Symphonies No. 42. 45. Farewell/Abschied 46.

Abstract

The first movement "is marked by the lively acciaccature that appear in the first bar." Generally in this period the winds were tacent for the slow movement, and here they are silent at first, but they come in later. The last movement has been described as a "novel use of the rondo form," and H. C. Robbins Landon even goes so far as to call it a "characteristic Haydnesque rondo" and perhaps the first such rondo, though others point out that it is not the sonata rondo that has come to be associated with Haydn. 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. A typical performance of the Farewell Symphony lasts around twenty-five minutes. The first movement starts with a four-note motif in unison, reminiscent of the Symphony No. 44 (Trauer), but quasi-inverted. It is developed in various keys, with frequent modulations into the minor and to other remote keys. The second movement is in B minor. It is a rhapsodic pastorale, rocking along over a running figure in the bass, with a syncopated figure in the muted violins maintaining the tension. The minuet is more assertive in tone, but its confidence is undermined by a plaintive, almost solemn, trio, again in B minor. Many of Haydn’s symphonies contain more startling surprises than the one which has made his "Surprise" Symphony famous. The surprise here comes in the final movement. The opening is a typical energetic theme in the violins which is rapidly taken up and developed, with the horns prominent in their high register. The music rushes on only to break off suddenly, interrupted by the closing passage of the minuet, followed by the repeat of the whole of the second half of the minuet. The horns then burst in again with the main finale theme, but fade away and the music stutters almost to a halt. Then, on an underlying pedal on the horns, the strings take the movement and symphony to a rapid and abrupt close. Since all of the movements have the same tonic, the work is homotonal.