Abstract
The purpose of this research paper is devoted to the still little-studied problem of identifying the relations between the vocal and instrumental factors in Haydn’s music. In the paper the vocal cycle «VI ORIGINAL CANZONETTAS» is analyzed. It comprises the combination of independent and finished by the form of songs subordinate to the same artistic design. The composer follows the basic principle of the integration of parts into a cycle – the principle of music character contrast – and dramatically unites separate sketches, moods and images with the same author’s point of view. The success of this cycle was due to lyrics chosen by the composer. The novelty of the research lies in the determination of Haydn’s vocal music specificity characterized by rather complex relations of text and music in terms of both content and expression. As a result, it is proved that the maturity of expression appeared in Haydn’s style under the influence of fresh London impressions and is clearly observed in English songs. This is evident in the use of the musical language for composing the works of the other genres in London (primarily, symphonies). So the composer raises the vocal genre to a qualitatively different stage leading directly to Schubert.
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