Life enhancing wonderful music, like much of Haydn, but reaches its zenith in these late symphonies. If ever there was an under-rated composer, it is Joseph Haydn! Not so in his lifetime, though.
I agree. When I was a kid I discovered the Antal Dorati sets and fell in love with 88 to 92 - and then all the rest. Forty years on, after wandering all over the classical repertoire, I come back to this music and find I still love Haydn's later Symphonies best of all.
Haydn is not under-rated, though a number of his works are not as well known a they should be. Of all the great composers, I would suggest about 5% of his output is reasonably well known; in the case of Mozart or Beethoven, it is perhaps approaching about 10%.
Excellent conducting by Mackerras of this famous symphony of Haydn, with the clock that we can retrieve in the eigjth of Beethoven.uder Maelzel"s metronome.
Excellent rendition! Very true to the spirit of the music! I played No. 103 "The Drum Roll" in the New Zealand National Youth Orchestra when I was 15 (violin)! Thank you!
Ahhh ! I remember every note. Little known fact ..... Haydn wrote this as a sort of pee take of all the fashionistas of his day, when the toffs at court wore well clocked stockings.
Mary Holloway With the greatest of respect, your comment really is the most arrant nonsense, and is totally misleading. This symphony had nothing to do with ‘...toffs at court’. It was written for a very middle class, ticket buying public in a very busy and bustling cosmopolitan London.
Teiko_Maken Me too. I personally hate those conductors and editors of scores who have no sense of humor to enjoy Haydn's most outrageous joke. Listen to the St. Martin in the Fields recording and compare the way they play the trio with the way Mackerras and Davis play it. I first learned this symphony with Davis, and to this day, the trio is the one passage in all the London symphonies that still tickles my funny bone.
My hero is Ludwig van Beethoven. His music affects me so much. I am beginning to think that there are other composers who could possibly please me almost as much. Mozart of course but Joseph Haydn has surprised me. I have heard of him, know nothing about him but...........
My classical music understanding is almost non-existent but I do love Beethoven. Haydn is very good but Ludwig van Beethoven is the master for me. Moonlight Sonata.....oh my god....
@@elaineblackhurst1509 thank you I will. I have been reading up on Franz Joseph Haydn and have discovered that he actually TAUGHT my hero Ludwig van Beethoven although I also gather that he claimed he learnt very little and did not enjoy the experience. Perhaps this is why I have noticed that the music of Haydn often reminds me of Beethoven. It's all quite fascinating.....
@@heerweegewhammers9356 Having a proper knowledge and understanding of Haydn (and Mozart) will deepen and sharpen your appreciation of Beethoven; unfortunately, Haydn in particular suffers from more misinformation, misunderstandings, and downright nonsense than most. I hope you find the following helpful. i) It’s *Joseph Haydn.* The ‘Franz’ is a Catholic baptismal and was never used - ever - during the composer’s long lifetime; in the same way, who ever refers to Johannes Chrisostomus Wolfgangus Theophilus Mozart ? ii) Haydn taught Beethoven counterpoint - basically musical grammar - on and off for just 14 months between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second eighteen month long trip to England in January 1794. Haydn was not Beethoven’s teacher in the generally accepted sense of the word; the only person who was a general teacher was Christian Gottlob Neefe in Bonn up to 1792. Albrechtsberger (who took over the counterpoint lessons after Haydn left for England), and Salieri (Italian vocal music), along with Haydn were all very specialist teachers of one particular aspect of music. iii) The success or not of Beethoven’s lessons with Haydn are coloured by very little evidence, and most of it coming from the very awkward Beethoven. The following should be considered: Of the 245 extant exercises, many were not marked by Haydn - the main evidence for the prosecution; in fact, Beethoven’s surprisingly large number of errors were probably discussed viva voce, and rather like teachers today, not every mistake would be covered in red ink (actually Haydn used a pencil back then). Haydn was extremely busy working on at least three symphonies for the forthcoming trip to England, along with the Opus 71/74 set of string quartets; it’s hardly surprising the young Beethoven came second in terms of time. Beethoven said he learned nothing - true; but it referred to the counterpoint lessons alone, not Haydn generally. It’s also worth asking if Beethoven was complaining about the teacher or what was being taught, which are two different things. We do not really know Haydn’s opinions about the lessons. It’s worth noting, that though Beethoven refused to add ‘Pupil of Haydn’ to the title page of his Opus 2 piano sonatas on Haydn’s return from England in 1795, he nevertheless played them through to him, and then dedicated them to him; this suggests that perhaps the modern, negative Beethoven-centric view of their relationship was perhaps not quite as straightforward as some of the simplistic RUclips comments suggest. Neither Neefe nor Albrechtsberger ever received a dedication, only Haydn (the Opus 2 piano sonatas) and Salieri (the violin sonatas Opus 12) were so honoured; all three of Beethoven’s Viennese teachers found him headstrong and difficult, it’s only with Haydn though that it’s so often highlighted. iv) In terms of basic compositional-style DNA; there’s more of Haydn in Beethoven than any other composer. v) At various times, Beethoven studied in particular the works of JS Bach, Handel, Mozart and Haydn; we know he knew a significant proportion of Haydn’s later works which were being played all over Vienna in the 1790’s so he would have listened with keen ears - and then did his own thing. Beethoven copied out the whole of Haydn’s string quartet Opus 20 No 1, and chunks of Symphony 99; Haydn in return was in no doubt that ‘Der Grosse Mogul’ as he called him, would take his place amongst the greatest of composers. Foreshadowings of Beethoven are inevitably to be found in Haydn, but the key to understanding the greatness of Beethoven is that he took music from the high-water mark of the Classical style of Mozart and Haydn, but then explored new areas in new ways, in his own way. Hope that’s of interest to yourself, and anyone else passing by.
Marvelous music, and an equally superb performance, full of bite and vigour. Haydn never fails to surprise and delight. Who would have expected the eponymous second movement to take us from the simplicity and humour of its opening to those astonshing moments of darkness and angst, only to return to a playful iteration of the theme as if nothing had ever happened? Is it heretical to say that I prefer Haydn's Paris and London symphonies to many of Mozart's?
I'm a huge Mozart fan but have to admit that, other than the last four symphonies (yes, I include no.38 here, or at least the first movement), or if I'm being generous, the last six (i.e., 35 and 36), Haydn wrote better symphonies. Haydn seems to work through his thematic material just a little better, his developments wring out the material better, his fugato sections are longer and more impressive, and, structurally, they are also more innovative. I feel like with Mozart, it wasn't really the best medium for him to express himself. Mozart's greatest works were in opera and his piano concertos (which are very "operatic" in their own right). The symphonies seem to lack his ability to create different "characters" in the orchestra, maybe because it's one long continuous narrative per movement, whereas the operas and concertos have these little moments where he can segue into something different for a moment.
What did Wagner say after encountering Haydn's London Symphonies? - 'He is the greatest orchestrator of all time.' Clear to me. The problem is that to get Haydn's greatness you have to listen carefully to the music and most people want instant gratification which they can easily get from Mozart. IMO Most haydn symphonies blow away anything by Mozart.
@@itsbobinnit6944 I think this quotation is much misunderstood, but as I don’t read German it’s difficult to comment. As presented in your comment, I have to disagree with Wagner - Haydn’s orchestration* often pales in comparison to that of Mozart for example; where Wagner was correct was that Haydn had a detailed knowledge and understanding of every instrument of the orchestra, and unlike many composers both before and after, wrote idiomatically for every one of them. * Haydn had his own very personal sense of orchestral sonority, it was different - not better or worse - to that of Mozart, but it is less sensuous, seductive, and dense, but more original, assertive, and transparent.
From opening tenebrae to joyful carnaval celebration in some palace.It turns cynical as if it did not want to end, it wanted to be eternal. Let's come to an end, a real end not a false ending that is a new beginning. The andante is a super famous theme like a pas de deux to celebrate some ansolute calm situation that cannot be disturbed by anything. Eternal peace and quiet, though here and there there is a pang of some kind in that enjoying heart, if it is a heart. It might only be a peaceful spleen and a quiet liver soused in some opiate. A rebellion at the eleven minute as if it were the eleventh hour. The andante is getting crazy but all ends nearly well after all and peace and quiet comes back without any spleen and gall in the mood of this mindless enjoyment. And once again the repetitiveness of that music is sickening. Mannheim is good but not too much and with more than just enough notes. The variations show that under that quietness there is danger, brutality, power and even absolute control. Please all of you get back to the step, tempo, rhythm and keep it without any qualms of conscience or any other romantic useless entity. The Menuet is there to give tio this celebration the grandeur and nobility it requires. Each repetition is teh echo of itself in the previous and the next sentence. The minuet turns on itself luke a top that cannot stop because it cannot start and it better not stop otherwise it would be dead forever. No turning bourree in that minuet. Just jumping from one foot to the next from one hand to the next from one partner to the next. Genteel and gentle. Just aristocratic.But the 18th century was also a century of enlighrtenment and change, of rebellion and even revolution. So even the nicest minuet gets disturbed by some variations in the shape of a tentative escape from the high security prision of this aristocratic dance. Maybe even here and there Haydn may have thought of Mozart and some whirling, turning, spinning little moments come up to be criushed at once by the dominant orchestra that cannot stand any evasion. And it all ends with a vivace that is a real piece of glorious illusion. More than lively it is a perennial neverending kind of a lament crushed down by the orchestra that want order in the ranks and files of this unruly society. You can complain as much as you want but we are the masters of this world and thinhs will go the way we say.For you the lament, for us the piower, profit, control, dominance, governing force and even violence. And stop forgetting we are in a state of the law that is to say under the sole authority of the law. Grumble grumble lament lament we will get the whip and if necessary the guillotine.
Monseur Jacques, I couldn't agree more, even if I could! I have gotten a cultural lesson, symphonic lesson, wonderful sense of romantic nipping at aristocracy and over-dramatic frightening the children all at once! I almost want to correct the few typos and share your comment as a diatribe on the function of the sonata form - the construction of the symphonic movements and the moods and instructions that a good, dramatic conductor imparts on his players. Thank you immensely for sharing your artistic wisdom and may we rise to the occasion! ;)
We can always rise in music and one day rise to the sky that is more often underground, but well it rises in the sky if we decide to smoke the end of this life.
Just heard this on the radio today and needed to hear the whole thing from start to finish. Loving it.
Life enhancing wonderful music, like much of Haydn, but reaches its zenith in these late symphonies. If ever there was an under-rated composer, it is Joseph Haydn! Not so in his lifetime, though.
I agree. When I was a kid I discovered the Antal Dorati sets and fell in love with 88 to 92 - and then all the rest. Forty years on, after wandering all over the classical repertoire, I come back to this music and find I still love Haydn's later Symphonies best of all.
Haydn is not under-rated, though a number of his works are not as well known a they should be.
Of all the great composers, I would suggest about 5% of his output is reasonably well known; in the case of Mozart or Beethoven, it is perhaps approaching about 10%.
Excellent conducting by Mackerras of this famous symphony of Haydn, with the clock that we can retrieve in the eigjth of Beethoven.uder Maelzel"s metronome.
this vid's sound quality is superb. thx for uploading
Magnifique. I love what Mckerras does.
Exelent symphonie of Josèphe haydn i love the classic and a Mozart Bach and haydn very very very good for production
Thanks for the marvellous posting.I studied this for music GCE, so long ago and, yes I failed, it's great to hear it again.
Excellent rendition! Very true to the spirit of the music! I played No. 103 "The Drum Roll" in the New Zealand National Youth Orchestra when I was 15 (violin)! Thank you!
Wow ! Well done you.
Nice! good for you
Great symphony, i need to listen to more of Haydn's work.
I always liked McKerras choices of tempo and articulation in Mozart and Haydn, here again the performance is absolutely supreme
+MrBanderdenouveau Yes, I love the balance.
One of the mostly reliable reading of Haydn. Excellent!
Bit of an injustice that the top comments are all bitching about homework. This is what music's all about in my opinion.
Sad.
Thanks a lot!
This is amazing
Great symphony! Volume is perfect as well! Thanks for sharing.
Volume is perfect?
Favorite part of this whole symphony for me begins at 10:57.
Impressivous & lively and easy to read some long essay with,though bearing similiarlties along other major composers like b.hoven.
All perfect
This Is One Of the 12 London symphonies.
Ahhh ! I remember every note. Little known fact ..... Haydn wrote this as a sort of pee take of all the fashionistas of his day, when the toffs at court wore well clocked stockings.
Mary Holloway
With the greatest of respect, your comment really is the most arrant nonsense, and is totally misleading.
This symphony had nothing to do with ‘...toffs at court’.
It was written for a very middle class, ticket buying public in a very busy and bustling cosmopolitan London.
What the hell are you talking about? It's named after the second movement which sounds like...a clock.
The 3rd movement is my favorite !
Teiko_Maken Me too. I personally hate those conductors and editors of scores who have no sense of humor to enjoy Haydn's most outrageous joke. Listen to the St. Martin in the Fields recording and compare the way they play the trio with the way Mackerras and Davis play it. I first learned this symphony with Davis, and to this day, the trio is the one passage in all the London symphonies that still tickles my funny bone.
Teiko_Mak
My hero is Ludwig van Beethoven. His music affects me so much. I am beginning to think that there are other composers who could possibly please me almost as much. Mozart of course but Joseph Haydn has surprised me. I have heard of him, know nothing about him but...........
It’s difficult to either appreciate or understand Beethoven fully without having some knowledge and understanding of both Mozart and Haydn.
My classical music understanding is almost non-existent but I do love Beethoven. Haydn is very good but Ludwig van Beethoven is the master for me. Moonlight Sonata.....oh my god....
@@heerweegewhammers9356
If you enjoy the ‘Moonlight’, try the slow movement of Haydn’s piano sonata in E flat Hob. XVI:49.
@@elaineblackhurst1509 thank you I will. I have been reading up on Franz Joseph Haydn and have discovered that he actually TAUGHT my hero Ludwig van Beethoven although I also gather that he claimed he learnt very little and did not enjoy the experience. Perhaps this is why I have noticed that the music of Haydn often reminds me of Beethoven. It's all quite fascinating.....
@@heerweegewhammers9356
Having a proper knowledge and understanding of Haydn (and Mozart) will deepen and sharpen your appreciation of Beethoven; unfortunately, Haydn in particular suffers from more misinformation, misunderstandings, and downright nonsense than most.
I hope you find the following helpful.
i) It’s *Joseph Haydn.*
The ‘Franz’ is a Catholic baptismal and was never used - ever - during the composer’s long lifetime; in the same way, who ever refers to Johannes Chrisostomus Wolfgangus Theophilus Mozart ?
ii) Haydn taught Beethoven counterpoint - basically musical grammar - on and off for just 14 months between Beethoven’s arrival in Vienna in November 1792 and Haydn’s departure for his second eighteen month long trip to England in January 1794.
Haydn was not Beethoven’s teacher in the generally accepted sense of the word; the only person who was a general teacher was Christian Gottlob Neefe in Bonn up to 1792.
Albrechtsberger (who took over the counterpoint lessons after Haydn left for England), and Salieri (Italian vocal music), along with Haydn were all very specialist teachers of one particular aspect of music.
iii) The success or not of Beethoven’s lessons with Haydn are coloured by very little evidence, and most of it coming from the very awkward Beethoven.
The following should be considered:
Of the 245 extant exercises, many were not marked by Haydn - the main evidence for the prosecution; in fact, Beethoven’s surprisingly large number of errors were probably discussed viva voce, and rather like teachers today, not every mistake would be covered in red ink (actually Haydn used a pencil back then).
Haydn was extremely busy working on at least three symphonies for the forthcoming trip to England, along with the Opus 71/74 set of string quartets; it’s hardly surprising the young Beethoven came second in terms of time.
Beethoven said he learned nothing - true; but it referred to the counterpoint lessons alone, not Haydn generally.
It’s also worth asking if Beethoven was complaining about the teacher or what was being taught, which are two different things.
We do not really know Haydn’s opinions about the lessons.
It’s worth noting, that though Beethoven refused to add ‘Pupil of Haydn’ to the title page of his Opus 2 piano sonatas on Haydn’s return from England in 1795, he nevertheless played them through to him, and then dedicated them to him; this suggests that perhaps the modern, negative Beethoven-centric view of their relationship was perhaps not quite as straightforward as some of the simplistic RUclips comments suggest.
Neither Neefe nor Albrechtsberger ever received a dedication, only Haydn (the Opus 2 piano sonatas) and Salieri (the violin sonatas Opus 12) were so honoured; all three of Beethoven’s Viennese teachers found him headstrong and difficult, it’s only with Haydn though that it’s so often highlighted.
iv) In terms of basic compositional-style DNA; there’s more of Haydn in Beethoven than any other composer.
v) At various times, Beethoven studied in particular the works of JS Bach, Handel, Mozart and Haydn; we know he knew a significant proportion of Haydn’s later works which were being played all over Vienna in the 1790’s so he would have listened with keen ears - and then did his own thing.
Beethoven copied out the whole of Haydn’s string quartet Opus 20 No 1, and chunks of Symphony 99; Haydn in return was in no doubt that ‘Der Grosse Mogul’ as he called him, would take his place amongst the greatest of composers.
Foreshadowings of Beethoven are inevitably to be found in Haydn, but the key to understanding the greatness of Beethoven is that he took music from the high-water mark of the Classical style of Mozart and Haydn, but then explored new areas in new ways, in his own way.
Hope that’s of interest to yourself, and anyone else passing by.
Flydende let musik med flotte variationer. Det er dejligt at lytte til......
A proliferation of symphonies at the end.
Marvelous music, and an equally superb performance, full of bite and vigour. Haydn never fails to surprise and delight. Who would have expected the eponymous second movement to take us from the simplicity and humour of its opening to those astonshing moments of darkness and angst, only to return to a playful iteration of the theme as if nothing had ever happened? Is it heretical to say that I prefer Haydn's Paris and London symphonies to many of Mozart's?
I'm a huge Mozart fan but have to admit that, other than the last four symphonies (yes, I include no.38 here, or at least the first movement), or if I'm being generous, the last six (i.e., 35 and 36), Haydn wrote better symphonies. Haydn seems to work through his thematic material just a little better, his developments wring out the material better, his fugato sections are longer and more impressive, and, structurally, they are also more innovative. I feel like with Mozart, it wasn't really the best medium for him to express himself. Mozart's greatest works were in opera and his piano concertos (which are very "operatic" in their own right). The symphonies seem to lack his ability to create different "characters" in the orchestra, maybe because it's one long continuous narrative per movement, whereas the operas and concertos have these little moments where he can segue into something different for a moment.
What did Wagner say after encountering Haydn's London Symphonies? - 'He is the greatest orchestrator of all time.' Clear to me.
The problem is that to get Haydn's greatness you have to listen carefully to the music and most people want instant gratification which they can easily get from Mozart. IMO Most haydn symphonies blow away anything by Mozart.
@@itsbobinnit6944
I think this quotation is much misunderstood, but as I don’t read German it’s difficult to comment.
As presented in your comment, I have to disagree with Wagner - Haydn’s orchestration* often pales in comparison to that of Mozart for example; where Wagner was correct was that Haydn had a detailed knowledge and understanding of every instrument of the orchestra, and unlike many composers both before and after, wrote idiomatically for every one of them.
* Haydn had his own very personal sense of orchestral sonority, it was different - not better or worse - to that of Mozart, but it is less sensuous, seductive, and dense, but more original, assertive, and transparent.
alguien tiene un análisis musical del 2do movimiento?
The first two minutes really remember me to the romantic period. Really focussed on harmony instead of melody, unlikely for the classical period.
Darius Runge I agree. I hear some small foreshadowing of Mendelssohn in the slow segment.
De ahi veveria Beethoven
Sophist
Franz Joseph Haydn on TikTok
i have to listen to this for a homework assignment
Bauus same it's great
I'm on here because of course work homework 😂
Same 😂😂😂
+Stefan Wardale haha 😂😂
starryxskies 😂😂
Honestly its Just me same lol
From opening tenebrae to joyful carnaval celebration in some palace.It turns cynical as if it did not want to end, it wanted to be eternal. Let's come to an end, a real end not a false ending that is a new beginning. The andante is a super famous theme like a pas de deux to celebrate some ansolute calm situation that cannot be disturbed by anything. Eternal peace and quiet, though here and there there is a pang of some kind in that enjoying heart, if it is a heart. It might only be a peaceful spleen and a quiet liver soused in some opiate. A rebellion at the eleven minute as if it were the eleventh hour. The andante is getting crazy but all ends nearly well after all and peace and quiet comes back without any spleen and gall in the mood of this mindless enjoyment. And once again the repetitiveness of that music is sickening. Mannheim is good but not too much and with more than just enough notes. The variations show that under that quietness there is danger, brutality, power and even absolute control. Please all of you get back to the step, tempo, rhythm and keep it without any qualms of conscience or any other romantic useless entity. The Menuet is there to give tio this celebration the grandeur and nobility it requires. Each repetition is teh echo of itself in the previous and the next sentence. The minuet turns on itself luke a top that cannot stop because it cannot start and it better not stop otherwise it would be dead forever. No turning bourree in that minuet. Just jumping from one foot to the next from one hand to the next from one partner to the next. Genteel and gentle. Just aristocratic.But the 18th century was also a century of enlighrtenment and change, of rebellion and even revolution. So even the nicest minuet gets disturbed by some variations in the shape of a tentative escape from the high security prision of this aristocratic dance. Maybe even here and there Haydn may have thought of Mozart and some whirling, turning, spinning little moments come up to be criushed at once by the dominant orchestra that cannot stand any evasion. And it all ends with a vivace that is a real piece of glorious illusion. More than lively it is a perennial neverending kind of a lament crushed down by the orchestra that want order in the ranks and files of this unruly society. You can complain as much as you want but we are the masters of this world and thinhs will go the way we say.For you the lament, for us the piower, profit, control, dominance, governing force and even violence. And stop forgetting we are in a state of the law that is to say under the sole authority of the law. Grumble grumble lament lament we will get the whip and if necessary the guillotine.
Monseur Jacques, I couldn't agree more, even if I could! I have gotten a cultural lesson, symphonic lesson, wonderful sense of romantic nipping at aristocracy and over-dramatic frightening the children all at once!
I almost want to correct the few typos and share your comment as a diatribe on the function of the sonata form - the construction of the symphonic movements and the moods and instructions that a good, dramatic conductor imparts on his players. Thank you immensely for sharing your artistic wisdom and may we rise to the occasion! ;)
We can always rise in music and one day rise to the sky that is more often underground, but well it rises in the sky if we decide to smoke the end of this life.
8:12
8mins12 seconds for the second movement
:P
what
Some people love this song but i hate it so much!!! But i must know it for school test D:
"Song people love this Lieder but I hate it so much!!! It doesn't even have a voice in it D: " - Person on a classical era symphony
School = child.
Hate? Why?
I learn in music school 8th year. I learn iit too
It's not a song. It's a symphony and it happens to be my favourite work of all time.
Great symphony, i need to listen to more of Haydn's work.
Magnifique. I love what Mckerras does.