Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
Ah yes, the famous director Haydn of which you can watch his movie "Lamentatione" on flixzone... smh useless bots at least comment about the scam on a relevant video
@@james_jl2163 It’s perhaps better to remain silent on a subject you clearly don’t understand and let others think you might be foolish, than to hit the keyboard and remove all possible doubt.
D’habitude on aime les pièces classiques après un certain temps. Pour moi la Lamentatione était comme un coup de foudre. Je l’ai aimé dès le premier instant et reste pour moi la plus belle pièce de Haydn à côté de son concerto aux trompettes
Andrew Pfeiffer ‘...put a smile on your face’. Could I gently suggest that you may have missed the point entirely. Haydn was a deeply religious man and this symphony was written for performance - perhaps in church - during Holy Week (Easter) in either 1768 or 1769. The work has a number of specific Gregorian plainchant Passion melodies woven into the texture throughout; both the melodies and associated sacred texts would have been known to contemporary listeners - definitely not ‘smile on your face’ music. There is a clear programmatic scheme; for example, the words of the Evangelist, Christ and the baying of the crowd, all depicted as a story in music. I agree the finale is quirky - Robbins Landon calls it a ‘whimsical anticlimax’ - whimsical is hardly unusual for Haydn, but anticlimax is simply wrong*; the Minuet contains deeper meaning, and a pathos that I think eludes even the indefatigable HCRL. A minuet can constitute a serious ending: Haydn here writes an oppressive, moody, tonally slightly unstable movement, that *does* end the work successfully.** The last thing Haydn is trying to do in a work intended for performance in church during the most important Christian festival of all, is to put smiles on people’s faces; whilst Haydn can sometimes be playful - my preferred word to the over-used ‘humour’ or ‘wit’ so often applied inappropriately to Haydn - being playful is categorically not what he is about in any part of this symphony. It is with works like Symphony 26 that Haydn lifted the symphony in general beyond the capabilities of every contemporary composer, indeed to a level few could even approach. Hope the above helps both yourself and readers towards a better understanding of a unique symphony. * I can hardly believe I’ve just written that about the great man. ** It has occasionally been suggested that there is a ‘lost’ finale: there is no such thing, nor ever was.
@@elaineblackhurst1509 thank you, I didn't know the history, I was approaching the symphonies as absolute music (and in fact, absolute music performed by an ensemble from a movement that leans toward playfulness rather than solemnity). I still think the trio is a really sunny moment.
that's strange... no fourth movement? I was listening to all 104 in a row last time, that's why I didn't notice. Mozart routinely dropped the minuet but ending with the minuet is another story.
Andrew Pfeiffer One or two other points you might find helpful. With Haydn, a little background information as to what he was doing, for whom the symphony was written and for what specific purpose, is particularly useful in understanding the huge variety found in the works, and indeed many of the oddities, or if you like, the highly original ideas found amongst them. Amongst the early symphonies for example: - Symphonies 6, 7, and 8 are designed specifically to showcase the new Vice-Kapellmeister and his orchestra, hence soloistic passages for almost every player. - Solo passages or entire movements occur in Haydn’s symphonies right up to those written in London, but other early examples would be the flute solos in the slow movements of Symphonies 24 and 30 and the oboe in the trio of the minuet movement and finale of Symphony 38. - Symphonies 3, 13, 40 and 16 all demonstrate specific contrapuntal skills. - Symphony 13 is designed to test the acoustic at the Eszterhazy palace at Eisenstadt which Haydn had had altered almost immediately after his appointment in 1761. - Symphonies 72 - which is very badly misnumbered - and 31 showcase the four horns with extremely challenging music, horn calls and solos; the horn was an instrument of which the Eszterhazys were obviously very fond. - Symphony 51 whilst having the more normal two horns similarly highlights these two instruments in what is in effect a double horn concerto slow movement. - Symphonies 26, 30 and 49, and a number of other symphonies usually in the ‘sonata da chiesa’ form ie slow/fast/minuet/fast, were all first performed in church (chiesa = church in Italian). - Like a number of Mozart’s early works, some of Haydn’s early symphonies are essentially Italian-style ‘sinfonie avanti l’opera’, ie three movement overtures, Symphony 9 being an example. - Some symphonies were clearly written for ceremonial purposes such as Habsburg visitors; often in C major with additional trumpets and drums, Symphony 48 is an example of this style. - In contrast, works such as Symphonies 43 and 58 are essentially chamber symphonies. - A number of symphonies have theatrical origins; they were put together wholly or in part from incidental music for plays put on at Eszterhaza: Symphonies 50, 59, 60, the latter in particular is an example where understanding the theatrical origin of the music helps to explain some of the musical oddities, just as much as Mendelssohn’s braying donkeys do in his Midsummer Night’s Dream music. Bit of a ramble and there are lots more specific details that it is useful to know besides the few I have highlighted; in short, a glance at the sleeve notes is often quite useful in Haydn to tune in to the composer’s intentions. Hope this is useful to yourself or any other casual reader. Regarding your point about the trio; HC Robbins Landon who wrote the ground-breaking - literally - enormous, heavyweight 5 volume biography of Haydn, describes the Minuet and Trio as ‘...something of an anticlimax’. Occasionally I do not agree with the great man’s analyses, this being one such example. I think you are right to identify the slightly different character of the movement from the other two, but unlike HCRL, I think this third movement does end the symphony in a satisfactory manner, particularly given the religious context - it is now an anticlimax.
Andrew Pfeiffer Haydn dropped the Minuet in about one third of his 45 earlier symphonies up to the slightly mis-numbered Symphony 26* of 1768 or 1769. Occasionally, Haydn made the finale a Tempo di Menuetto though in the case of Symphony 30 for example, it has two trios and does not really sound or feel like a Minuet proper. Post-1770, all Haydn’s symphonies have a Minuet. Symphonies 4, 9, 18, 26, and 30 are all three movement symphonies ending in some sort of Minuet or Tempo di Menuetto style finale. Regarding Symphony 26, some scholars have speculated whether or not there may ever have been a fourth movement - I think not. Mozart’s proportion of Minuet-less symphonies is slightly higher at 19 out of 41 though this is again largely explained by a high proportion of the very early symphonies being in effect three movement Italian-style sinfonia avanti l’opera-type works. After the mid-1770’s, for Mozart, like Haydn, the Minuet became largely the norm apart from Symphony 31 (K297) ‘Paris’, and Symphony 38 (K504) ‘Prague’. (Symphony 32 (K318) is essentially another - but later - Italian-style three movement overture). * Symphony 26 ‘Lamentatione’ is chronologically Haydn’s 46th symphony.
@@SelectCircle It’s not actually discretion, but I get your point. The cavalier treatment of composers’ da capo (repeat) marks in Mozart, Haydn and Beethoven as take-it-or-leave-it optional suggestions - rather than the instructions they actually are - is an indefensible and unwarranted interference with the score that unbalances both the movement itself and the work as a whole. All three of the composers mentioned above pointedly removed the repeat signs when they wanted them removing.
it's not about ''when they wanted'' but when it was needed. Symphony was the piece made for occasions at that time and it was entertainment mostly - court or events - so of course if large crowd dancing and enjoying symphony repeptition is must, but if played in private between family members for example sure repetition would be evaded.@@elaineblackhurst1509
Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
I feel ashamed of being the only one here from a videogame, but this sounds vively and playful, I think. it's really nice to hear
i`m here because of a game too dw :)
@@olivia3615 thanks 😄 which one?
@@basil8924 Pocket Mirror :)) what about uu?
I know Im kinda randomly asking but does anyone know a good place to stream new movies online ?
@Rodrigo Devon meh try flixportal. you can find it if you google:D -billy
Love the second movement. With the oboes and horns!
enjoying all..all..the symphonies...thanks very much.
He weaves his melodies together like a craftsman.
The first 10 seconds are just perfect!
Not just the first 10. Haydn was of the best symphonist ever :).
That's literally the worst part
Ah yes, the famous director Haydn of which you can watch his movie "Lamentatione" on flixzone... smh useless bots at least comment about the scam on a relevant video
It absolutely sucks!! Even my deceased twice removed grandma could compose better and she played the banjo in the Irish troubles!
@@james_jl2163
It’s perhaps better to remain silent on a subject you clearly don’t understand and let others think you might be foolish, than to hit the keyboard and remove all possible doubt.
Happy Lent! 🙏✝️
*2nd movement (gentle magical)
3:57 begins
D’habitude on aime les pièces classiques après un certain temps. Pour moi la Lamentatione était comme un coup de foudre. Je l’ai aimé dès le premier instant et reste pour moi la plus belle pièce de Haydn à côté de son concerto aux trompettes
Влияние лекций Михаила Казиника помогло пристраститься к прослушиванию Гайдна. Композитором радости обозначен Гайдн в лекциях Казиника.
the quirky trio to the minuet just can't help but put a smile on your face
Andrew Pfeiffer
‘...put a smile on your face’.
Could I gently suggest that you may have missed the point entirely.
Haydn was a deeply religious man and this symphony was written for performance - perhaps in church - during Holy Week (Easter) in either 1768 or 1769.
The work has a number of specific Gregorian plainchant Passion melodies woven into the texture throughout; both the melodies and associated sacred texts would have been known to contemporary listeners - definitely not ‘smile on your face’ music.
There is a clear programmatic scheme; for example, the words of the Evangelist, Christ and the baying of the crowd, all depicted as a story in music.
I agree the finale is quirky - Robbins Landon calls it a ‘whimsical anticlimax’ - whimsical is hardly unusual for Haydn, but anticlimax is simply wrong*; the Minuet contains deeper meaning, and a pathos that I think eludes even the indefatigable HCRL.
A minuet can constitute a serious ending: Haydn here writes an oppressive, moody, tonally slightly unstable movement, that *does* end the work successfully.**
The last thing Haydn is trying to do in a work intended for performance in church during the most important Christian festival of all, is to put smiles on people’s faces; whilst Haydn can sometimes be playful - my preferred word to the over-used ‘humour’ or ‘wit’ so often applied inappropriately to Haydn - being playful is categorically not what he is about in any part of this symphony.
It is with works like Symphony 26 that Haydn lifted the symphony in general beyond the capabilities of every contemporary composer, indeed to a level few could even approach.
Hope the above helps both yourself and readers towards a better understanding of a unique symphony.
* I can hardly believe I’ve just written that about the great man.
** It has occasionally been suggested that there is a ‘lost’ finale: there is no such thing, nor ever was.
@@elaineblackhurst1509 thank you, I didn't know the history, I was approaching the symphonies as absolute music (and in fact, absolute music performed by an ensemble from a movement that leans toward playfulness rather than solemnity). I still think the trio is a really sunny moment.
that's strange... no fourth movement? I was listening to all 104 in a row last time, that's why I didn't notice. Mozart routinely dropped the minuet but ending with the minuet is another story.
Andrew Pfeiffer
One or two other points you might find helpful.
With Haydn, a little background information as to what he was doing, for whom the symphony was written and for what specific purpose, is particularly useful in understanding the huge variety found in the works, and indeed many of the oddities, or if you like, the highly original ideas found amongst them.
Amongst the early symphonies for example:
- Symphonies 6, 7, and 8 are designed specifically to showcase the new Vice-Kapellmeister and his orchestra, hence soloistic passages for almost every player.
- Solo passages or entire movements occur in Haydn’s symphonies right up to those written in London, but other early examples would be the flute solos in the slow movements of Symphonies 24 and 30 and the oboe in the trio of the minuet movement and finale of Symphony 38.
- Symphonies 3, 13, 40 and 16 all demonstrate specific contrapuntal skills.
- Symphony 13 is designed to test the acoustic at the Eszterhazy palace at Eisenstadt which Haydn had had altered almost immediately after his appointment in 1761.
- Symphonies 72 - which is very badly misnumbered - and 31 showcase the four horns with extremely challenging music, horn calls and solos; the horn was an instrument of which the Eszterhazys were obviously very fond.
- Symphony 51 whilst having the more normal two horns similarly highlights these two instruments in what is in effect a double horn concerto slow movement.
- Symphonies 26, 30 and 49, and a number of other symphonies usually in the ‘sonata da chiesa’ form ie slow/fast/minuet/fast, were all first performed in church (chiesa = church in Italian).
- Like a number of Mozart’s early works, some of Haydn’s early symphonies are essentially Italian-style ‘sinfonie avanti l’opera’, ie three movement overtures, Symphony 9 being an example.
- Some symphonies were clearly written for ceremonial purposes such as Habsburg visitors; often in C major with additional trumpets and drums, Symphony 48 is an example of this style.
- In contrast, works such as Symphonies 43 and 58 are essentially chamber symphonies.
- A number of symphonies have theatrical origins; they were put together wholly or in part from incidental music for plays put on at Eszterhaza: Symphonies 50, 59, 60, the latter in particular is an example where understanding the theatrical origin of the music helps to explain some of the musical oddities, just as much as Mendelssohn’s braying donkeys do in his Midsummer Night’s Dream music.
Bit of a ramble and there are lots more specific details that it is useful to know besides the few I have highlighted; in short, a glance at the sleeve notes is often quite useful in Haydn to tune in to the composer’s intentions.
Hope this is useful to yourself or any other casual reader.
Regarding your point about the trio; HC Robbins Landon who wrote the ground-breaking - literally - enormous, heavyweight 5 volume biography of Haydn, describes the Minuet and Trio as ‘...something of an anticlimax’.
Occasionally I do not agree with the great man’s analyses, this being one such example.
I think you are right to identify the slightly different character of the movement from the other two, but unlike HCRL, I think this third movement does end the symphony in a satisfactory manner, particularly given the religious context - it is now an anticlimax.
Andrew Pfeiffer
Haydn dropped the Minuet in about one third of his 45 earlier symphonies up to the slightly mis-numbered Symphony 26* of 1768 or 1769.
Occasionally, Haydn made the finale a Tempo di Menuetto though in the case of Symphony 30 for example, it has two trios and does not really sound or feel like a Minuet proper.
Post-1770, all Haydn’s symphonies have a Minuet.
Symphonies 4, 9, 18, 26, and 30 are all three movement symphonies ending in some sort of Minuet or Tempo di Menuetto style finale.
Regarding Symphony 26, some scholars have speculated whether or not there may ever have been a fourth movement - I think not.
Mozart’s proportion of Minuet-less symphonies is slightly higher at 19 out of 41 though this is again largely explained by a high proportion of the very early symphonies being in effect three movement Italian-style sinfonia avanti l’opera-type works.
After the mid-1770’s, for Mozart, like Haydn, the Minuet became largely the norm apart from Symphony 31 (K297) ‘Paris’, and Symphony 38 (K504) ‘Prague’.
(Symphony 32 (K318) is essentially another - but later - Italian-style three movement overture).
* Symphony 26 ‘Lamentatione’ is chronologically Haydn’s 46th symphony.
Great!
Todas as sinfonias de HAYDN são maravilhosas...mas algumas são especiais...como esta.
Why is Hogwood's Adagio twice as long as Pinnock's?
Hogwood likes to take all the repeats.
@@timroebuck3458 I see! So it's a matter of discretion. Thank you!
@@SelectCircle
It’s not actually discretion, but I get your point.
The cavalier treatment of composers’ da capo (repeat) marks in Mozart, Haydn and Beethoven as take-it-or-leave-it optional suggestions - rather than the instructions they actually are - is an indefensible and unwarranted interference with the score that unbalances both the movement itself and the work as a whole.
All three of the composers mentioned above pointedly removed the repeat signs when they wanted them removing.
@@elaineblackhurst1509 I see! Thank you.
it's not about ''when they wanted'' but when it was needed. Symphony was the piece made for occasions at that time and it was entertainment mostly - court or events - so of course if large crowd dancing and enjoying symphony repeptition is must, but if played in private between family members for example sure repetition would be evaded.@@elaineblackhurst1509
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