The amazing versatility and fecundity of Haydn! What a wonderful, uplifting symphony this is! It has always seemed to me a shame that more of his symphonies don't have names; that way the public might remember their favourites better. This F-Major one has always been one that is close to my heart. It shows, I think, the influence of his earliest meetings with Mozart.
Magnificent! Haydn’s music is just so interesting in sound variety, even if he is not as melodic as his contemporaries. I look forward to more Haydn from these two chamber orchestras.
I agree absolutely! But I think what Haydn may have lacked in melodic inspiration he more than made up for in structural ingenuity. He knows how to build up tension (and audience involvement) as well as any of the greats.
00:20 I. Allegro Con Spirito 06:52 II. Adagio Cantabile - Un Poco Allegro 14:15 III. Menuet - Trio 17:28 IV. Finale. Vivace 22:14 Applause Note that in the CD version the first movement is two minutes and twenty seconds longer, presumably due to repeats being played.
It’s not so much the melody with Haydn - many other composers could easily be demonstrated to be ‘better’ - or more memorable - at this aspect of composition.* With Haydn, it’s what he does with his material that is so highly original, inventive and ingenious; it is this that puts him into the highest category of composers. One of my favourite ways of explaining the difference between Mozart and Haydn, is to suggest that Mozart is more interested in the sound of the notes, Haydn in what he could do with them. (Beethoven in the next generation has in this respect rather more of Haydn in his DNA than he does of Mozart). * As with all composers of this stature, there are of course exceptions: Haydn worked very hard on his Emperor’s Hymn, and it is indeed one of the finest, and most memorable and recognisable of all melodies. Mozart in turn became increasingly more disciplined, even more economical sometimes, and rigorous in the working out of his ideas in some of his later works.
@@elaineblackhurst1509 I allways found H more interesting than M just because of H avoiding obvious melodic phrases. All to many M compositions have a high "children's song" quality for me. H would never have composed sth embarrassing as Papageno's song.
@@elaineblackhurst1509later Mozart offers us a tantalising glimpse of what might have been. The might have beens are attractive diversions, but we are left with what happened. I’ve said it before and I will say it again, Mozart’s 40th symphony shows he was looking at form and material in a new light. The first and third movements of that symphony are among my desert island discs, though I haven’t honed them down to eight yet.
Anlässlich des letzten Teil(e)s dieser genialen Symphonie, erkläre ich direkt, dass Haydn zusammen mit Johann Sebastian Bach, und dies mit einem Vorbehalt, der größte Komponist mindestens des 18ten Jahrhunderts ist.
seven8n2 Agree; love the man, but hate the silly ‘Papà’* sobriquet. Whilst it was used as a genuine term of affection and respect by a small number of people entitled to use it in the 18th century, that’s not what it became. It’s a pity that so few people know how Haydn himself used the term when he gave the original score of Symphony 103 (now in the British Library) to Cherubini when he came to visit him in Vienna in 1805. Haydn said to Cherubini: ‘Let me call myself your musical father, and you my son’. He then wrote at the top of the score when he gave it to him: ‘Padre del celebre Cherubini ai 24tro di Febr. 1805’. This is a million miles away from all the ‘Papa Haydn’ nonsense, and of course - you will note that Haydn called himself - twice - *Padre* (Father) not the silly, familiar, and disrespectful ‘Papa’ (more suitable for 8 year-old boys). ‘Papà Haydn’ became, and is in fact a 19th century caricature of the historical man - largely patronising and pejorative in intent - and the unfortunate appellation has no relevance whatsoever the the man as a composer And yes - I know that’s how some referred to him at times during his lifetime.** Not sure I know of any composer of comparable stature stuck with such a silly and what is in effect today, such a derogatory appellation; possibly ‘old Bach’ is just about as ridiculous! (I know that’s not how you meant it!). * I usually add the accent - and therefore the stress - to the final letter of Papà as without it, in Italian, Papa = the Pope! ** Certainly after his return from England in 1795, Haydn was very conscious of his status - the Oxford Doctorate awarded in 1791 in particular reinforcing this - he declined to be referred to by anyone on the same terms as servants, even by the aristocracy. Haydn would not have appreciated the casual use of ‘Papà’ in reference to himself in the manner it is used today - he would undoubtedly have much preferred ‘Dr Haydn’, ‘Maestro’, or something similarly more respectful.
Very enjoyable performance, thank you. Like many here, I am fond of both Mozart and Haydn (the two can be compared I suppose). However, I find Mozart's symphonies overall boring, whilst I love the symphonies of Haydn and have quite a large repertoire of hums from them.
Very picky I know, but why so many chin-rests (which weren't invented until Spohr in the 19th century)! What's next, metal strings because they stay in tune better and horns with valves?
Suonare tutti insieme una musica così bella deve essere una grande felicità
These symphonies performed by this band have given me a measure of joy and solace in these bloody awful times.
Simply marvellous. Love and kisses to the band!!
Wonderful! Such a treat to see Antonini conduct. You can tell he truly loves this music.
Wunderschoen,wie immer!!!
Haydn, uno de los auténticos grandes. Toda su música llena el alma. Admirable por su pródiga y sorprendente inspiración. Gracias MERL.
Delightfully fresh and Haydnesque in the best way. Beautifully performed, too!
Seeing the joy of the face of the musicians enhances the whole experience which is simply wonderful
That’s something I really didn’t pay attention of. That’s something you don’t generally see in musicians when they’re performing!
Superb performance
I've been seeing their project, and I can see their sophistication and perfection. Thank you Haydn 2032
It's like a dialogue of instruments, like he's playing with sound and melody in coordination.
Bravo ❤
Bravi!
The amazing versatility and fecundity of Haydn! What a wonderful, uplifting symphony this is! It has always seemed to me a shame that more of his symphonies don't have names; that way the public might remember their favourites better. This F-Major one has always been one that is close to my heart. It shows, I think, the influence of his earliest meetings with Mozart.
Extraordinaria interpretación y dirección. Un Haydn increible y vigoroso. Me encantó.
Bravo!
Double wowza
Magnificent! Haydn’s music is just so interesting in sound variety, even if he is not as melodic as his contemporaries. I look forward to more Haydn from these two chamber orchestras.
I agree absolutely! But I think what Haydn may have lacked in melodic inspiration he more than made up for in structural ingenuity. He knows how to build up tension (and audience involvement) as well as any of the greats.
00:20 I. Allegro Con Spirito
06:52 II. Adagio Cantabile - Un Poco Allegro
14:15 III. Menuet - Trio
17:28 IV. Finale. Vivace
22:14 Applause
Note that in the CD version the first movement is two minutes and twenty seconds longer, presumably due to repeats being played.
Absolutely love Josef Haydn. Did he ever not have a melody available to him?
It’s not so much the melody with Haydn - many other composers could easily be demonstrated to be ‘better’ - or more memorable - at this aspect of composition.*
With Haydn, it’s what he does with his material that is so highly original, inventive and ingenious; it is this that puts him into the highest category of composers.
One of my favourite ways of explaining the difference between Mozart and Haydn, is to suggest that Mozart is more interested in the sound of the notes, Haydn in what he could do with them.
(Beethoven in the next generation has in this respect rather more of Haydn in his DNA than he does of Mozart).
* As with all composers of this stature, there are of course exceptions: Haydn worked very hard on his Emperor’s Hymn, and it is indeed one of the finest, and most memorable and recognisable of all melodies.
Mozart in turn became increasingly more disciplined, even more economical sometimes, and rigorous in the working out of his ideas in some of his later works.
@@elaineblackhurst1509 I allways found H more interesting than M just because of H avoiding obvious melodic phrases. All to many M compositions have a high "children's song" quality for me. H would never have composed sth embarrassing as Papageno's song.
@@elaineblackhurst1509later Mozart offers us a tantalising glimpse of what might have been. The might have beens are attractive diversions, but we are left with what happened. I’ve said it before and I will say it again, Mozart’s 40th symphony shows he was looking at form and material in a new light. The first and third movements of that symphony are among my desert island discs, though I haven’t honed them down to eight yet.
Anlässlich des letzten Teil(e)s dieser genialen Symphonie, erkläre ich direkt, dass Haydn zusammen mit Johann Sebastian Bach, und dies mit einem Vorbehalt, der größte Komponist mindestens des 18ten Jahrhunderts ist.
So eindeutig würde ich es nicht " erklären" . Was sagen die Liebhaber von Händel, Porpora, Mysliwczek, Gluck usw?🤷♂️
Excelent !
ESPETÁCULO!!
The slow movement is particularly delightful and it ends with a contredanse!
ain't it the truth, Papa Haydn always messing with us, providing unexpected treasures. Can't help but love the man.
seven8n2
Agree; love the man, but hate the silly ‘Papà’* sobriquet.
Whilst it was used as a genuine term of affection and respect by a small number of people entitled to use it in the 18th century, that’s not what it became.
It’s a pity that so few people know how Haydn himself used the term when he gave the original score of Symphony 103 (now in the British Library) to Cherubini when he came to visit him in Vienna in 1805.
Haydn said to Cherubini:
‘Let me call myself your musical father, and you my son’.
He then wrote at the top of the score when he gave it to him:
‘Padre del celebre Cherubini ai 24tro di Febr. 1805’.
This is a million miles away from all the ‘Papa Haydn’ nonsense, and of course - you will note that Haydn called himself - twice - *Padre* (Father) not the silly, familiar, and disrespectful ‘Papa’ (more suitable for 8 year-old boys).
‘Papà Haydn’ became, and is in fact a 19th century caricature of the historical man - largely patronising and pejorative in intent - and the unfortunate appellation has no relevance whatsoever the the man as a composer
And yes - I know that’s how some referred to him at times during his lifetime.**
Not sure I know of any composer of comparable stature stuck with such a silly and what is in effect today, such a derogatory appellation; possibly ‘old Bach’ is just about as ridiculous!
(I know that’s not how you meant it!).
* I usually add the accent - and therefore the stress - to the final letter of Papà as without it, in Italian, Papa = the Pope!
** Certainly after his return from England in 1795, Haydn was very conscious of his status - the Oxford Doctorate awarded in 1791 in particular reinforcing this - he declined to be referred to by anyone on the same terms as servants, even by the aristocracy.
Haydn would not have appreciated the casual use of ‘Papà’ in reference to himself in the manner it is used today - he would undoubtedly have much preferred ‘Dr Haydn’, ‘Maestro’, or something similarly more respectful.
@@elaineblackhurst1509 Feel better now?
@@jimp4170bro she is spreading intresting informations and facts . We should thank her
BRAVO BRAVO BRAVO
I love Dorati. Can't stop seeing Al Pacino here.
And yet Antonini is wonderful
14:15, Third Movement.
11:29
my favorite part ⭐
11:30
18:15
11:28 Ce passage manque un peu de nerf à mon goût.
Very enjoyable performance, thank you. Like many here, I am fond of both Mozart and Haydn (the two can be compared I suppose). However, I find Mozart's symphonies overall boring, whilst I love the symphonies of Haydn and have quite a large repertoire of hums from them.
You can hear the influence of Haydn on Mozart in many orchestrations.
Very picky I know, but why so many chin-rests (which weren't invented until Spohr in the 19th century)! What's next, metal strings because they stay in tune better and horns with valves?
dude forcaster Yeah, the discomfort of the players can be detected by only the most discerning of period instrument enthusiasts.
Does it affect the sound of the instrument?
@@Sshooter444 Arguably it enables the musician to play louder.
And where the hell are the musicians' goddamn powdered wigs, that's what I'd like to know!
Next thing you know, they'll let the players sit.