paris two years before the French Revolution. It was necessary to have considerable courage for this production: in “Tarara” revolutionary motives are clearly heard, you can even hear the intonations of “La Marseillaise”. "This great composer, the pride of the Gluck school, who mastered the style of the great maestro, wrote about his musical co-author Beaumarchais. “He had the courage to give up for my sake many of the musical beauties with which his opera shone... but for this sacrifice he will be rewarded with a courageous and energetic style and the swiftness and pride of the entire work.”
Some of Salieri's melodies are so inspired and whimsical that they are reminiscent of one of the world's best melodists - Gioachino Rossini. However, for Salieri’s fiery music, as later for Beethoven, what is important is not melodic beauty, but the energetic gait of the orchestra, the sound of the ensemble, and the dynamics of the development of form. Beethoven's teacher was attracted by strong passions, heroic conflicts, and large characters. It seems true that the story is that Salieri, having read the libretto of Mozart’s future opera “This is what all women do,” concluded: “This is an unworthy plot!” His student Ludwig van Beethoven went even further: he believed that these were the plots of almost all of Mozart’s operas.
Although the young composer studied with the famous opera maestro vocal music, manuscripts have been preserved instrumental works Beethoven, corrected by the hand of Salieri.
In 1806, the famous master, who had already created Heroic Symphony and “Appassionata” (and by no means inclined to self-deprecation), left a respectful note at Salieri’s house: “The student Beethoven was here.” Later, a quarrel arose between teacher and student: the Viennese Society of Musicians, led by Salieri, scheduled its concert on the same day as Beethoven’s. However, in 1813, during the performance of Beethoven’s battle symphony “Wellington’s Victory, or the Battle of Vittoria,” the court conductor Salieri led the rehearsals of one of the orchestral groups.
All Salieri's students - and among them were Franz Schubert, Franz Liszt, Franz Xaver Mozart Jr. - remembered their teacher with warmth and dedicated their compositions to him. Beethoven, for example, dedicated three sonatas for violin and piano op. 12.
One of Salieri’s students, Anselm Hüttenbrenner, in his memoirs of 1858, called his teacher “the greatest musical diplomat, the Talleyrand of music.” Indeed, Salieri managed to combine the incompatible in his work: the heat of passions and the coolness of the old classic shape. His student Beethoven went further: he perfected the form and then destroyed it.
Salieri died in 1825. His last years were overshadowed by slander and serious illness. The oblivion of Salieri's music in the 19th - first half of the 20th centuries. was associated with the tastes of the new musical era, which was discovered and consecrated by his student Ludwig van Beethoven. Antonio Salieri shared the fate of dozens of composers of his century, whose quiet music ceased to please the ear when the finale of the Ninth Symphony struck, followed by Ride of the Valkyries.
FOLLOWERS
Richard Wagner (1813-1883)
Answering the question why he does not write symphonies, Richard Wagner explained that this is a pointless activity. In his Ninth Symphony, he said, Beethoven had reached the limits of what can be expressed through instrumental music—that is, the limits of the symphony genre itself.
The Ninth Symphony, which Wagner encountered in 1839 in Paris, became for the young composer “a ray of light on the road to Damascus.” He noted that after the Beethoven symphony he developed a fever at night. And after recovering, he became a musician.
“The last symphony created by Beethoven is an act of redemption of music,” wrote Wagner in the article “Artwork of the Future,” “it, without abandoning its inherent element, turns into universal art. This music is the human gospel of the art of the future. After it, no progressive development is possible, because immediately after it only the completed artistic creation of the future can appear - the universal drama, and Beethoven forged the keys to it for us.”
Johannes Brahms (1833-1897)
As a young man, Johannes Brahms was shocked to hear Beethoven's Ninth Symphony in Cologne. This work changed his views on music in the same way that a decade earlier it had changed inner world Brahms's musical opponent, Richard Wagner.
The feeling of catastrophe, diffused in the first movement of the Ninth Symphony, gave impetus to musical insight: in its dark radiance the famous opening theme Brahms's First Concerto in D minor. This work, in its scale and power, leaves behind everything created in instrumental music after Beethoven and Schubert, and occupies key place in creativity and spiritual development composer.
Critics reproached Brahms for the fact that his music is “abstract” and therefore represents the complete opposite of Beethoven’s. However, the German conductor Hans von Bülow (1830-1894), who performed Brahms' works many times, did not agree with this opinion. He called Brahms's First Symphony "Beethoven's Tenth Symphony."
The path “through thorns to the stars” laid out in Beethoven’s symphonies continues in Brahms’s First Symphony (1876). Contemporaries unanimously noted the similarity of the theme of its finale with the melody of the hymn ode “To Joy” of the Ninth Symphony. However, as a modern researcher writes, the skeptic Brahms “the jubilant note on which the finale ends is the result of self-deception. In the finale, the will to joy is more palpable than joy itself.”
Anton Bruckner (1824-1896)
Music Austrian composer Anton Bruckner - one of the most performed representatives of symphony today late XIX century - experienced a double influence: Beethoven and Wagner. In terms of their solemn tone and monumental forms, Bruckner's symphonies were sometimes compared to Gothic cathedrals. This image is often applied to Beethoven.
Beethoven's last symphony determined the plastic forms in which Bruckner's musical thoughts were clothed. Heartfelt Adagio Beethoven's ninth symphony became a model for the slow movements of Bruckner's symphonies: they are also characterized by a combination of melodic melodiousness of two themes and all the signs of the old Viennese forms - rondo, sonata and variations. But the construction of the first movements and their special, incomparable introductions are especially reminiscent of Beethoven’s Ninth Symphony. It was Beethoven who revealed to his listeners the mysterious feeling that music is gradually penetrating our world, emerging before our eyes from vague hints and intonations. Bruckner always uses it, and this technique invariably captivates listeners.
MOZART VS. HAYDN
Comparative analysis from A. Einstein’s book “Mozart: personality, creativity” (P. - 137 - 139).
“They were very different. Mozart was a hothouse plant. And the greatest miracle performed by Mozart the child prodigy is that he managed to become a great and harmonious creator. Haydn was never a miracle child, and greatest miracle, which of him is a murdered choir boy in the Cathedral of St. Stefan, from Niccolo Porpora's footman, from a modest, poor Viennese composer who composed music “for the occasion”, did not come out street musician or, at best, the choral director of one of the many Viennese churches, and the great Haydn.
While in France, England, and Italy, Mozart gained countless musical impressions. Haydn from Vienna first ended up in the rural wilderness of Lower Austria, and then ended up from a Bohemian hole in a Hungarian one, from where he only occasionally made his way to the capital. Visits to Vienna became a real event for him. Haydn derives everything only from his own imagination. He becomes “original” long before “original geniuses” appeared in the literature of his time.
Even Mozart, the greatest master of style, or rather of all, could not always “cope” with Haydn’s originality musical styles. Originality is freedom from style. For Haydn, it lies not in the fact that he introduces raw material into his works, which we call folklore, but in the fact that he creates with purely folk spontaneity.
Haydn is a revolutionary. His earliest quartets (op. 1, 2, 3) indicate that he perfectly mastered the magic and sweetness of Italian melodic music, but later he was no longer attracted to gallant art. Since the time of Pergolesi, the spirit of buffoonery has penetrated into Italian instrumental music- chamber and symphonic, but Haydn rejects this still gallant playfulness, replacing it with his own wit - strong, healthy, cheerful and at the same time spiritual. There is no affectation in Haydn's minuet; it sounds strong and simple like a peasant. The music here clearly breaks out of stylistic boundaries, and sometimes with great noise. This is precisely what caused the indignation of many contemporaries, especially Berliners, who insisted that Haydn was a buffoon, that he was “degrading art.” Haydn was angry about this, but did not in the least prevent him from continuing to follow his own path.
Mozart never condemned Haydn. He himself was too much of a Southerner not to sympathize with Haydn's magnificent insouciance in matters of style and fashionable taste. But he took from Haydn only what corresponded to his own musical nature. Mozart is not a revolutionary, he is a completer. Later, in a special chapter, we will show how differently both composers interpret at least the concept of tonality. In Mozart, the circle of “possible” tonalities is much narrower than in Haydn, but these few tonalities are richer, more fruitful, and their boundaries are much wider. Thus, in the field of harmony, Mozart shows greater courage and subtlety than Haydn. He controls all seven colors of the rainbow, but he does not have the shimmering palette of Mozart.
Haydn is a lover of nature. He is excited by movement in the free air, he loves to listen to peasants at village feasts. His “Creation of the World” and “Seasons” are full of impressions and observations that only fall to the lot of villager. Mozart could never have created such works. As we already said, he is a “room man”, and music, he only draws inspiration from music. This is “filtered” art, an art of inspired sensuality and imbued with a sense of spirituality. Through contact with Haydn it only becomes even more Mozartian.
That is why Mozart remained misunderstood by his contemporaries, while Haydn, also unrecognized for a long time, nevertheless lived to see his triumph and popularity. There is documentary evidence of this. We find them in the so-called “Old Lexicon” of Ernst Ludwig Gerber, an educated and benevolent man, “Kamermusikus” and court organist at the Schwarzburg-Sonderhaus.
Gerber praises Haydn the symphonist in enthusiastic terms: “Everything says when he sets his orchestra in motion. Every voice, even an insignificant one, which in the works of other composers only fills a chord, often becomes independent in his work, leading the main part. At his disposal are the most intricate harmonies, even those that arose in the Gothic era of gray-haired contrapuntalists. But their stiffness gives way to grace as soon as Haydn adapts them to our ears. He masters the great art of appearing familiar. This is typical for most of his compositions. Therefore, despite all the contrapuntal tricks that are found in them, Haydn is popular and dear to every lover.”
But Mozart, unfortunately, is not “popular”. He did not win the palm even as a clavier player and creator of clavier works. Gerber considers his fellow countryman, Johann Wilhelm Hesler, to be the successor to the greatest clavier player of the era. Hesler is an attractive talent, but it is just as impossible to compare him with Mozart as Czerny with Beethoven” - (From the book by A. Einstein “Mozart: Personality, Creativity”
