Interesting modulations in that opening movement. In 1764, Haydn was able to get away with writing a symphony in G Major and transitioning the key to F-sharp Major and B Minor during the exposition!
In the menuet we have first a 2 part canon, in the trio a 3 part one. Very remarkable early symphony. A pity the conductor ignores the staccato demisemiquavers in the first movement.
@@christianwouters6764 The 'whole, half, quarter, eighth, sixteenth, etc.' descriptors are American in origin - and I acknowledge that 'breves, semibreves, minims, crotchets, quavers, semiquavers, etc.' are British descriptors (whatever British is these days!) 😊
Very good piece, till now totally unknown to me. Nobody but Haydn would come up with sth as original as the finale with its unexpected pianissimo conclusion.
Interesting modulations in that opening movement. In 1764, Haydn was able to get away with writing a symphony in G Major and transitioning the key to F-sharp Major and B Minor during the exposition!
When used as part of a sequence of fifths it's not so bad, as opposed to say having a new subject in such a remote key.
He does no such thing!
Beautiful Symphony! Thank you for the Upload
In the menuet we have first a 2 part canon, in the trio a 3 part one. Very remarkable early symphony. A pity the conductor ignores the staccato demisemiquavers in the first movement.
There are no "demisemiquavers" in the first movement!
A linguistical misunderstanding. In Europe we say 16th notes.
@@christianwouters6764 The 'whole, half, quarter, eighth, sixteenth, etc.' descriptors are American in origin - and I acknowledge that 'breves, semibreves, minims, crotchets, quavers, semiquavers, etc.' are British descriptors (whatever British is these days!) 😊
Very good piece, till now totally unknown to me. Nobody but Haydn would come up with sth as original as the finale with its unexpected pianissimo conclusion.