A father by definition has to be involved at the very beginning, at the point of conception; Haydn wasn’t, so he isn’t. It’s a pity this misleading and inaccurate nonsense is propagated so freely in books, the media, and in cd notes because otherwise, you’re quite right, Haydn is a great composer who will give you a lifetime’s pleasure - you’re now hooked for life, and will make some fantastic discoveries.
@@elaineblackhurst1509Уважаемый! Гайдн был в самом начале, он был отцом своих симфоний!Стамиц тоже называл своих детей симфониями, так и никто не возражает, пусть будут. Современники признали Гайдна папой симфоний, и нам этого не поменять, ибо это истина.
@@elaineblackhurst1509Итак, Гайдна признали отцом симфоний, а его симфонии теми самыми симфониями. У Стамица только лишь имена его детишек схожи с Гайдновскими, но симфониями не признаны. И не нам с вами эту истину изменить!
This is another great Haydn Symphony. Like so many others of his, it has an arresting opening statement that immediately captures your attention. The first, and the fourth movement are compelling with their unbridled sweep, and drive. Love this!
Il titolo "il fuoco" entrò nell'uso alla fine del diciottesimo secolo. Secondo una ipotesi verosimile esso sarebbe stato attribuito alla sinfona nel 1774, anno in cui Haydn, l'avrebbe diretta come musica di scena per la commedia " Die Feuersbrunst" (l'incendio). Molti elementi di forma e di struttura proverebbero infatti che si tratta di un'opera "a soggetto". LDC
Mozart and Haydn are Classical; Beethoven is at the start of a new age - not just musical, but political, social, economic, and much else - which is pretty much clear from the first notes he published. Put another way, Mozart was a child of the Ancien Regime and the Age of Enlightenment and this is reflected in his music; Beethoven was a product of the Age of Revolution and this is also evident in his challenging and very different music. (Haydn due to his longevity was mostly the former, but also stepped close to the latter). Let’s call Beethoven ‘post-Classical’ - a far better description - and not treat him as something tagged onto the end of the previous age.
@@elaineblackhurst1509 Check out the research by Robert Gjerdingen it shows that Beethoven's structure is much like Mozart and Haydn. He just uses the stock progressions at unexpected moments, such as the beginning of his 1st symphony. In other words he uses the same tools but in new ways.
@@jhummelgaard9310 In many respects, so does Brahms but he’s not Classical either to my way of thinking. The crucial thing about Beethoven is that the world had moved on in the way I explained previously, and composers and their music cannot be removed from the context of the society in which they lived. As I said, this radical change is evident in every note of Beethoven compared to Mozart, and almost every note compared to Haydn. Regarding the opening of Beethoven’s Symphony 1, you cannot really quote this innovation without reference being be made to the opening of Haydn’s string quartet Opus 74 No 1 written seven years earlier. (Haydn did ‘…new ways’ as well).
@@somercet1 No it isn't - have a look at both as they are now. Eisenstadt is in the middle of the painting with it's 4 square towers and with a proposed new facade which was never built. Esterhazy looks nothing like this.
I’m hooked on Haydn at the moment. The father of classical is the king right now in my ears. So Devine. Cheers everyone.
A father by definition has to be involved at the very beginning, at the point of conception; Haydn wasn’t, so he isn’t.
It’s a pity this misleading and inaccurate nonsense is propagated so freely in books, the media, and in cd notes because otherwise, you’re quite right, Haydn is a great composer who will give you a lifetime’s pleasure - you’re now hooked for life, and will make some fantastic discoveries.
@@elaineblackhurst1509Уважаемый! Гайдн был в самом начале, он был отцом своих симфоний!Стамиц тоже называл своих детей симфониями, так и никто не возражает, пусть будут.
Современники признали Гайдна папой симфоний, и нам этого не поменять, ибо это истина.
@@elaineblackhurst1509Итак, Гайдна признали отцом симфоний, а его симфонии теми самыми симфониями.
У Стамица только лишь имена его детишек схожи с Гайдновскими, но симфониями не признаны.
И не нам с вами эту истину изменить!
This is another great Haydn Symphony. Like so many others of his, it has an arresting opening statement that immediately captures your attention. The first, and the fourth movement are compelling with their unbridled sweep, and drive. Love this!
So nice. Thanks.
Was für eine klasse Aufnahme!!!! Danke!
Man what a nice interpretation!
Amazing. Thanks!
i guess I am kind of randomly asking but does anybody know a good site to watch newly released series online ?
@Felix Brantley i use Flixzone. You can find it by googling :)
@Reid Cain Yup, been watching on FlixZone for years myself =)
@Reid Cain Thank you, I went there and it seems to work :) Appreciate it !!
Спасибо за запись!
Il titolo "il fuoco" entrò nell'uso alla fine del diciottesimo secolo. Secondo una ipotesi verosimile esso sarebbe stato attribuito alla sinfona nel 1774, anno in cui Haydn, l'avrebbe diretta come musica di scena per la commedia " Die Feuersbrunst" (l'incendio). Molti elementi di forma e di struttura proverebbero infatti che si tratta di un'opera "a soggetto". LDC
Hadyn, Mozart and Beethoven the 3 most important composers of the classical period of music.
Mozart and Haydn are Classical; Beethoven is at the start of a new age - not just musical, but political, social, economic, and much else - which is pretty much clear from the first notes he published.
Put another way, Mozart was a child of the Ancien Regime and the Age of Enlightenment and this is reflected in his music; Beethoven was a product of the Age of Revolution and this is also evident in his challenging and very different music.
(Haydn due to his longevity was mostly the former, but also stepped close to the latter).
Let’s call Beethoven ‘post-Classical’ - a far better description - and not treat him as something tagged onto the end of the previous age.
@@elaineblackhurst1509 Check out the research by Robert Gjerdingen it shows that Beethoven's structure is much like Mozart and Haydn. He just uses the stock progressions at unexpected moments, such as the beginning of his 1st symphony. In other words he uses the same tools but in new ways.
@@jhummelgaard9310
In many respects, so does Brahms but he’s not Classical either to my way of thinking.
The crucial thing about Beethoven is that the world had moved on in the way I explained previously, and composers and their music cannot be removed from the context of the society in which they lived.
As I said, this radical change is evident in every note of Beethoven compared to Mozart, and almost every note compared to Haydn.
Regarding the opening of Beethoven’s Symphony 1, you cannot really quote this innovation without reference being be made to the opening of Haydn’s string quartet Opus 74 No 1 written seven years earlier.
(Haydn did ‘…new ways’ as well).
Where is this painting of?
esterhazy court hungary...maybe
@@gda295 It is a proposed alteration to facade of Eisenstadt, Austria - never built.
@@somercet1 No it isn't - have a look at both as they are now. Eisenstadt is in the middle of the painting with it's 4 square towers and with a proposed new facade which was never built. Esterhazy looks nothing like this.