With 1766 as the boundary, the form of Haydn's symphony has changed greatly. During this period, Haydn highlighted the counterpoint in his symphonies. There were 2 1 songs centered on the 40th song in this period, and this song was Haydn's favorite in this period. It is said that Haydn himself hoped to play this slow movement at the funeral. This song was named Hobl.44 because it was played at Haydn's memorial service in Berlin in September, 177 1- 1772. ***4 Movement: 1. Allegro grandeur in e minor, sonata form. The first theme begins with a strong beat, asking questions in chorus, and the violin gives a beautiful response, full of contrast. Express the second theme in parallel major. The development department emphasizes the development of the first theme, while the reproduction department shows the technical changes of the department. This movement emphasizes the expression of strong and weak contrast, and the counterpoint is assimilated by harmony, which has been fully dramatic; 2. Allegro minuet in E minor. The minuet is infected with the tragedy different from that of the dancers, and it is created in the form of an octave parallel cannon, and the middle part is lyrical, forming a contrast; 3. Adagio in E major, two-stage sonata form. The first theme is extremely beautiful, and its development makes the expression extremely rich and delicate; 4. Final movement, Allegro, E minor, two-stage sonata form. The whole movement consists of a single theme. The first theme is presented in the form of strings, which is completely developed by counterpoint, and the second theme is the subsidiary of the first theme. The development department takes the first theme as the development center, omits the reproduction part of the first theme to reproduce through the back part, takes the deformation of the first theme as the material, and ends the whole song with a concise ending part. Haydn's Symphony No.45 in F minor (Farewell), Hob. 1.45, written in 1772. There is an allusion in the creation of this song: 1766, Duke Nicholas, the owner of Estehaji Orchestra, imitated Versailles and built a luxurious palace on the lake of Nojitola, named Estehaji Castle. Nicholas stipulated that members of the orchestra were not allowed to bring their families in except the four main leaders, such as the head of the orchestra, so that members had to live alone in the palace most of the year. The members hoped that Haydn could help solve the problem of living with his family, so Haydn conceived this song. After the performance, the members packed their musical instruments one by one, blew out the candles on the music stand and left, leaving only a few people to continue playing and express their feelings. It is said that when this song premiered, Nicholas finally understood its meaning and gave the members a holiday the next day. The whole song consists of four movements: 1. Allegro in f minor, sonata form. Starting from the first theme of the ensemble, the scattered chords drop rapidly. This theme is a pair every 4 bars, *** 16 bars, and the first part is moved to the relative major A major. In the second part, the first theme is reproduced in A minor. After the tonality changes, it returns to A major, and then the second theme appears. The second theme is actually the deformation of bass. The development department develops the first theme first, and then reproduces the second theme in B minor. When it ends in the leading tone, a new melody (developed in polyphonic form after the first theme) appears in D major, and the second half of the development department is the repeated development of this melody; 2, Adagio, A major, sonata form. Violin and mute played the first theme quietly, and the second theme was E major, which was also very calm. In the plane development of two calm themes, wind instruments only occasionally play the role of auxiliary voice; 3. minuet in major, allegro. Six sharp notes, the middle part of which is represented by two speakers overlapping three times, are one of the most perfect minuets created by Haydn during this period; 4. Allegro in F minor, sonata form. This movement is divided into two parts. The first one developed very fast. The first theme (F minor) is presented in A major after a short sentence. After the Allegro part, the second adagio was added. Starting from the relative major A major, it has a three-part structure, and the musician plays the phrase one by one: first, the first oboe and the second horn; Followed by bassoon, second oboe, first horn in A major, double bassoon. Finally, there are only four strings, such as violin, viola and cello. Then the cello, the second violin and the viola finished their phrases and left accordingly. Finally, only two people remained to play the first violin quietly and lonely until the end of the whole song. Haydn's symphony no 49 in f minor, Hob. 1.49, written in 1768, is the most tragic work of Haydn's symphony. Haydn didn't write the title himself, but the whole song was composed in the style of church sonata. ***4 Movement: 1. Adagio in f minor, sonata form. Under the heavy rhythm, the melody expressed by the violin in tragic colors has a feeling of carrying a cross. The first theme is painful, and the second theme is full of inner strength. The development department is short and bright, but the reproduction department moves to the main melody minor below the second theme, showing gloom and depression as a whole; 2. Allegro in F minor, sonata form. The first theme was made by double counterpoint method, which made a great leap, and the second theme was melodized by parallel major, which was compared repeatedly. The development department makes full use of the main materials of the presentation department, gives exquisite development and shows the beauty of the structure. The reproduction part is extremely concise; 3. The minuet in F minor adopts double counterpoint method, and the atmosphere is gloomy, which is in obvious contrast with the bright middle part centered on wind instrument solo in the same major; 4. Final movement, Allegro, F minor, sonata form. This last movement is full of tragedy in a simple structure. Starting from the first theme of violin playing motivation, we enter the paragraph centered on the octave, and the first theme of oboe and violin playing parallel major. The development part reproduced with the first theme in parallel major is very short, followed by a concise ending.