The development of the finale is a masterclass on how to develop a simple theme contrapuntally and distribute it between voices. Haydn at his subtlest.
@@elaineblackhurst1509 I am not at all surprised by the anecdote about Beethoven. Indeed, this is an extraordinary passage. To quote a German commentator on the finale: "clarinets, flutes, bassoons, oboes and horns as well as the strings throw their thoughts like a ball [...]. The mobility of the orchestral writing and its information density and information speed reach a level here that cannot be found in any other composer.” To my mind, it is more complex even than the denser pages of Mahler (the first movement of his Ninth symphony, for instance).
Haydn experiments with tonality in this symphony (the first of his in which clarinets are used): though the main key is E flat, the slow movement is in G major and the trio in C major. Note how the music at 18:55 moves effortlessly from the end of the minuet (E flat) to the start of the trio (C): the modulation is achieved through the note G, which is both the mediant of E-flat major and the dominant of C major. Little things like this are a source of fascination for me - and Haydn's symphonies are full of such little gems.
George Law You’re right to identify points of interest in this symphony because it puts you in good company. Beethoven twice copied out the first movement development section for study purposes - he was particularly interested in the thematic development incorporating counterpoint.
This is another masterpiece of Haydn, the elegance, harmony and grace are amazing. The author was really the symphony father. The music are sublime and divine. Viva Haydn and his musical genius. The orchestra and direction are magnificent. Thanks for this remarkable recording.
You don’t have to choose: like the six ‘Paris’ symphonies, the sets 76-78 and 79-81, and Mozart’s 39-41 for example, both sets of six written for the two trips to England are deliberately very different from each other and explore different areas.
Extraordinarios los "finales" de Haydn, mientras otros no saben como terminar la obra (incluyo a Mozart y Beethoven), los finale de Haydn son una obra maestra en sí mismos. Los temas son tan buenos como en el resto de la obra. Pienso que que Haydn es el mejor en conjunto, es un compositor absolutamente genial.
haanashim The woodwind writing was largely determined by the quality of the players Haydn found in London. It appears the clarinets were somewhat suspect, and not as good as those in Vienna, hence the rather conservative parts. There is very little evidence that Haydn took much in terms of orchestration from Mozart, and the two composers had very different - note ‘different’, not better or worse - concepts of orchestral sonorities and textures.
Vincent Andrews Beethoven - ie next generation - was particularly interested in this symphony. Beethoven twice copied out the development section of the first movement for study purposes - he seems to have been particularly interested in the contrapuntal aspects of the work - ie previous generation.
Questa sinfonia pone un dilemma fu composta prima o dopo la n.1? Dal punto di vista armonico sembra tornare alla semplicità dei primi quartetti d'archi con quel susseguirsi di cadenze dominante-tonica, tonica-dominante. Barocchi sono pure i ritmi puntati di cui abbonda il primo movimento. Viceversa la struttura formale è molto più progredita, il discorso obbedisce a leggi logiche ed è ordinato in frasi ricorrenti che appartengono ad un musicista già provetto nella tecnica e nel linguaggio sinfonico. Altro segno caratteristico: la scomparsa dell'indicazione dei ritornelli, per cui la sinfonia si dipana senza ripetizioni, dal principio alla fine. Furono probabilmente questi particolari che risvegliarono l'interesse dell'editore Venier, il quale pubblicò l'opera a Parigi, nel 1764, sotto il titolo " I nomi sconosciuti che meritano di essere conosciuti". La fama internazionale di Haydn prende dunque le mosse da questa "seconda".
Так создайте группу фанатов Гайдна, потренируйтесь боксировать, и ходите по концертам Моцарта и Бетховена и бейте рожи тем, кто их слушает. А я просто люблю музыку, и музыку Гайдна тоже)😊
That's not entirely fair. While I would agree that this music is far better than much of what you'd hear today, there is still plenty of good recent music. There was mediocre music in Haydn's day, like us. Some day we will forget the mediocre, and see that there were indeed works of note from our own time.
Classical music has/for the most part has regressed. Focusing on butts on seats instead of creating challenging music because snobby patrons don't like anything other than a dead European from 250 years ago.
@@iiiiiiiiiiiiiiiivy That's not problem, that there are mediocre. Problem is, that there are no Haydns any more. Can you name one, please? And look, how many Haydns were in the days of Haydn: Mozart, Beethoven and Antonio Salieri, who isn't worse than Mozart or Beethoven, not even distinguished in those days. The mediocre is not the problem. Without the mediocre there is no perfect. Everyone is mediocre in the process of learning. But the problem is that the musicians are no more aiming, trying and working to be perfect, and love disharmony more than harmony. Modern musician is the agent of chaos. Even popsingers, in their primitive melodies, managed to be the agents of chaos. Whom are you calling to be "intresting" in our modern times, Dmitri Shostakovich? Even Stalin and the battle for Leningrad together had barely managed to make him write a classical piece of music among his many symphonies.
@@iliakhan3044 I am not well-versed enough in modern music to throw out a good list of names, but there are many genres of music with many different musicians, one of my personal favorites being jazz. Let's also consider the times of Haydn versus today. In the 18th and 19th centuries, if you wanted your music to be known, you'd have to expend a ton of work in stuff not even related to the music (getting good concert venues, trying to get people to show up, etc.). Today, all one needs is some recording equipment and access to the internet to get their art out there. Additionally, tastes have changed. That doesn't make modern music bad, it just makes it not your favorite. You're certainly entitled to your opinion, but your opinion doesn't dictate what music is good. To compare music of yesteryear with today's is to compare apples to oranges. I'm not saying you can't enjoy classical music more (especially considering I do like that kind of music more myself); I'm just saying that doesn't make all modern music objectively bad, and the idea that "all modern music is bad because it's not as good as the kind of music I like is" is an unimaginative take.
![Run Away - Tzuyu(TWICE) ツウィ 쯔위 [Music Bank] | KBS WORLD TV 240906](http://i.ytimg.com/vi/KnHNNyAYiu0/mqdefault.jpg)
The development of the finale is a masterclass on how to develop a simple theme contrapuntally and distribute it between voices. Haydn at his subtlest.
Beethoven copied out much of the first movement development for study purposes for precisely the reasons you have noted.
@@elaineblackhurst1509 I am not at all surprised by the anecdote about Beethoven. Indeed, this is an extraordinary passage. To quote a German commentator on the finale: "clarinets, flutes, bassoons, oboes and horns as well as the strings throw their thoughts like a ball [...]. The mobility of the orchestral writing and its information density and information speed reach a level here that cannot be found in any other composer.” To my mind, it is more complex even than the denser pages of Mahler (the first movement of his Ninth symphony, for instance).
This symphony is simply perfection, an absolute masterclass in sonata form. One of Haydn's best for sure
This has been my favourite since 1983. Is there anyone better than Haydn for combining high art and high spirits.
2nd movement is so beautiful, i listen to this several times a week
Haydn experiments with tonality in this symphony (the first of his in which clarinets are used): though the main key is E flat, the slow movement is in G major and the trio in C major. Note how the music at 18:55 moves effortlessly from the end of the minuet (E flat) to the start of the trio (C): the modulation is achieved through the note G, which is both the mediant of E-flat major and the dominant of C major. Little things like this are a source of fascination for me - and Haydn's symphonies are full of such little gems.
Thank you perfessor!
I like the part that goes "pum pum pum pum pum pum."
George Law
You’re right to identify points of interest in this symphony because it puts you in good company.
Beethoven twice copied out the first movement development section for study purposes - he was particularly interested in the thematic development incorporating counterpoint.
cm2 7iñccuucccccccc6
This is another masterpiece of Haydn, the elegance, harmony and grace are amazing. The author was really the symphony father. The music are sublime and divine. Viva Haydn and his musical genius. The orchestra and direction are magnificent. Thanks for this remarkable recording.
I cannot choose between these late Haydn Symphonies. Glad I have them all.
You don’t have to choose: like the six ‘Paris’ symphonies, the sets 76-78 and 79-81, and Mozart’s 39-41 for example, both sets of six written for the two trips to England are deliberately very different from each other and explore different areas.
Its a masterpiece- to play (i played it in orchestra) and to hear
Haydns Best one for me
Extraordinarios los "finales" de Haydn, mientras otros no saben como terminar la obra (incluyo a Mozart y Beethoven), los finale de Haydn son una obra maestra en sí mismos. Los temas son tan buenos como en el resto de la obra.
Pienso que que Haydn es el mejor en conjunto, es un compositor absolutamente genial.
Wonderful underrated symphony. Shame that it isn't played that much in concert halls and/or venues.
Lovely adagio slow movement.
A top favourite - along with 93, 101 and 102 from the final 12 symphonies. Fine recording.
My own favourites list is partially different. So what? - late Haydn is simply wonderful.
@@MikJFr
А ранний Гайдн восхитителен! 😘
Согласен! А поздний Гайдн тоже.
@@MikJFr
Как же нам повезло!
The woodwind writing - he learned from the recently departed Mozart.
haanashim
The woodwind writing was largely determined by the quality of the players Haydn found in London.
It appears the clarinets were somewhat suspect, and not as good as those in Vienna, hence the rather conservative parts.
There is very little evidence that Haydn took much in terms of orchestration from Mozart, and the two composers had very different - note ‘different’, not better or worse - concepts of orchestral sonorities and textures.
Indeed!!!!!
So beautiful!
Haydn was extraordinarily ahead of his time.
Not really. He was an extraordinary important part OF the time.
Vincent Andrews
Beethoven - ie next generation - was particularly interested in this symphony.
Beethoven twice copied out the development section of the first movement for study purposes - he seems to have been particularly interested in the contrapuntal aspects of the work - ie previous generation.
Der Boss Komponist You’re right; but see my reply above.
Haydn had perused or listened to Mozart's 39th symphony in the same key very well.
Thanks for uploading!
I play in the orchestra and we are playing this concerto
Надежда Вазильева ‘...concerto’. Recte: ‘...symphony’.
Бесподобно!!!!
음.. 좋다
Thank you so much for this. Balmic.
The glories of Haydn are as numerous as grains of sand upon a beach!.
So true 🤗
Espetacular!!!!!
ERSCHÜTTERND !!! Tepper Michael.
Now THIS is real music, not like the kind of crap we hear on the air waves today.
As opposed to that fake music, amiright? lol. #classicalelitism #europeanclassicismisthebest #pretentiousness #dicksforthesakeofbeingadick
Not crap, just a different style within which has it's own talent of creativity and interpretation just as these pieces do.
I think that depends on perspective. 🙂
Love this though not at all sure the minuet is Allegretto
Questa sinfonia pone un dilemma fu composta prima o dopo la n.1? Dal punto di vista armonico sembra tornare alla semplicità dei primi quartetti d'archi con quel susseguirsi di cadenze dominante-tonica, tonica-dominante. Barocchi sono pure i ritmi puntati di cui abbonda il primo movimento. Viceversa la struttura formale è molto più progredita, il discorso obbedisce a leggi logiche ed è ordinato in frasi ricorrenti che appartengono ad un musicista già provetto nella tecnica e nel linguaggio sinfonico. Altro segno caratteristico: la scomparsa dell'indicazione dei ritornelli, per cui la sinfonia si dipana senza ripetizioni, dal principio alla fine. Furono probabilmente questi particolari che risvegliarono l'interesse dell'editore Venier, il quale pubblicò l'opera a Parigi, nel 1764, sotto il titolo " I nomi sconosciuti che meritano di essere conosciuti". La fama internazionale di Haydn prende dunque le mosse da questa "seconda".
It is possible you are considering the wrong symphony here. This work dates from quite late in Haydn's career (1793).
💙
ハイドン【交響曲第99番「驚愕」】
bonne écoute a tous les fans
Так создайте группу фанатов Гайдна, потренируйтесь боксировать, и ходите по концертам Моцарта и Бетховена и бейте рожи тем, кто их слушает.
А я просто люблю музыку, и музыку Гайдна тоже)😊
bruggen / haydn
Does this guy ever score for bass and snare drums, cymbals, triangles...?
Can't build without a strong theme.
What's the name of this painting?
Albert Christoph Dies - Leopoldine temple with pond (1807)
I have this complete set but no phonograph 😢
2:38
Trop bi1 :)))))))
J'aime les bananes
After you listen this music, you grow in confidence that modern music is a crime and should be strictly punished!
That's not entirely fair. While I would agree that this music is far better than much of what you'd hear today, there is still plenty of good recent music. There was mediocre music in Haydn's day, like us. Some day we will forget the mediocre, and see that there were indeed works of note from our own time.
Classical music has/for the most part has regressed. Focusing on butts on seats instead of creating challenging music because snobby patrons don't like anything other than a dead European from 250 years ago.
@@andrewhemsworth8115 So we begin with patrons!
@@iiiiiiiiiiiiiiiivy That's not problem, that there are mediocre. Problem is, that there are no Haydns any more. Can you name one, please? And look, how many Haydns were in the days of Haydn: Mozart, Beethoven and Antonio Salieri, who isn't worse than Mozart or Beethoven, not even distinguished in those days. The mediocre is not the problem. Without the mediocre there is no perfect. Everyone is mediocre in the process of learning. But the problem is that the musicians are no more aiming, trying and working to be perfect, and love disharmony more than harmony. Modern musician is the agent of chaos. Even popsingers, in their primitive melodies, managed to be the agents of chaos. Whom are you calling to be "intresting" in our modern times, Dmitri Shostakovich? Even Stalin and the battle for Leningrad together had barely managed to make him write a classical piece of music among his many symphonies.
@@iliakhan3044 I am not well-versed enough in modern music to throw out a good list of names, but there are many genres of music with many different musicians, one of my personal favorites being jazz. Let's also consider the times of Haydn versus today. In the 18th and 19th centuries, if you wanted your music to be known, you'd have to expend a ton of work in stuff not even related to the music (getting good concert venues, trying to get people to show up, etc.). Today, all one needs is some recording equipment and access to the internet to get their art out there. Additionally, tastes have changed. That doesn't make modern music bad, it just makes it not your favorite. You're certainly entitled to your opinion, but your opinion doesn't dictate what music is good. To compare music of yesteryear with today's is to compare apples to oranges. I'm not saying you can't enjoy classical music more (especially considering I do like that kind of music more myself); I'm just saying that doesn't make all modern music objectively bad, and the idea that "all modern music is bad because it's not as good as the kind of music I like is" is an unimaginative take.
2:11