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
Jean-Baptiste Des Prez I’m not sure that in the Classical period, ‘favourite’ is quite the same thing as ‘most frequently used’ which might be a better way of expressing your point. Sometimes, the keys chosen for works in the 18th century were determined by technical considerations regarding the instruments themselves, which is why in Mozart and Haydn you get a number of C major trumpets and drums type symphonies with something of a ceremonial feel about them for example. As another specific example, in 1772, Haydn had to order special parts for the horns to be able to play Symphony 45 in f# minor, and Symphony 46 in B major (English B = five sharps). A number of instruments at the time sounded much better in some keys than others - Mozart in particular had a real feel for this. A variation of this is that almost all of Haydn’s occasional use of the cors anglais is in E flat. The great Haydn scholar HC Robbins Landon suggests that f minor was in fact Haydn’s favourite key, in which tonality there is only one symphony but a number of exceptional works, or parts of works. Examples of Haydn in f minor: - Symphony 49 ‘La Passione’ - String quartet Opus 55 No 2 - Variations in f minor Hob. XVII:6 - ‘The Spirit’s Song’, and ‘Fidelity’ - Parts of the cantatas Scena di Berenice, and Arianna a Naxos - Parts of the London opera, L’Anima del Filosofo. Without exception, all of the above works - there are others too - are exceptional works. Haydn was always special in f minor* - a key rarely used by Mozart - and it is perhaps not a coincidence that in Beethoven’s first published piano sonatas, which were dedicated to Haydn by his former pupil, Opus 2 No 1 is also in f minor - a touching thought by Beethoven that would have been appreciated by his old counterpoint teacher. * Mozart was always special in g minor; Beethoven in c minor.
(1764) Anche in opere come questa in cui Haydn indulge al piacere di ripercorrere vecchi sentieri, è possibile scorgere qualche tocco prezioso, qualche dettaglio di scrittura che testimonia una costante ascesa verso il perfezionamento della sinfonia. Nel Presto assai, vale la pena soffermarsi sul ritmo tre brevi e una lunga, che costituisce la figura d'attacco: non ha nulla di fatidico e neppure di tematico, è semplicemente un richiamo all'attenzione, uno scherzoso colpetto sulla spalla con effetto di sorpresa. E' tuttavia questo finale scatenato, senza temi e senza problemi, è tra i più felici: nelle ultime battute - tre note inframezzate a lunghe pause e una, pizzicata conclusiva - affiora forse per la prima volta con tanta "impertinenza", l'humor haydniano. LDC
translation (google-assisted): Even in works like this in which Haydn indulges in the pleasure of retracing old paths, it is possible to glimpse some precious touches, some writing details that testify to a constant ascent towards the perfection of the symphony. In the fourth movement (Presto molto), it is worth dwelling on the three short and one long rhythm, which constitutes the attack figure: it has nothing fateful or even thematic, it is simply a call to attention, a playful tap on the shoulder with the effect of surprise. However, this wild ending, without themes and without problems, is among Haydn's happiest: in the last bars - three notes interspersed with long pauses and a final plucked one - Haydn's characteristic "impertinent" humor emerges, perhaps for the first time.
![Mozart - Symphony No. 25 in G minor, K. 183 [complete]](/img/1.gif)
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
Well said!
2nd movement
6:02 begins | 13:00 somber steel
3rd movement
14:16 begins
4th movement
17:44 begins
BEAUTIFUL
G major, Haydn's second most favourite key for his symphonies.
Jean-Baptiste Des Prez
I’m not sure that in the Classical period, ‘favourite’ is quite the same thing as ‘most frequently used’ which might be a better way of expressing your point.
Sometimes, the keys chosen for works in the 18th century were determined by technical considerations regarding the instruments themselves, which is why in Mozart and Haydn you get a number of C major trumpets and drums type symphonies with something of a ceremonial feel about them for example.
As another specific example, in 1772, Haydn had to order special parts for the horns to be able to play Symphony 45 in f# minor, and Symphony 46 in B major (English B = five sharps).
A number of instruments at the time sounded much better in some keys than others - Mozart in particular had a real feel for this.
A variation of this is that almost all of Haydn’s occasional use of the cors anglais is in E flat.
The great Haydn scholar HC Robbins Landon suggests that f minor was in fact Haydn’s favourite key, in which tonality there is only one symphony but a number of exceptional works, or parts of works.
Examples of Haydn in f minor:
- Symphony 49 ‘La Passione’
- String quartet Opus 55 No 2
- Variations in f minor Hob. XVII:6
- ‘The Spirit’s Song’, and ‘Fidelity’
- Parts of the cantatas Scena di Berenice, and Arianna a Naxos
- Parts of the London opera, L’Anima del Filosofo.
Without exception, all of the above works - there are others too - are exceptional works.
Haydn was always special in f minor* - a key rarely used by Mozart - and it is perhaps not a coincidence that in Beethoven’s first published piano sonatas, which were dedicated to Haydn by his former pupil, Opus 2 No 1 is also in f minor - a touching thought by Beethoven that would have been appreciated by his old counterpoint teacher.
* Mozart was always special in g minor; Beethoven in c minor.
Thank you for the upload.
Nice symphony!
❤
(1764) Anche in opere come questa in cui Haydn indulge al piacere di ripercorrere vecchi sentieri, è possibile scorgere qualche tocco prezioso, qualche dettaglio di scrittura che testimonia una costante ascesa verso il perfezionamento della sinfonia. Nel Presto assai, vale la pena soffermarsi sul ritmo tre brevi e una lunga, che costituisce la figura d'attacco: non ha nulla di fatidico e neppure di tematico, è semplicemente un richiamo all'attenzione, uno scherzoso colpetto sulla spalla con effetto di sorpresa. E' tuttavia questo finale scatenato, senza temi e senza problemi, è tra i più felici: nelle ultime battute - tre note inframezzate a lunghe pause e una, pizzicata conclusiva - affiora forse per la prima volta con tanta "impertinenza", l'humor haydniano. LDC
Fiko Fiko, amanella amenalla, Somaliler anamizi bella.
translation (google-assisted): Even in works like this in which Haydn indulges in the pleasure of retracing old paths, it is possible to glimpse some precious touches, some writing details that testify to a constant ascent towards the perfection of the symphony. In the fourth movement (Presto molto), it is worth dwelling on the three short and one long rhythm, which constitutes the attack figure: it has nothing fateful or even thematic, it is simply a call to attention, a playful tap on the shoulder with the effect of surprise. However, this wild ending, without themes and without problems, is among Haydn's happiest: in the last bars - three notes interspersed with long pauses and a final plucked one - Haydn's characteristic "impertinent" humor emerges, perhaps for the first time.