I think it's pretty cool that Haydn wrote a piece inspired by learning of Uranus as a new planet. Makes me think of more modern interpretations of outer space like the planets suite and other works, including sci-fi movie scores - cool stuff
I am happy that the music of Haydn touched you, the BBC documentary is a typical talk talk talk documentary, a lot of televised events won't allow music to just speak. The pieces in the video are all on RUclips. BTW I am not the one speaking/narrating. All I did was put together 6 - 7 ten minutes clips into one 60 minute length video. It was for a Music Appreciation class I taught at a community college (I am now retired). I am glad you enjoyed the music. The concert scene is changing from the old days, and with the lingering Covid scare it is likely that concerts will be shorter (at least for the time being.) Thank you for your comments, I still get a kick out of viewer reactions. D. Davis.
@@Cimasiello00ha! All of Haydn’s music is worthwhile, even the operas. If I may share… This is a powerful quote from a book about the history of chamber music. I loved it and share because you will too. “A cold statistical listing[of Haydn’s extend works]can perform only one service here: to show us weaker mortals what a lifetime of industry can bring forth. The curious reader may estimate the number of separate movement contained within the total works of Haydn. He will find some twenty-five hundred. Apportioning those to the 50 years of Haydn’s creative activity, Roughly from 1750 to 1800, he will arrive at an approximation of one movement a week for half a century! The equivalent of one symphony a month for two generations; of a quartet every four weeks, of a sonata per fortnight-And sustained throughout a lifetime! And composing was only one part, almost a minor part, Of Haydn’s work: Rehearsing, performing, and administering took up equally large segments of his time. One never ceases to marvel that so large a proportion of Haydn’s available compositions are of masterful quality, that he so seldom repeated himself, that he was never at a loss for worthwhile, characteristic musical ideas. That many of his works have been lost goes without saying, and that many are mediocre or worse is equally possible. No composer has yet succeeded in writing only masterpieces; Even the greatest geniuses slip from their lofty perches at times. We are made happy, for this serves to remind us that they, too, are human. And Haydn was human indeed.”
Haydn did not write a "national anthem for Austria" (50:17) - there was no independent state "Austria" at the time - but he wrote an anthem for Francis (or Franz), Emperor of the Holy Roman Empire of German Nation. Subsequently (some 50 years later) August Heinrich Hoffmann von Fallersleben (not a narrow-minded nationalist, but an apologist of freedom and democracy) added a new Text "Deutschland, Deutschland über alles" or (third verse) "Einigkeit und Recht und Freiheit". When Germany became a Republic in 1918, the hymn was adopted as the national anthem of Germany. It had not been the anthem of the preceding German Empire or the Austro-Hungarian Empire, because it had too much the taste of democracy and revolution. That the hymn was misused by the Nazis does not diminish it's value. Altogether a nice and informative documentary about Hadyns relationship with Britain. I was particularly impressed by Hadyns interest and work with Scottish folk songs (47:46).
Thank you for viewing this doucumentary by the BBC. True, he composed it as a birthday song for Emperor Franz... The authors of the documentary glazed over that fine detail, I was not the author, I only seamed together 6 or 7 ten minute segments to make into one, I did it to show in a class I used to teach (now retired). It is surprising to me that so many folks watch this video meant only for my classes. The BBC did a fantastic job putting into perspective his life and his impact on the music in England... it was the 3rd part of a series on those composers that essentially created the music of England. I think the first was about Henry Purcell, the 2nd was on G. F. Handel, 3rd was this one on J F Haydn and lastly they did one on Felix Mendelssohn. All good with the same host (narrator & conductor). I am glad you viewed it and noticed the imperfections of the narrative - which is something I always pointed out to my classes. Have a wonderful weekend. Daniel Davis
@@fsnfsbid Hallo Daniel Davis, I would not say "imperfections" - it is a really nice and informative documentary. My remarks were meant as a simple commentary. I was not too aware of Haydns journeys to England and especially not of his interest in Scottish folk songs. Very interesting indeed! I will also have a look at the documentaries about Purcell, Händel and Mendelssohn ...
Joseph Haydn from Lower Austria heard the song from kroatian field workers of his hiome country. Haydn made first the "Kaiserquartett" and than the volkshymne, yes volkshymne so the correct name, it was for the House of Austria in all languages of the Danube Monarchy, all languages of Austria, there were 13 languages, that had n othing to do with the Germans, only for the Danube Monarchy
The excerpt from The Creation needs some pepper in the tempo pot. Here it borders on dragging. The conductor should check out fellow Brit conductor Colin Davis' energetic performance.
I've seen this series before, as a lowly 15yo amwanting to learn more about music (2017 must've been the year). and it's nice noce going back down memory lane, seeing info on these influential ppl leave a mark on British society. The Land Without Music trope is weird, cos ppl tend to forget that Henry Purcell exists. Dido and Aeneas was kl, I was an extra in a 2018 production. enjoyed myself vigorously. Between him and, say, Vaughn Williams and Holst, who else was there? Samuel Coleridge-Taylor and Elgar as well. that was not exclusive to choral stuff that literally no one remembers?
Erik Hertzer These two composers are in reality too different to be directly comparable, in spite of being contemporaries, good friends and their music seemingly on the surface, similar. It’s better to see them as complementary and try to understand why they had such mutual respect, admiration and love for each other and leave the ‘better’, ‘greater’, and so forth arguments to people interested in such things. What is true to say is that Mozart’s greatest music - by some distance - almost all happened after he moved to Vienna and met Haydn; this was not a coincidence.
Art, science and faith didn't meet (at the same time), as the presenter of this interesting and very good documentary video said, but they all the three share a common denominator: History! they co-evolve (see the German language concept"the Aufhebung". Berrada Mohammed Ali, an Arabic Moroccan lover of Classical music and an a great admirator of Josef Haydn
Thank you, I simply put this together from several fragmented clips so that my class could view it in one sitting. Their focus is on the music, and much of that goes in one ear and out the other. Thank you for your clarification and interesting historical viewpoint. D.
Nice information. Quite too much emphasis and a bit propagandic promotion of Great Britain. It would have been better, in my view, for them to start with Haydn at the beginning and use what Haydn actually said of his stay in Britain instead of the romanticisatuon of interested interpretation. It is after all a biography. Lots of good info. Thanks
It is the BBC, I would not expect it to be anti-Great Britain. I put this together to be shown for my Music Appreciation classes (I retired several years ago). The beauty of it was that it showed the places where Haydn lived and worked, something my students may never get to see personally. The overall perspective was positive and it presented much more music than any textbook out there. Thank you for watching. Daniel Davis
The series was about composers that had a profound influence on the UK and it's musical development . It covered the composers Purcell, Handel, Haydn and Mendelssohn.
Hello Doubutsu, Thank you for asking such a great question. The music featured is the 4th movement of Symphony #100 (Military), one of the featured symphonies in this documentary. Later on in the video they perform the second movement. If you have any further questions I will do my best to answer. fsnfsbid
Starting at 7:57 and continuing on for a while is Haydn's String Quartet Opus 74 No. 3.(Rider) in G minor, composed in 1793. Another one of his many great Quartets (he composed at least 68 quartets and possible as many as 83) Opus is the publication number, and in Opus 74 there are three different multimovement quartets. Thank you for the great question. Daniel Davis.
It was only called that in Germanic areas because there was a late appreciation of the local folk music. It was never without all music, the Tudor era alone shows that.
Simple answer - Mozart was too busy. He was in the midst of one of his greatest successful years. Commissions and operas all in demand. La clemenza di Tito for the emperor's coronation, the beginnings of his last opera The Magic Flute, and the never completed Requiem Mass, the phenomenal Clarinet Concerto, and a few other works for good measure... Mozart was on a roll. He was possible that he would be appointed as the director of Music at a large church in Vienna, (which explains the religious works he cranked out in 1791 including the heavenly Ave verum corpus - considered by some to be the most perfect of all his music and all music by anyone). It is sad to realize the demanding nature of music creation and the elevated nature of Mozart's creative power. How he could do all that in a matter of months when most composers would be happy to compose all that in a decade. I kind of get the feeling that he worked himself to death. I am not a music historian, and I am sure there will be disagreements with my generalized view of a very complex year in the life of Music's greatest composers. Read the book "1791, Mozart's last year" for a detailed perspective. Thank you for the great question.
I think, contrary to popular belief, that Mozart had a good income but had a lavish lifestyle to maintain and plus his debts were from gambling and billiards. Vienna was in a recession and the elite were the only ones who could afford the arts at the time. When Hadyn left for London, it was the last time the two composers would see each other.
True, that is also my understanding, Handel brought the structure and concept of Oratorio (an Italian word) with him during the Baroque era. By the time Haydn came to London, it was an English tradition so I imagine they meant the "English" Oratorio.
If you want to listen to an Italian-style oratorio, try Haydn’s Il ritorno di Tobia (1775), an almost endless succession of recitative and aria, with only three choruses - it is in effect a sacred opera seria. Mozart’s La betulla liberata (K118) is very similar, and there are numerous examples by native Italian composers. Haydn added two further magnificent choruses to Il ritorno di Tobia for a revival in 1784, but it is still - in spite of some cuts - in essence an Italian style work, sung in that language. Handel transformed the Italian style oratorio in England, primarily by altering the balance of the work by having a far greater involvement of the chorus; the bravura set piece arias were also curtailed as the action became more important than the soloists being provided with show-stopping moments. Haydn’s later Creation and Seasons followed this new pattern. Composers such as CPE Bach and Telemann also wrote some fine German language oratorios owing very little to the original Italian models. In short, you’re right, the oratorio did originate in Italy - where Handel spent some crucial years in his early twenties - but the modern oratorio was born in England in the hands of Handel, continued by Haydn, and then others such as Mendelssohn, Elgar, and a string of minor English composers such as Parry and Stanford, in the 19th century and beyond. All four major composers mentioned above had particularly strong links with England, where oratorios were popular, which stood in sharp contrast to Italy, where they became rare.
Not sure really, I have always liked it, however, considering the long history of the song, through decades and centuries of British rule over large parts of the earth, I am sure that some of those who were being "ruled" did not care for it. During a war - is it patriotic to praise (or like) the song of a foe? Also, the longevity of the song, to some, it may have developed a distasteful overuse in their ears.
The Brits have been full of it for centuries... Handel spent time in Italy composing Italian Opera and was hired to do the same in England, but when that endeavor failed he turned to the oratorio with English words, and it then became an "English" favorite.
It was Handel’s transformation of the Italian model into a very particular English phenomenon, using English words designed for English audiences, that in effect created a new genre - the English oratorio. Italian oratorio - from where the form originated - was in effect a sacred opera seria, it was an endless succession of recitative then aria set pieces, with maybe a very occasional end-of-act chorus, or duet, trio, or quartet. Handel created virtually a new form in which he set a dramatic story fully involving the audience, with a far greater role for the chorus, and the whole set in a language understood by the people. Composers such as Telemann and CPE Bach* similarly altered the format in Germany, whilst other contemporaries such as JS Bach simply went down other paths. Regarding the very odd comment about oratorio being an Italian word attached to a ‘…British (sic) form’, surely you are aware that a huge number of musical terms used in every European language are either Italian, or are derived from that language. *CPE Bach’s magnificent ‘Die Auferstehung und Himmelfahrt Jesu’ is similarly a German oratorio, and it too uses the Italian word oratorio to describe what it is - it is German, not Italian nor English.
@@fsnfsbid I have attempted a rather more useful explanation of the differences between Italian, English, and German oratorio above which you may find enlightening.
@@elaineblackhurst1509 Dear Elaine, Thank you for your insight. I do know about this to s lesser degree than you, and it is absolutely fascinating. The video was originally created by the BBC, all I did was string six 10 minute sections into one so that my Music Appreciation class for nonmusic majors could view it without interruption. Hadyn is a challenging character to garner a lot of interest among students, some are eager to get to Beethoven - or eager to get the heck out of the classroom. This film really got their attention and held them throughout, and it introduced a lot of music that I would not have time to share otherwise and to see all the historic locations. It is amazing to me that so many persons have viewed this video that I only intended for my classes. Now that I am retired from teaching it is still a marvel and a delight to hear from persons about how much they enjoy it or have a deeper insight than others. It is all Wonderful! Thank you for watching and for writing.
England, England above everything, above everything in the world, when, for protection and defense, it always takes a brotherly stand together. (German national anthem in English.?)
@@cristianm7097 Why? Because I could not get through watching it, that's why. It's poorly written, for one. Sad, because Haydn's symphonies are some of the greatest music ever written and deserve better remembrance than this crap documentary. Did Haydn know he wrote symphony 45 in a 'prickly dogdy' key? What keys are 'prickly and dodgy?'
Видеоклипы
I think it's pretty cool that Haydn wrote a piece inspired by learning of Uranus as a new planet. Makes me think of more modern interpretations of outer space like the planets suite and other works, including sci-fi movie scores - cool stuff
Beautiful film made by a lover of music. The creation process from music to visual image. Great enjoyment.
The greatest composer of them all. Great documentary, I remember seeing this on telly when it was first aired. Thankyou!.
i guess i found my favorite documentary, thank you
You are welcome. Also Thank the BBC.
yes they did a great job
I was never moved by concerts, but this music is different, it touched my sensitivity, You, stop talking, let me continue dreaming.
I am happy that the music of Haydn touched you, the BBC documentary is a typical talk talk talk documentary, a lot of televised events won't allow music to just speak. The pieces in the video are all on RUclips. BTW I am not the one speaking/narrating. All I did was put together 6 - 7 ten minutes clips into one 60 minute length video. It was for a Music Appreciation class I taught at a community college (I am now retired). I am glad you enjoyed the music. The concert scene is changing from the old days, and with the lingering Covid scare it is likely that concerts will be shorter (at least for the time being.) Thank you for your comments, I still get a kick out of viewer reactions. D. Davis.
Thank you very much for sharing! This made me happy and content.
You are welcome. So glad it brought you joy! Daniel
1:26 I like how he pronounced his name correctly.
Great enjoyment ! 🙏
Very nice very informative very interesting. More please.
I always overlooked Haydn till now. I have some miles to put in 👌
Go to his early stuff, from the 1760s. That's when he conquered the world. He was an old man by the time he came to London.
@@Cimasiello00ha! All of Haydn’s music is worthwhile, even the operas. If I may share…
This is a powerful quote from a book about the history of chamber music. I loved it and share because you will too.
“A cold statistical listing[of Haydn’s extend works]can perform only one service here: to show us weaker mortals what a lifetime of industry can bring forth. The curious reader may estimate the number of separate movement contained within the total works of Haydn.
He will find some twenty-five hundred. Apportioning those to the 50 years of Haydn’s creative activity, Roughly from 1750 to 1800, he will arrive at an approximation of one movement a week for half a century! The equivalent of one symphony a month for two generations; of a quartet every four weeks, of a sonata per fortnight-And sustained throughout a lifetime!
And composing was only one part, almost a minor part, Of Haydn’s work: Rehearsing, performing, and administering took up equally large segments of his time. One never ceases to marvel that so large a proportion of Haydn’s available compositions are of masterful quality, that he so seldom repeated himself, that he was never at a loss for worthwhile, characteristic musical ideas.
That many of his works have been lost goes without saying, and that many are mediocre or worse is equally possible. No composer has yet succeeded in writing only masterpieces; Even the greatest geniuses slip from their lofty perches at times. We are made happy, for this serves to remind us that they, too, are human. And Haydn was human indeed.”
An excellent insightful documentary. Thank you very much sharing it.
You are welcome.
Haydn did not write a "national anthem for Austria" (50:17) - there was no independent state "Austria" at the time - but he wrote an anthem for Francis (or Franz), Emperor of the Holy Roman Empire of German Nation. Subsequently (some 50 years later) August Heinrich Hoffmann von Fallersleben (not a narrow-minded nationalist, but an apologist of freedom and democracy) added a new Text "Deutschland, Deutschland über alles" or (third verse) "Einigkeit und Recht und Freiheit". When Germany became a Republic in 1918, the hymn was adopted as the national anthem of Germany. It had not been the anthem of the preceding German Empire or the Austro-Hungarian Empire, because it had too much the taste of democracy and revolution. That the hymn was misused by the Nazis does not diminish it's value.
Altogether a nice and informative documentary about Hadyns relationship with Britain. I was particularly impressed by Hadyns interest and work with Scottish folk songs (47:46).
Thank you for viewing this doucumentary by the BBC. True, he composed it as a birthday song for Emperor Franz...
The authors of the documentary glazed over that fine detail, I was not the author, I only seamed together 6 or 7 ten minute segments to make into one, I did it to show in a class I used to teach (now retired). It is surprising to me that so many folks watch this video meant only for my classes. The BBC did a fantastic job putting into perspective his life and his impact on the music
in England... it was the 3rd part of a series on those composers that essentially created the music of England. I think the first was about Henry Purcell, the 2nd was on G. F. Handel, 3rd was this one on J F Haydn and lastly they did one on Felix Mendelssohn. All good with the same host
(narrator & conductor). I am glad you viewed it and noticed the imperfections of the narrative - which is something I always pointed out to my classes.
Have a wonderful weekend.
Daniel Davis
@@fsnfsbid Hallo Daniel Davis, I would not say "imperfections" - it is a really nice and informative documentary. My remarks were meant as a simple commentary. I was not too aware of Haydns journeys to England and especially not of his interest in Scottish folk songs. Very interesting indeed! I will also have a look at the documentaries about Purcell, Händel and Mendelssohn ...
Joseph Haydn from Lower Austria heard the song from kroatian field workers of his hiome country. Haydn made first the "Kaiserquartett" and than the volkshymne, yes volkshymne so the correct name, it was for the House of Austria in all languages of the Danube Monarchy, all languages of Austria, there were 13 languages, that had n othing to do with the Germans, only for the Danube Monarchy
Very recommendable!
Thanks!
Wow. Just. Wow.
The excerpt from The Creation needs some pepper in the tempo pot. Here it borders on dragging. The conductor should check out fellow Brit conductor Colin Davis' energetic performance.
Larry, I completely agree, the Colin Davis version is the best available!.
Still very recommendable!
Yes, I have enjoyed viewing it many times with my music appreciation classes. Thank you for watching!
@@fsnfsbid Thank you! You are an fine enthusiast :-)
I've seen this series before, as a lowly 15yo amwanting to learn more about music (2017 must've been the year). and it's nice noce going back down memory lane, seeing info on these influential ppl leave a mark on British society.
The Land Without Music trope is weird, cos ppl tend to forget that Henry Purcell exists. Dido and Aeneas was kl, I was an extra in a 2018 production. enjoyed myself vigorously. Between him and, say, Vaughn Williams and Holst, who else was there? Samuel Coleridge-Taylor and Elgar as well. that was not exclusive to choral stuff that literally no one remembers?
Great composer.
shnimmuc : in my opinion...the second greatest after Mozart...and thats also Haydn’s opinion about Mozart too...
Erik Hertzer
These two composers are in reality too different to be directly comparable, in spite of being contemporaries, good friends and their music seemingly on the surface, similar.
It’s better to see them as complementary and try to understand why they had such mutual respect, admiration and love for each other and leave the ‘better’, ‘greater’, and so forth arguments to people interested in such things.
What is true to say is that Mozart’s greatest music - by some distance - almost all happened after he moved to Vienna and met Haydn; this was not a coincidence.
Art, science and faith didn't meet (at the same time), as the presenter of this interesting and very good documentary video said, but they all the three share a common denominator: History! they co-evolve (see the German language concept"the Aufhebung". Berrada Mohammed Ali, an Arabic Moroccan lover of Classical music and an a great admirator of Josef Haydn
Thank you, I simply put this together from several fragmented clips so that my class could view it in one sitting. Their focus is on the music, and much of that goes in one ear and out the other. Thank you for your clarification and interesting historical viewpoint. D.
That is pretty interesting
Hello! Thanks for the great documentary! Could you enable subtitles so that I can refer to some who do not speak English? thank you so much
Nice information. Quite too much emphasis and a bit propagandic promotion of Great Britain. It would have been better, in my view, for them to start with Haydn at the beginning and use what Haydn actually said of his stay in Britain instead of the romanticisatuon of interested interpretation. It is after all a biography. Lots of good info. Thanks
It is the BBC, I would not expect it to be anti-Great Britain. I put this together to be shown for my Music Appreciation classes (I retired several years ago). The beauty of it was that it showed the places where Haydn lived and worked, something my students may never get to see personally. The overall perspective was positive and it presented much more music than any textbook out there. Thank you for watching. Daniel Davis
The series was about composers that had a profound influence on the UK and it's musical development . It covered the composers Purcell, Handel, Haydn and Mendelssohn.
The problem was Cromwell, who basically destroyed anything in Britain except Protestant prayer.
What Symphony number or piece by Haydn at 2:00 to 3:10?
Hello Doubutsu, Thank you for asking such a great question. The music featured is the 4th movement of Symphony #100 (Military), one of the featured symphonies in this documentary. Later on in the video they perform the second movement. If you have any further questions I will do my best to answer. fsnfsbid
Thank you
Charles Hazlewood conductor.
Conductors are like weathermen
What piece is played at 8:00 ?
Starting at 7:57 and continuing on for a while is Haydn's String Quartet Opus 74 No. 3.(Rider) in G minor, composed in 1793. Another one of his many great Quartets (he composed at least 68 quartets and possible as many as 83) Opus is the publication number, and in Opus 74 there are three different multimovement quartets. Thank you for the great question. Daniel Davis.
Joseph Haydn composed the german anthem Beethoven had the respect o him ..........
The land without music and the British forgot .....
It was only called that in Germanic areas because there was a late appreciation of the local folk music. It was never without all music, the Tudor era alone shows that.
I wonder why Mozart didn't go with Hadyn to London during that time?
Simple answer - Mozart was too busy. He was in the midst of one of his greatest successful years. Commissions and operas all in demand. La clemenza di Tito for the emperor's coronation, the beginnings of his last opera The Magic Flute, and the never completed Requiem Mass, the phenomenal Clarinet Concerto, and a few other works for good measure... Mozart was on a roll. He was possible that he would be appointed as the director of Music at a large church in Vienna, (which explains the religious works he cranked out in 1791 including the heavenly Ave verum corpus - considered by some to be the most perfect of all his music and all music by anyone). It is sad to realize the demanding nature of music creation and the elevated nature of Mozart's creative power. How he could do all that in a matter of months when most composers would be happy to compose all that in a decade. I kind of get the feeling that he worked himself to death. I am not a music historian, and I am sure there will be disagreements with my generalized view of a very complex year in the life of Music's greatest composers. Read the book "1791, Mozart's last year" for a detailed perspective. Thank you for the great question.
I think, contrary to popular belief, that Mozart had a good income but had a lavish lifestyle to maintain and plus his debts were from gambling and billiards. Vienna was in a recession and the elite were the only ones who could afford the arts at the time.
When Hadyn left for London, it was the last time the two composers would see each other.
9-bonifacio
kilala kita ah
As far as I know the oratorio has its origins in Italy not in England
True, that is also my understanding, Handel brought the structure and concept of Oratorio (an Italian word) with him during the Baroque era. By the time Haydn came to London, it was an English tradition so I imagine they meant the "English" Oratorio.
If you want to listen to an Italian-style oratorio, try Haydn’s Il ritorno di Tobia (1775), an almost endless succession of recitative and aria, with only three choruses - it is in effect a sacred opera seria.
Mozart’s La betulla liberata (K118) is very similar, and there are numerous examples by native Italian composers.
Haydn added two further magnificent choruses to Il ritorno di Tobia for a revival in 1784, but it is still - in spite of some cuts - in essence an Italian style work, sung in that language.
Handel transformed the Italian style oratorio in England, primarily by altering the balance of the work by having a far greater involvement of the chorus; the bravura set piece arias were also curtailed as the action became more important than the soloists being provided with show-stopping moments.
Haydn’s later Creation and Seasons followed this new pattern.
Composers such as CPE Bach and Telemann also wrote some fine German language oratorios owing very little to the original Italian models.
In short, you’re right, the oratorio did originate in Italy - where Handel spent some crucial years in his early twenties - but the modern oratorio was born in England in the hands of Handel, continued by Haydn, and then others such as Mendelssohn, Elgar, and a string of minor English composers such as Parry and Stanford, in the 19th century and beyond.
All four major composers mentioned above had particularly strong links with England, where oratorios were popular, which stood in sharp contrast to Italy, where they became rare.
Carissimi's works are early examples.
Great documentary with sometimes hilarious auto text!
Why would anyone loathe "Rule Britannia"???
Not sure really, I have always liked it, however, considering the long history of the song, through decades and centuries of British rule over large parts of the earth, I am sure that some of those who were being "ruled" did not care for it. During a war - is it patriotic to praise (or like) the song of a foe? Also, the longevity of the song, to some, it may have developed a distasteful overuse in their ears.
Subtitles are hilarious - ant introducer ??? Work on that one first.
Oratorio a British form? Must be why it has an Italian name.
The Brits have been full of it for centuries... Handel spent time in Italy composing Italian Opera and was hired to do the same in England, but when that endeavor failed he turned to the oratorio with English words, and it then became an "English" favorite.
It was Handel’s transformation of the Italian model into a very particular English phenomenon, using English words designed for English audiences, that in effect created a new genre - the English oratorio.
Italian oratorio - from where the form originated - was in effect a sacred opera seria, it was an endless succession of recitative then aria set pieces, with maybe a very occasional end-of-act chorus, or duet, trio, or quartet.
Handel created virtually a new form in which he set a dramatic story fully involving the audience, with a far greater role for the chorus, and the whole set in a language understood by the people.
Composers such as Telemann and CPE Bach* similarly altered the format in Germany, whilst other contemporaries such as JS Bach simply went down other paths.
Regarding the very odd comment about oratorio being an Italian word attached to a ‘…British (sic) form’, surely you are aware that a huge number of musical terms used in every European language are either Italian, or are derived from that language.
*CPE Bach’s magnificent ‘Die Auferstehung und Himmelfahrt Jesu’ is similarly a German oratorio, and it too uses the Italian word oratorio to describe what it is - it is German, not Italian nor English.
@@fsnfsbid
I have attempted a rather more useful explanation of the differences between Italian, English, and German oratorio above which you may find enlightening.
@@elaineblackhurst1509 Dear Elaine, Thank you for your insight. I do know about this to s lesser degree than you, and it is absolutely fascinating. The video was originally created by the BBC, all I did was string six 10 minute sections into one so that my Music Appreciation class for nonmusic majors could view it without interruption. Hadyn is a challenging character to garner a lot of interest among students, some are eager to get to Beethoven - or eager to get the heck out of the classroom. This film really got their attention and held them throughout, and it introduced a lot of music that I would not have time to share otherwise and to see all the historic locations. It is amazing to me that so many persons have viewed this video that I only intended for my classes. Now that I am retired from teaching it is still a marvel and a delight to hear from persons about how much they enjoy it or have a deeper insight than others. It is all Wonderful! Thank you for watching and for writing.
@@fsnfsbidFull of it? :D. Look at the US for that.
England, England above everything,
above everything in the world,
when, for protection and defense, it always
takes a brotherly stand together. (German national anthem in English.?)
I still find Haydn boring to tears....
Yawn UK and USA.All you can do is imitate and sell..
Created the internet you're watching it on, schmuck.
This is unwatchable.
Why ?
@@cristianm7097 Why? Because I could not get through watching it, that's why. It's poorly written, for one. Sad, because Haydn's symphonies are some of the greatest music ever written and deserve better remembrance than this crap documentary.
Did Haydn know he wrote symphony 45 in a 'prickly dogdy' key? What keys are 'prickly and dodgy?'