We listen, read, remember the work of J. Haydn - a cheerful composer...)

Farewell Symphony

Galina Levashova

Composer Joseph Haydn was a very cheerful person. His music was just as cheerful and cheerful.
Almost every symphony - and he wrote more than a hundred - has something unexpected, interesting, funny.
Either he will portray a clumsy bear in a symphony, or the clucking of a chicken - these symphonies are then called: “Bear”, “Chicken”, or he will buy various children’s toys - whistles, rattles, horns and include them in the score of his “Children’s” symphony. One of his symphonies is called “The Hours”, another - “Surprise” because there, in the middle of slow, quiet and calm music, a very loud blow is suddenly heard, and then again slowly, as if nothing had happened, the calm, even what -important music.
All these inventions, all these “surprises” were explained not only by the cheerful character of the composer. There were other, much more important reasons. Haydn began writing music when works in the form of a symphony were just beginning to appear. That's why this one is wonderful German composer he invented so much when he wrote his music - he tried, searched, created a new type of musical work.
It is now almost impossible for us to imagine that the “father of the symphony,” “the great Haydn,” as he was called during his lifetime, was just the court conductor of the Austro-Hungarian prince Nicolò Esterhazy.
It is difficult to believe that the composer, whom all of Europe knew, whose concerts were awaited in Paris and London as a holiday, this same composer every time had to ask “the master” for permission to leave the Esterhazy estate to organize his concerts.
The prince loved music, but not enough to refuse such a “profitable” servant.
Haydn's bandmaster contract stipulated his many responsibilities. Haydn was in charge of the Esterhazy home chapel - choir, soloists and orchestra. Haydn was responsible for all the problems, all the quarrels and deviations from the rules of conduct for servant-musicians. He was also responsible for the quality of music performance, as he was the conductor. He had to compose any music at the prince's request, without having any rights to his own compositions - they also belonged to the prince, like Haydn himself.
And he couldn’t even dress according to his own desire and taste. The uniform of clothing - from stockings to wig - was established by the prince.
Haydn lived with Esterhazy for thirty years and remained a “serf servant” for all thirty years. This is how he called himself, and this is how Prince Nikolo Esterhazy considered him.
And yet the composer Haydn was a cheerful person!
One of his symphonies - "Farewell" - ends with music that can be called sad rather than cheerful. But it is this symphony that comes to mind when you want to talk about Haydn - a cheerful and kind person.
Prince Esterhazy's musicians were not given leave for a long time and were not paid any money. Their “father Haydn” could not achieve this with any prayers or requests. The orchestra members became sad, and then began to grumble. Haydn was so good at getting along with his musicians, but then they stopped listening to him - it became difficult to work and rehearse. And the prince demanded that a new symphony be performed at the upcoming holiday.
And Haydn wrote a new symphony.
What kind of music this was, the prince did not know, and perhaps he was not very interested - in this he completely trusted his bandmaster. But the orchestra members suddenly showed extraordinary zeal for rehearsals...
The day of the holiday has arrived. The prince informed the guests in advance about the new symphony, and now they were looking forward to the start of the concert.
The candles on the music stands were lit, the notes were opened, the instruments were prepared... A thick, stocky “Papa Haydn” came out in full dress uniform and a freshly powdered wig. The symphony began...
Everyone listens to the music with pleasure - one part, another... third... finally, fourth, the finale. But then it turned out that the new symphony had one more movement - a fifth, and, moreover, a slow, sad one. This was against the rules: a symphony was supposed to have four movements, and the last, fourth, should be the liveliest, the fastest. But the music is wonderful, the orchestra plays very well, and the guests sit back in their chairs. They are listening.
...The music is sad and seems to complain a little. Suddenly... What is it? The prince frowns angrily. One of the horn players played some bars of his part; closed the notes, then carefully folded his instrument, extinguished the candle on the music stand... and left!
Haydn does not notice this and continues to conduct.
Wonderful music flows, a flute enters. The flutist played his part, just like the horn player, closed the notes, put out the candle and also left.
And the music continues. No one in the orchestra pays attention to the fact that the second horn player, followed by the oboist, is slowly leaving the stage.
One after another, the candles on the music stands go out, the musicians leave one after another... What about Haydn? Doesn't he hear? Can't he see it? Seeing Haydn, however, is quite difficult, since at the time in question, the conductor sat facing the audience, with his back to the orchestra. Well, he heard it perfectly well, of course.
Now it’s almost completely dark on the stage - only two violinists remain. Two small candles illuminate their serious, bow-bowed faces.
This is what an amazing “musical strike” Haydn came up with! Of course, it was a protest, but it was so witty and graceful that the prince probably forgot to be indignant. And Haydn won.

The “Farewell” symphony, written for such a seemingly random occasion, still lives today. Until now, the orchestra players, one after another, leave the stage, and the orchestra sounds quieter and weaker: the lonely violins still fade away, and sadness creeps into the heart.
Yes, he, of course, was a very cheerful person, “the great Haydn,” and so was his music. And what the composer came up with to help his orchestra can be called a joke, a musical hint. But the music itself is no joke. She's sad.
Kapellmeister Haydn was not always happy.

Engravings by N. Kuznetsov.

Haydn wrote 104 symphonies, the first of which was created in 1759 for the chapel of Count Morcin, and the last in 1795 in connection with the London tour.

The symphony genre in Haydn’s work evolved from examples close to everyday and chamber music to the “Paris” and “London” symphonies, in which the classical patterns of the genre, characteristic types of thematics and development techniques were established.

The rich and complex world of Haydn's symphonies has the remarkable qualities of openness, sociability, and focus on the listener. The main source of their musical language is genre-everyday, song and dance intonations, sometimes directly borrowed from folklore sources. Included in the complex process of symphonic development, they reveal new imaginative, dynamic possibilities.

In Haydn's mature symphonies, the classical composition of the orchestra is established, including all groups of instruments (strings, woodwinds, brass, percussion).

Almost all of Haydn's symphonies non-programmatic they do not have any specific plot. The exception is three early symphonies, called by the composer himself “Morning”, “Noon”, “Evening” (Nos. 6, 7, 8). All other names given to Haydn's symphonies and established in practice belong to the listeners. Some of them convey the general character of the work (“Farewell” - No. 45), others reflect the features of the orchestration (“With a horn signal” - No. 31, “With tremolo timpani” - No. 103) or emphasize some memorable image (“Bear” - No. 82, “Chicken” - No. 83, “Clock” - No. 101). Sometimes the names of symphonies are related to the circumstances of their creation or performance (“Oxford” - No. 92, six “Paris” symphonies of the 80s). However, the composer himself never commented on the figurative content of his instrumental music.

Haydn's symphony takes on the meaning of a generalized “picture of the world”, in which different aspects of life - serious, dramatic, lyrical-philosophical, humorous - are brought to unity and balance.

Haydn's symphonic cycle usually contains the typical four movements (allegro, andante , minuet and finale), although sometimes the composer increased the number of movements to five (symphonies “Noon”, “Farewell”) or limited himself to three (in the very first symphonies). Sometimes, in order to achieve a special mood, he changed the usual sequence of movements (symphony No. 49 begins with a mournful adagio).

Complete, ideally balanced and logically constructed forms of parts of the symphonic cycle (sonata, variation, rondo, etc.) include elements of improvisation, remarkable deviations and surprises sharpen interest in the very process of thought development, which is always fascinating and filled with events. Haydn’s favorite “surprises” and “practical jokes” helped to perceive the most serious genre of instrumental music.

Among the numerous symphonies created by Haydn for the orchestra of Prince Nicholas I Esterhazy, a group of minor symphonies from the late 60s - early 70s stands out. This is symphony No. 39 ( g-moll ), No. 44 (“Mourning”, e- moll ), No. 45 (“Farewell”, fis-moll) and No. 49 (f-moll, “La Passione” , that is, related to the theme of the suffering and death of Jesus Christ).

"London" symphonies

The highest achievement of Haydn's symphony is his 12 “London” symphonies.

"London" The symphonies (Nos. 93-104) were written by Haydn in England, during two tours arranged by the famous violinist and concert entrepreneur Salomon. The first six appeared in 1791-92, another six - in 1794-95, i.e. after Mozart's death. It was in the “London” symphonies that the composer created his own stable type of symphony, unlike any of his contemporaries. This typical Haydn model of the symphony is different:

All London symphonies open slow intros(except minor 95th). Introductions serve a variety of functions:

• They create a strong contrast in relation to the rest of the material in the first part, therefore, in its further development, the composer, as a rule, does without comparing disparate themes;
• The introduction always begins with a loud statement of the tonic (even the same name, minor - as, for example, in symphony No. 104) - which means that the main part of the sonata allegro can begin quietly, gradually and even immediately deviate into another key, which creates the direction of the music forward to the coming climaxes;
• Sometimes the introduction material becomes one of the important participants in thematic dramaturgy. Thus, in symphony No. 103 (Es-dur, “With tremolo timpani”) the major, but gloomy introduction theme appears both in the development and in code I part, and in development it becomes unrecognizable, changing tempo, rhythm and texture.

Sonata form in the “London Symphonies” is very unique. Haydn created this type of sonata allegro , in which the main and secondary themes are not contrasting with each other and are often generally based on the same material. For example, the expositions of symphonies No. 98, 99, 100, 104 are monotonous. I parts Symphony No. 104( D-dur ) the song and dance theme of the main part is presented by strings alone p , only in the final cadence does the whole orchestra enter, bringing with them fervent fun (this technique has become an artistic norm in the “London” symphonies). In the side part section, the same theme sounds, but only in the dominant key, and now the woodwinds and woodwinds alternately perform in the ensemble with strings.

In exhibitions I parts of symphonies No. 93, 102, 103 secondary themes are built on independent, but not contrasting in relation to the main topics material. So, for example, in I parts Symphony No. 103 Both themes of the exposition are perky, cheerful, in terms of genre they are close to the Austrian landler, both are major: the main one is in the main key, the secondary one is in the dominant key.

Main party:

Side batch:

In sonatas developments"London" symphonies dominate motive type of development. This is due to the dance nature of the themes, in which rhythm plays a huge role (dance themes are more easily divided into individual motifs than cantilena themes). The most striking and memorable motive of the theme is developed, and not necessarily the initial one. For example, in development I parts Symphony No. 104 The motive of 3-4 bars of the main theme is developed as the most capable of change: it sounds either questioning and uncertain, or menacing and persistent.

Developing thematic material, Haydn shows inexhaustible ingenuity. He uses bright tonal comparisons, register and orchestral contrasts, and polyphonic techniques. Topics are often heavily rethought and dramatized, although no major conflicts arise. The proportions of sections are strictly observed - developments are most often equal to 2/3 of the exhibitions.

Haydn's favorite form slow parts are double variations, which are sometimes called “Haydnian”. Alternating with each other, two themes vary (usually in the same keys), different in sonority and texture, but intonationally close and therefore peacefully adjacent to each other. In this form it is written, for example, the famous Andantefrom 103 symphonies: both of its themes are in folk (Croatian) flavor, both play out the upward movement from T to D , dotted rhythm, alteration present IV fret degree; however, the minor first theme (strings) is focused and narrative in nature, while the major second theme (the whole orchestra) is marching and energetic.

First topic:

Second topic:

There are also ordinary variations in the “London” symphonies, as for example in Andantefrom 94 symphonies.Here we vary a theme that is particularly simple. This deliberate simplicity causes the flow of music to suddenly be interrupted by a deafening blow from the entire orchestra with timpani (this is the “surprise” with which the name of the symphony is associated).

Along with variation, the composer often uses and complex tripartite shape, as, for example, in Symphonies No. 104. All sections of the three-part form contain here something new in relation to the initial musical thought.

According to tradition, the slow parts of sonata-symphonic cycles are the center of lyrics and melodious melodicism. However, Haydn's lyrics in the symphonies clearly gravitate towards genre. Many of the themes of the slow movements are based on a song or dance basis, revealing, for example, features of a minuet. It is significant that of all the “London” symphonies, the direction “singingly” is present only in the Largo 93rd symphony.

Minuet - the only movement in Haydn's symphonies where mandatory there is internal contrast. Haydn's minuets became a standard of vital energy and optimism (one could say that the composer's individuality - the traits of his personal character - manifested themselves most directly here). Most often these are live scenes folk life. Minuets predominate, bearing the traditions of peasant dance music, in particular, the Austrian Ländler (as, for example, in Symphony No. 104). A more gallant minuet in the “Military” Symphony, a fanciful scherzo (thanks to the sharp rhythm) in Symphony No. 103.

Minuet of symphony No. 103:

In general, the emphasized rhythmic sharpness in many of Haydn’s minuets so modifies their genre appearance that, in essence, it directly leads to Beethoven’s scherzos.

The form of the minuet is always a complex 3-part da capo with a contrasting trio in the center. The trio usually contrasts gently with the main theme of the minuet. Very often only three instruments actually play here (or, in any case, the texture becomes lighter and more transparent).

The finales of the “London” symphonies are all, without exception, major and joyful. Here Haydn's predisposition to the elements of folk dance was fully demonstrated. Very often the music of finales grows out of truly folk themes, as in Symphony No. 104. Its ending is based on a Czech folk melody, which is presented in such a way that its folk origin is immediately obvious - against the backdrop of a tonic organ point imitating bagpipes.

The finale maintains symmetry in the composition of the cycle: it returns to the fast tempo I parts, to effective activity, to a cheerful mood. Final form - rondo or rondo sonata (in Symphony No. 103) or (less often) - sonata (in Symphony No. 104). In any case, it is devoid of any conflicting moments and rushes by like a kaleidoscope of colorful holiday images.

If in Haydn's earliest symphonies the wind group consisted of only two oboes and two horns, then in the later London symphonies a full pair of woodwinds (including clarinets) is systematically found, and in some cases also trumpets and timpani.

Symphony No. 100, G-dur was called “Military”: in its Allegretto the audience guessed the decorous progress of the guards parade, interrupted by the sound of a military trumpet. In No. 101, D-dur, the Andante theme unfolds against a background of mechanical “ticking” of two bassoons and pizzicato strings, which is why the symphony was called “The Hours”.

Prepared by Yulia Bederova

One of the few minor symphonies by Haydn and the only symphony of the 18th century written in the inconvenient key of F sharp minor for those times. In the finale, the musicians take turns leaving the stage, the parts of different instruments are gradually turned off from the music, and at the end only two violins remain to sound.

According to legend, the customer, Prince Esterhazy  Haydn served as the prince's bandmaster, and the Esterhazy family actually owned the rights to all of his music and even managed the free time of the musicians., owed the members a vacation (according to another version - a salary) - this is what they hinted at with such an unusual ending. It is not known whether justice was achieved with this witty technique, but the slow finale of the Farewell Symphony, the music of which was influenced by the sturmership  "Sturm und Drang"(German: Sturm und Drang) is a pre-Romantic literary and artistic movement that influenced many composers in music, from Haydn and Mozart to Beethoven and the Romantics. Representatives of the movement are called Sturmers., in turn, influenced the subsequent history of symphonies - from Beethoven to Tchaikovsky and Mahler. After the Farewell, slow finals became possible, which the classical model did not envisage.

J. Haydn " Farewell Symphony»

An amazing legend is associated with J. Haydn’s “Farewell Symphony”. Even more surprising is the impression this work makes on listeners who did not expect such an unusual ending. What is the secret of Symphony No. 45 Joseph Haydn and why is it called “Farewell”? The beautiful and understandable music of the Great Viennese classic, which fascinates and captivates from the first bars, will appeal to everyone, and its creation story will leave a mark on the listener’s heart for a long time.

History of creation Symphonies No. 45 Haydn, entitled “Farewell”, content and many interesting facts Read about the work on our page.

The history of the creation of the “Farewell Symphony”

Just imagine that you find yourself in such a difficult situation: your employer is keeping you at work for longer than expected and does not understand any hints that you want to go home. Nowadays, this is impossible to imagine, but several centuries ago it was easily possible. The great Austrian composer and his musicians found themselves in such an unpleasant situation.

Of course, the first thought that will arise in anyone’s mind is who could hold such a composer, whose name has glorified his country throughout the world? Unfortunately, in Haydn’s time, musicians had a dependent position and, despite their fame, they were listed as servants in the palaces of noble persons. So Prince Esterhazy, for whom the composer served for about 30 years, treated him as a servant.

The great Viennese classic was forbidden to travel outside the palace without consent, and all the masterpieces written during this time belonged only to the prince. J. Haydn's responsibilities were limitless, he had to lead the chapel at the palace, perform music at the whim of the prince, train orchestra members, be responsible for all musical materials and instruments, and, finally, write symphonies and operas at the request of N. Esterhazy. Sometimes, he gave only one day to compose another masterpiece! But there were also advantages for the musician in all this. He could listen to his masterpieces live at any time and hone them, like a master working on a precious stone. But sometimes there were situations when Haydn was forced to use all his talent and ingenuity to help himself and his musicians.

One day, Prince Esterhazy prolonged his stay in the summer palace for too long. With the arrival of cold weather, the musicians began to get sick, and the marshy area was to blame. They suffered greatly from endless illnesses, and most importantly, from long separation from their families, because they were forbidden to see them in summer time, and the orchestra members had no right to leave the service. But Haydn figured out how to get out of this difficult situation - he wrote a special work called “”. Just imagine, Prince Esterhazy and his guests gathered in the hall to listen to another masterpiece of the great maestro, but instead of the usual cheerful music, they presented him with sad and slow music. The first, second, third and fourth parts have passed, it would seem that now there will be a finale, but no! The fifth movement begins and then one by one the musicians get up, extinguish the candles on the music stands and silently leave the hall. The reaction of listeners can be predicted. So, only two violinists remain on stage, the part of one of them is played by Haydn himself, and their melody becomes more and more sad until it dies down completely. The remaining musicians also leave the stage in the dark. Prince Esterhazy understood his bandmaster’s hint and ordered everyone to get ready to move to Eisenstadt.

Interesting facts

• The unusualness of Haydn's Symphony No. 45 is also due to the choice of tonal plan. F-sharp minor was very rarely used in those days by composers and musicians. It was also rare to find the eponymous major, in which the finale of the symphony sounds.
• The additional adagio heard at the end of the work is sometimes called the fifth movement of the cycle. However, there are real five-part cycles in his work - this is the “Noon” symphony. Haydn also composed three-part works, but this was only at the beginning of his creative career.
• Some of Haydn's symphonies are programmatic. So, he has symphonic cycles called “Bear” and “Chicken”. In the Surprise symphony, a sudden blow is heard in the middle movement, after which the music continues again quite calmly and leisurely. It is believed that with such a trick Haydn decided to “stir up” the too prim English public a little.
• Serving in the chapel of Prince Esterhazy, Haydn was forced to dress strictly according to the established pattern. So, the contract stipulated special form clothes.
• According to the memoirs of many contemporaries, in 1799, after the premiere of the “Farewell Symphony” in Leipzig, after the finale the audience left the hall silent and moved, which was very unusual at that time. The work made such a strong impression on them.
• Few people know, but there are other versions of why Haydn’s Symphony No. 45 is called “Farewell”. There is a legend that Prince Esterhazy planned to dissolve the entire chapel, which would leave the musicians without funds. Another version indicates that this work symbolizes farewell to life. This assumption was put forward by researchers in the 19th century. It is noteworthy that there is no title at all in the manuscript itself.

• Currently, the Farewell Symphony is performed as Haydn intended it. In the finale, the musicians leave their seats one by one. Sometimes the conductor himself leaves the stage.
• In fact, only a small part of Haydn’s symphonies has its own program: “Morning”, “Noon”, “Evening”. The composer himself gave these works their names. The remaining names belong to the listeners and express the general character of the symphony or the features of the orchestration. It is noteworthy that Haydn himself preferred not to comment on the figurative content of the works.
• It is noteworthy that in the period 60-70s Haydn appeared in a number of minor symphonies: No. 39, 44, 45, 49.

The symphony begins immediately with the main part, without any introduction and is of a pathetic nature. In general, all first part maintained in the same spirit. The danceable and even quite graceful features of the main part set the general mood of the part. The dynamic reprise only reinforces this image.

Sophisticated and bright second part performed mainly by a string group (quartet). The themes are presented in a very subdued manner, the violins perform parts with mutes on pianissimo. In the reprise, Haydn uses the famous “golden move” horn ", which decorates the main party.

Third part- This minuet , but Haydn made it very unusual by juxtaposing two effects: the melody played by the violins on the piano and the sound of the entire orchestra on the forte. This movement also features the “golden horn move” that the composer used in the trio. At the end of the minuet a minor suddenly appears. This is no coincidence, because with this technique Haydn anticipates general mood finals.

Part four at first it echoes the first, its graceful theme. The gloomy atmosphere appears only in the reprise, which suddenly ends, and right at the rise. After a short pause, an adagio with variations sounds. The theme itself is presented quite serenely, the feeling of anxiety begins to grow as soon as the sonority fades. The instruments fall silent one by one, having finished playing their part. The first to leave the orchestra are the musicians who play the winds, after which the basses and Joseph Haydn"Farewell Symphony"

At the turn of the 60-70s, a stylistic turning point occurred in the composer’s work. One after another, pathetic symphonies appear, often in a minor key. They represent new style Haydn, connecting his search for expressiveness with the German literary movement of Sturm und Drang.

The name Farewell was assigned to Symphony No. 45, and there are several explanations for this. One thing, according to Haydn himself, was preserved in the memoirs of his contemporaries.

At the time of writing this symphony, Haydn served in the chapel of Prince Esterhazy, one of the Hungarian magnates, whose wealth and luxury rivaled those of the Emperor. Their main residences were located in the town of Eisenstadt and the Esterhaz estate. In January 1772, Prince Nikolaus Esterhazy ordered that during his stay in Esterhazy the families of the chapel musicians (there were then 16 of them) should live there. Only in the absence of the prince could the musicians leave Eszterhaz and visit their wives and children. An exception was made only for the conductor and first violinist.

That year, the prince stayed at the estate for an unusually long time, and the orchestra members, exhausted by their bachelor life, turned to their leader, the bandmaster, for help. Haydn cleverly solved this problem and managed to convey the musicians' request to the prince during the performance of his new, Forty-fifth Symphony.

According to another version, the request related to the salary that the prince had not paid to the orchestra for a long time, and the symphony contained a hint that the musicians were ready to say goodbye to the chapel. Another legend is exactly the opposite: the prince himself decided to dissolve the chapel, leaving the orchestra members without a livelihood. And finally, the last, dramatic one, put forward by the romantics in the 19th century: The Farewell Symphony embodies farewell to life.

However, the title is missing from the score manuscript. The inscription at the beginning - partly in Latin, partly in Italian - reads: “Symphony in F sharp minor. In the name of God from me, Giuseppe Haydn. 772,” and at the end in Latin: “Praise God!” The first performance took place in Eszterhaz in the autumn of the same 1772 by the princely chapel under the direction of Haydn. The farewell symphony stands apart in Haydn's work. Its tonality is unusual - F-sharp minor, rarely used at that time. The eponymous major, in which the symphony ends and in which the minuet is written, is also not typical for the 18th century.

But what is most unique is the symphony's slow conclusion, a kind of additional adagio following the finale, which is why the Farewell Symphony is often considered a five-movement symphony. Music The pathetic character of the first movement is already determined in the main part, which opens the symphony immediately, without a slow introduction.

The expressive theme of the violins, falling along the tones of a minor triad, is aggravated by the characteristic syncopated rhythm of the accompaniment, juxtapositions of forte and piano, and sudden modulations into minor keys. A side part sounds in one of the minor keys, which is unexpected for a classical symphony (the major key of the same name is assumed). The secondary, as usual with Haydn, is not melodically independent and repeats the main one, only with a falling moaning motif of the violins at the end. The short final game, also in a minor key, with meandering, seemingly pleading moves, further enhances the sad pathos of the exposition, almost devoid of major foundations. But the development immediately affirms the major, and its second section forms a bright episode with new topic- peaceful, gallantly rounded. After a pause, the proclamation is proclaimed with sudden force main topic- the reprise begins. More dynamic, it is devoid of repetitions and is full of active development. The second part - adagio - is light and serene, refined and gallant. The sound is predominantly of a string quartet (the double bass part is not highlighted), and the violins are muted, the dynamics are within the pianissimo range. A sonata form with similar themes is used, with a development performed by strings alone, and a compressed reprise, in which the main part is decorated with a “golden move” of horns. The third movement - the minuet - is reminiscent of a village dance with a constant juxtaposition of the effects of piano (only the violin) and forte (the whole orchestra), with a clearly articulated theme and an abundance of repetitions. The trio begins with a “golden move” of horns, and at the end there is an unexpected darkening - the major gives way to the minor, anticipating the mood of the finale. The return of the first section makes one forget about this fleeting shadow. The fourth part figuratively echoes the first. The side part is again not melodically independent, but, unlike the minor main part, it is colored in carefree major tones. The development, although small, is a truly classic example of the mastery of motivic development. The reprise is gloomy, does not repeat the exposition, but suddenly ends on the rise... After a general pause, a new adagio with variations begins. The gentle theme, presented in thirds, seems serene, but the sonority gradually fades away, and a feeling of anxiety arises. One by one, the instruments fall silent, the musicians, having finished their part, extinguish the candles burning in front of their consoles and leave. After the first variations, the wind instrument players leave the orchestra. The departure of the string section musicians begins with the bass; a viola and two violins remain on stage and, finally, a duet of violins and mutes quietly finishes their touching passages. Such an unprecedented finale always made an irresistible impression: “When the orchestra members began to extinguish the candles and quietly leave, everyone’s hearts sank... When the faint sounds of the last violin finally died away, the listeners began to leave, silent and moved...” wrote the Leipzig newspaper. in 1799. “And no one laughed, because it was not written for fun,” Schumann echoed almost forty years later.