the tea Haydn and Mozart can clearly be bracketed together as ‘Classical’, but to include Beethoven as well is not helpful; from his earliest works he is clearly at the dawn of a new age. I suggest ‘post-Classical’ as a neat way to describe him, particularly for those who do not want to call him ‘Romantic’.
joseph haydn is a classical master he truly deserves recognision for all classical pieces. he outdo's all other composers i know. his tone and timbre is amazing and he must have had lots of wives
In 1981, Brüggen 1934 -- 2014 co-founded with Sieuwert Verster the Orchestra of the 18th Century Alhough he did not have a formal title with the orchestra, he was its de facto chief conductor until his death. The Orchestra of the Age of Enlightenment (OAE) named Brüggen its co-principal guest conductor, in parallel with Simon Rattle, in 1992. The OAE later gave him the title of Emeritus Conductor in 2007. He was the conductor of the Radio Kamerorkest in the Netherlands from 1991 to 1994, and joint chief conductor of the orchestra, alongside Peter Eötvös, from 2001 until the dissolution of the orchestra in 2005.
Once again, Haydn demonstrates his skills in orchestration. Kimsky-Korsakov considered him as the first master of orchestration. Bruggen is perfectly conducting this well known symphony.
@@starless5668 yes You are fully right. But we are hère in the domain of baroque instrumentation, where Bach was ineed the leader with Heandela and Rameau as (pale) challengers. We must acknowlege that there was a siruption between baroque and claissiacal instrumenatation, chile a very complex but actual dua deadline leads for claissacal to postriomantic orchetration, and then from postromantic to nowadays orchestration. .
@@gerardbegni2806 Not sure I agree with your point about instrumentation with JS Bach as ‘…leader’, and Handel (sic) and Rameau as ‘…(pale) challengers’. Handel’s orchestration is highly effective, and often is in areas not directly comparable to Bach - you cannot meaningfully compare the Brandenburg concerti of Bach with the concerti grossi Opus 6 of Handel as they are too different; outside this example, Bach’s orchestras are often accompanying sacred church music, Handel’s is usually theatre music as in operas or oratorios id est not comparable again. I’m surprised at any Frenchman describing Rameau as ‘pale’ as they should understand his unique genius better than most; he is a remarkable Baroque composer of the highest stature and huge originality, whose orchestration is as colourful and effective as any of the greatest figures of the age from Italy, Germany or any other country.
very good interpretation. at times i miss the warmth a modern orchestra is capable of .in the ambient sounding parts, like the beginning. the vivid sections outclass everything i heard up til now. convincing -. kudos!
Such a great recording of a wonderful work of art. I hope we can dispense with the naming conventions of these works in the future. Calling this work the clock doesn't do justice to the heroic poetry and drama of the work
These names allocated to Haydn's works are a sign of the affection in which they were held and people's attempts to get to grips with the vastness of his output. Of course 'The Clock' belies the complexity and invention of this work which (IMO) is the greatest piece of classical music ever written. Haydn fans, like myself, aren't worried about that as it's all part of the package that goes together to underpin our adoration of this man.
It does. Just imagine an old pendulum-clock, it is a live thing, an Organism. The 2. Movement describes just that. Imagine it coming to live in the night-hours.
Of all of Haydn's second movements, this one is so far my favourite! Anyone got other really good second movements of his (OTHER THAN that of Symphonies 94 and 100 :) )??
Ketan Fernandes The double variation form used in the second movement of Symphony 103 is very interesting. The use of two contrasting and or related major/minor themes was a very particular Haydn trait - it occurs in various other works for example the Andante con variazione in f minor for piano (Hob. XVII:6). It is a technique you won’t find it in Mozart, but is something Beethoven picked up from his former teacher and used himself a number of times.
Could Bruggen's be the best version of this symphony? Up to now I've had Beecham down for that, but now I am beginning to wonder. This is my favourite classical work by the way.
Cormuin like the quote.......Did you ever hear this one: It is better to remain silent and let others thing you are a fool, than to open your mouth and remove all possible doubt.
On a similar note, how about this one: "To talk well and eloquently is a very great art, but that an equally great one is to know the right moment to stop.”
Beethoven may not have realized it when he was living or maybe didn't want to admit it, but having Haydn as a teacher was good for him. They both don't have the melodic talent of Mozart, and Haydn taught how you can make unique music in other ways by shocking audiences with the instrumentation. Haydn helped Beethoven get past some of his limitations imo. Beethoven pretty much is the best of Haydn and Mozart with years of painstaking rework in between so we can call him "the best'
In terms of great composers, just like great writers, artists, playwrights, architects, scientists, or any other branch of the arts and sciences, ‘the best’ does not exist, nor does the greatest, the most important, the most brilliant, et cetera. In terms of composers, a number of composers from all ages and musical periods sit at the top table on Mount Olympus…but there is no Zeus.
@@georgebreidenthal725 Bach is the perfect example of why there is no Zeus. You have nominated a composer who: wrote no symphonies, string quartets or piano sonatas; wrote no operas; wrote only Baroque-style concertos; wrote nothing for a modern orchestra, nor piano; wrote no music in sonata form; et cetera. All other candidates are similarly disqualified by what they didn’t do, or did poorly compared to others: Wagner, Verdi, and Puccini for example wrote almost nothing besides opera; whilst Beethoven is hardly entitled to the crown when you compare Christ on the Mount of Olives to Haydn’s The Creation, or Fidelio to any of Mozart’s late operas. In terms of opera buffa, Rossini arguably takes the chair as Zeus - but the rest ? As I said, there is no Zeus.
@@elaineblackhurst1509 Дорогой учитель! Зев верховный бог пантеона всех(-древнегреческих-) богов! Учителем всех великих наших любимых композиторов является Апполон! Увы, мы не услышим его творений, но, вероятно, существует апполонова школа для особо одарённых, которые слышат метафизическим слухом его советы и подсказки, одной нотой или сочетанием нескольких вызывать в людях эмоции от горя до радости, любыми формами музыки, будь то простая песенка, церковная соната, симфония, квартет, опера, оратория с кантатой или что угодно другое, уже придуманное человечеством или ещё нет.
For me, a 16 years old asperger boy, I enjoy academic art in all its aspects, I have my favorite writers, painters, and movies, there are works I see absurd or do not cause me a sensation, but I pay attention to that works that I admire because his value and legacy had pass through every generation, this happens to me with singers or bands of different genres. You wouldn't believe it, but in the "Academic Music Genre", I LOVE EVERYTHING. None of these mens did anything wrong by putting their imagination on paper, and that others make it come true, they would be pleased that much of their works have survived, that there are new ways to teach and enjoy it (Sure, some methods are better) And there are people of different types, who study them, and who appreciate these gifts, and the only thing that matters is to play it or sing it as well as possible, and that people enjoy it and recognize you, because you're not doing anything wrong for keeping these works of art. Greetings from Venezuela.
It’s a case of comparing apples and pears and therefore pointless. Symphony 6 (Le Matin’) was written in 1761 for the small Eszterhazy orchestra of about 14 players, to be performed privately in the Haydnsaal at the Eisenstadt palace; Symphony 101 (‘The Clock’) was written in 1794/95 for a large London orchestra of over 60 players, to be performed at a public concert in front of a hugely enthusiastic ticket-buying public. In other words, it’s an even bigger time distance than between Beethoven’s Symphony 1 of 1800, and Symphony 9 (‘Choral’) of 1824, and they too are not comparable. Anyone can have favourites - and ‘Le Matin’ is a great choice, but that does not necessarily make it ‘…100% better’ than any other given work, particularly as in almost every respect - as you might expect over a span of over thirty years - ‘The Clock’ is a far more advanced work.
If you analyze every mozart and Haydn work, take a little from each one, expand on some daring key transitions from seconds to minutes, expand the instrumentation to larger orchestras with more extreme lower lows and higher highs, you could make Beethoven music. A Guy that spent an average of 5 years on every great work he did , but couldn't write any good commission works fooled everyone but me as being the "greatest" composer. I put even Bach ahead of Beethoven and that's a stretch for me because Bach sometimes would go back to his older works and give them a modern upgrade so you think he wrote it like that his whole life! Mozart is the only true genuine greatest. It's not about "periods" . Mozart was the most talented period in any genre. Im amazed today there is even a debate. The man wrote arguable the greatest piano concerto #24 in his 3 week "spare time", while finishing Marriage of Figaro! I mean come on! Imagine if he actually focused a year on something.. smh
I get what you’re trying to say, and certainly trying to list the strengths - and weaknesses such as they are - of the greatest composers is an interesting exercise. However, I would question seriously the validity of trying to rank composers of the stature of Mozart, Haydn, and Beethoven which to me is as pointless as trying to rank the colours of the rainbow (and that’s before we even begin to consider other great composers from different ages), and normally just results in people rating them according to personal, subjective favourites.
@@elaineblackhurst1509 Beethoven had Haydns talent. They were one of the same imo. Perfect teacher for him! The difference though is Beethoven had someone like Mozart to study an extra 30 years and also had nothing else to do in his middle period but study because he was ashamed of his deafness and never wanted to go out. In that regard, he worked 10 times harder than Haydn
@@beethovenlovedmozart Besides the other thoughts I’ve suggested in replies to your interesting comments, I think it’s also the case that we can consider Mozart to be a sensuous, seductive, and beautifully *feminine* composer, whilst Haydn and Beethoven are more original, independent, and assertive *masculine* composers.
When you are talking of composers of this stature, attempting to suggest better or worse is like trying to decide which is better or worse between red or blue; they are different, as is Mozart again to complete this Classical/post-Classical trio.
Mozart and Haydn took Classical music (c.1750-1800) to a pinnacle; neither of them wrote a single note that is within a million miles of the Romantic world of Schumann, Chopin, Mendelssohn, Liszt, et al. Beethoven’s greatness was to take music at a high-water mark, explore new areas in new ways, and like Haydn had done for him (Mozart not so much as explained below) suggest challenges for later composers. I think whereas Haydn posed questions for Beethoven, Mozart tended to provide answers and final solutions; for example, whilst Beethoven took the post-Haydn symphony into new areas, there was no attempt by him (nor anyone else) to explore beyond Mozart 40 or 41, and when he did attempt to take Mozart on as in his c minor piano concerto v Mozart K491, the result was markedly less successful than when he worked in Haydn’s areas of strength such as the symphony and string quartet. Generally speaking, Beethoven’s greatest music is not in the areas of Mozart’s greatest strengths - opera, concertos, chamber music other than quartets - but in those of Haydn.
@@elaineblackhurst1509 actually it's not that hard. If you took away the average of 5 years Beethoven took to write all his good works, and say gave him only 5 months each. Then with Bach, maybe don't give him his whole lifetime to update all his past works over and over again and say he died a little earlier like 50. Then you just let mozart live another 20 years to do his thing. I know he was the most gifted. Handel had the advantage of a long life too. Yet, they are always put ahead of Mozart who died at 35, with multiple masterpieces in every single genre of his time. Beethoven was a little slow. HE didn't write his 3rd symphony until 35. Mozart wrote his last 3 (all masterpieces) in 9 weeks. Mozart was the best. If you gave him 20 more years, there is no doubt who the best is!!
The true classic music composers, Haydn, Mozart and Beethoven! Truly astonishing!
There is also an interesting direct lineage between teachers of ALL the great composers
the tea
Haydn and Mozart can clearly be bracketed together as ‘Classical’, but to include Beethoven as well is not helpful; from his earliest works he is clearly at the dawn of a new age.
I suggest ‘post-Classical’ as a neat way to describe him, particularly for those who do not want to call him ‘Romantic’.
Well Haydn and Beethoven are anyway.
@@tonymirabal8832 go on...
And Bach?
joseph haydn is a classical master he truly deserves recognision for all classical pieces. he outdo's all other composers i know. his tone and timbre is amazing and he must have had lots of wives
couldnt agree more
He actually had a pretty unhappy marriage, lots of infidelity lol
Nah he ain't
The Orchestra of the 18th Century and Frans Brüggen are amazing!
One of Haydn's finest!
What a pity Haydn never heard his own symphony this way... Just marvellous!!
Good thing he didn't hear this period instrument mockery of his work
True. But I'm not so sure about the pity. He must have heard marvellous versions in his own time.
After listening to all the symphonies before this one, I have to say this one is unusually great compared to them. Such greatness
In 1981, Brüggen 1934 -- 2014 co-founded with Sieuwert Verster the Orchestra of the 18th Century Alhough he did not have a formal title with the orchestra, he was its de facto chief conductor until his death. The Orchestra of the Age of Enlightenment (OAE) named Brüggen its co-principal guest conductor, in parallel with Simon Rattle, in 1992. The OAE later gave him the title of Emeritus Conductor in 2007. He was the conductor of the Radio Kamerorkest in the Netherlands from 1991 to 1994, and joint chief conductor of the orchestra, alongside Peter Eötvös, from 2001 until the dissolution of the orchestra in 2005.
Once again, Haydn demonstrates his skills in orchestration. Kimsky-Korsakov considered him as the first master of orchestration. Bruggen is perfectly conducting this well known symphony.
@@starless5668 yes You are fully right. But we are hère in the domain of baroque instrumentation, where Bach was ineed the leader with Heandela and Rameau as (pale) challengers. We must acknowlege that there was a siruption between baroque and claissiacal instrumenatation, chile a very complex but actual dua deadline leads for claissacal to postriomantic orchetration, and then from postromantic to nowadays orchestration. .
@@gerardbegni2806
Not sure I agree with your point about instrumentation with JS Bach as ‘…leader’, and Handel (sic) and Rameau as ‘…(pale) challengers’.
Handel’s orchestration is highly effective, and often is in areas not directly comparable to Bach - you cannot meaningfully compare the Brandenburg concerti of Bach with the concerti grossi Opus 6 of Handel as they are too different; outside this example, Bach’s orchestras are often accompanying sacred church music, Handel’s is usually theatre music as in operas or oratorios id est not comparable again.
I’m surprised at any Frenchman describing Rameau as ‘pale’ as they should understand his unique genius better than most; he is a remarkable Baroque composer of the highest stature and huge originality, whose orchestration is as colourful and effective as any of the greatest figures of the age from Italy, Germany or any other country.
Which Kimsky-Korsakov do you mean?
very good interpretation. at times i miss the warmth a modern orchestra is capable of .in the ambient sounding parts, like the beginning. the vivid sections outclass everything i heard up til now. convincing -. kudos!
Uplifting music from one of the greatest composers.
@@ludhannsebastivanbachthove4987 No doubt about that in my mind.
@@ludhannsebastivanbachthove4987 Yeah. Haydn is my favorite composer!
Ya he olvidado cuantos años, el vuelo de estas sublimes notas han deleitado mis oídos. Es la belleza de la música llevada a su máxima expresión.
이 음악을 들어보면 웬지 시간이 가는듯한 느낌이 오는구나 싶더라구요 아픔을 깨끗이 치유하고 시계 교향곡은 정말 이런거구나 생각해봅니다
très enthousiasmant,plein de joie ,un bonheur!
Esta sinfonía es muy bonita!!!!
Buenas noches y
muchas gracias.🌿
Such a great recording of a wonderful work of art. I hope we can dispense with the naming conventions of these works in the future. Calling this work the clock doesn't do justice to the heroic poetry and drama of the work
These names allocated to Haydn's works are a sign of the affection in which they were held and people's attempts to get to grips with the vastness of his output. Of course 'The Clock' belies the complexity and invention of this work which (IMO) is the greatest piece of classical music ever written. Haydn fans, like myself, aren't worried about that as it's all part of the package that goes together to underpin our adoration of this man.
It does. Just imagine an old pendulum-clock, it is a live thing, an Organism. The 2. Movement describes just that. Imagine it coming to live in the night-hours.
It kinda sounds like early and humble steampunk or clockwork music.
8:26 the best way to pass the time
As heard in Baby Einstein Numbers Nursery
That's very catchy.
@@LaserdiscOrganistAmericanOrgan Your childhood clearly was great.
2/4 time.
I've always loved this symphony. Good recording!
Jovial et jouissif, Haydn !
j adore cette très belle musique bien dansante
moi aussi! c'est plein de joie...
Of all of Haydn's second movements, this one is so far my favourite! Anyone got other really good second movements of his (OTHER THAN that of Symphonies 94 and 100 :) )??
Ketan Fernandes Something much less well-known - try Symphony No 76’s slow movement.
Drum roll symphony 103 slow movement, especially the violin solo.
95, 97, and 103 each have delightful sets of variations. 98 is hymn/requiem-like.
Ketan Fernandes
The double variation form used in the second movement of Symphony 103 is very interesting.
The use of two contrasting and or related major/minor themes was a very particular Haydn trait - it occurs in various other works for example the Andante con variazione in f minor for piano (Hob. XVII:6).
It is a technique you won’t find it in Mozart, but is something Beethoven picked up from his former teacher and used himself a number of times.
Symphony 68's adagio cantabile really stands out. It also has a clock-like motif.
That Presto is so cool.
Haydn ist der Beste
LOVE IT
YEA SAMES
다른 지휘자분들의 연주도 좋지만 브뤼헨의 이 음반은 정말 훌륭한 것 같습니다.^^
Could Bruggen's be the best version of this symphony? Up to now I've had Beecham down for that, but now I am beginning to wonder. This is my favourite classical work by the way.
If you like this, be sure to listen to Haydn Symphony #63.
Cormuin like the quote.......Did you ever hear this one:
It is better to remain silent and let others thing you are a fool, than to open your mouth and remove all possible doubt.
Mark: Yes it's a very good one......Oscar Wilde at his best!
On a similar note, how about this one:
"To talk well and eloquently is a very great art, but that an equally great one is to know the right moment to stop.”
How about this one from the scriptures {A wise man gaurdes his words, A fool is known by his much speaking} PROVERBS..
贅沢に！ ！ ！結構です！ ！ ！
8:26 heard this in Classical Toys and Haydn for Babies ⏰
Yep Beethoven used part of this minor first movement for a theme in his eroica second movement.
너무 좋다
Beethoven may not have realized it when he was living or maybe didn't want to admit it, but having Haydn as a teacher was good for him. They both don't have the melodic talent of Mozart, and Haydn taught how you can make unique music in other ways by shocking audiences with the instrumentation. Haydn helped Beethoven get past some of his limitations imo. Beethoven pretty much is the best of Haydn and Mozart with years of painstaking rework in between so we can call him "the best'
In terms of great composers, just like great writers, artists, playwrights, architects, scientists, or any other branch of the arts and sciences, ‘the best’ does not exist, nor does the greatest, the most important, the most brilliant, et cetera.
In terms of composers, a number of composers from all ages and musical periods sit at the top table on Mount Olympus…but there is no Zeus.
@@elaineblackhurst1509Perhaps Zeus is Bach.
@@georgebreidenthal725
Bach is the perfect example of why there is no Zeus.
You have nominated a composer who:
wrote no symphonies, string quartets or piano sonatas;
wrote no operas;
wrote only Baroque-style concertos;
wrote nothing for a modern orchestra, nor piano;
wrote no music in sonata form;
et cetera.
All other candidates are similarly disqualified by what they didn’t do, or did poorly compared to others:
Wagner, Verdi, and Puccini for example wrote almost nothing besides opera;
whilst Beethoven is hardly entitled to the crown when you compare Christ on the Mount of Olives to Haydn’s The Creation, or Fidelio to any of Mozart’s late operas.
In terms of opera buffa, Rossini arguably takes the chair as Zeus - but the rest ?
As I said, there is no Zeus.
@@elaineblackhurst1509
Дорогой учитель! Зев верховный бог пантеона всех(-древнегреческих-) богов!
Учителем всех великих наших любимых композиторов является Апполон! Увы, мы не услышим его творений, но, вероятно, существует апполонова школа для особо одарённых, которые слышат метафизическим слухом его советы и подсказки, одной нотой или сочетанием нескольких вызывать в людях эмоции от горя до радости, любыми формами музыки, будь то простая песенка, церковная соната, симфония, квартет, опера, оратория с кантатой или что угодно другое, уже придуманное человечеством или ещё нет.
1:43
description is wrong, finale starts at 24:00 not 21:11
+Spherica Thanks.
EXCELLENTE CADENCE DE L' HORLOGE QUI CETTE FOIS N'EST PAS ACCELEREE !! BRAVO ....
Geniales Werk des Vaters der Symphonie, brillant interpretiert von Orchester und Dirigent!!!
19mns50 s’étonner du silence 😶être enchanter, soulager de la mélodie de flûte 😅🌈
Ça continue 😊😊
I’m only here due to my girlfriend thinking this piece is the best when in my opinion le matin is 100% better
For me, a 16 years old asperger boy, I enjoy academic art in all its aspects, I have my favorite writers, painters, and movies, there are works I see absurd or do not cause me a sensation, but I pay attention to that works that I admire because his value and legacy had pass through every generation, this happens to me with singers or bands of different genres.
You wouldn't believe it, but in the "Academic Music Genre", I LOVE EVERYTHING. None of these mens did anything wrong by putting their imagination on paper, and that others make it come true, they would be pleased that much of their works have survived, that there are new ways to teach and enjoy it (Sure, some methods are better) And there are people of different types, who study them, and who appreciate these gifts, and the only thing that matters is to play it or sing it as well as possible, and that people enjoy it and recognize you, because you're not doing anything wrong for keeping these works of art. Greetings from Venezuela.
It’s a case of comparing apples and pears and therefore pointless.
Symphony 6 (Le Matin’) was written in 1761 for the small Eszterhazy orchestra of about 14 players, to be performed privately in the Haydnsaal at the Eisenstadt palace; Symphony 101 (‘The Clock’) was written in 1794/95 for a large London orchestra of over 60 players, to be performed at a public concert in front of a hugely enthusiastic ticket-buying public.
In other words, it’s an even bigger time distance than between Beethoven’s Symphony 1 of 1800, and Symphony 9 (‘Choral’) of 1824, and they too are not comparable.
Anyone can have favourites - and ‘Le Matin’ is a great choice, but that does not necessarily make it ‘…100% better’ than any other given work, particularly as in almost every respect - as you might expect over a span of over thirty years - ‘The Clock’ is a far more advanced work.
If you analyze every mozart and Haydn work, take a little from each one, expand on some daring key transitions from seconds to minutes, expand the instrumentation to larger orchestras with more extreme lower lows and higher highs, you could make Beethoven music. A Guy that spent an average of 5 years on every great work he did , but couldn't write any good commission works fooled everyone but me as being the "greatest" composer. I put even Bach ahead of Beethoven and that's a stretch for me because Bach sometimes would go back to his older works and give them a modern upgrade so you think he wrote it like that his whole life! Mozart is the only true genuine greatest. It's not about "periods" . Mozart was the most talented period in any genre. Im amazed today there is even a debate. The man wrote arguable the greatest piano concerto #24 in his 3 week "spare time", while finishing Marriage of Figaro! I mean come on! Imagine if he actually focused a year on something.. smh
I get what you’re trying to say, and certainly trying to list the strengths - and weaknesses such as they are - of the greatest composers is an interesting exercise.
However, I would question seriously the validity of trying to rank composers of the stature of Mozart, Haydn, and Beethoven which to me is as pointless as trying to rank the colours of the rainbow (and that’s before we even begin to consider other great composers from different ages), and normally just results in people rating them according to personal, subjective favourites.
@@elaineblackhurst1509 Beethoven had Haydns talent. They were one of the same imo. Perfect teacher for him! The difference though is Beethoven had someone like Mozart to study an extra 30 years and also had nothing else to do in his middle period but study because he was ashamed of his deafness and never wanted to go out. In that regard, he worked 10 times harder than Haydn
@@beethovenlovedmozart
Besides the other thoughts I’ve suggested in replies to your interesting comments, I think it’s also the case that we can consider Mozart to be a sensuous, seductive, and beautifully *feminine* composer, whilst Haydn and Beethoven are more original, independent, and assertive *masculine* composers.
Wow I didn't know it was composed on 2014
that was the release of the video. the piece was actually composed 220 years prior in 1794
sa moara frati miu e top raw
I'm a big fan of Beethoven's symphonies, but this, for me, is not worse.
When you are talking of composers of this stature, attempting to suggest better or worse is like trying to decide which is better or worse between red or blue; they are different, as is Mozart again to complete this Classical/post-Classical trio.
quien por tarea?
No, por apreciación
ハイドン【交響曲第101番「時計」】
30:00
Mozart and Haydn built the road from classical to Romanticism. Beethoven just lived long enough to patch a few holes and walk across it.
Mozart and Haydn took Classical music (c.1750-1800) to a pinnacle; neither of them wrote a single note that is within a million miles of the Romantic world of Schumann, Chopin, Mendelssohn, Liszt, et al.
Beethoven’s greatness was to take music at a high-water mark, explore new areas in new ways, and like Haydn had done for him (Mozart not so much as explained below) suggest challenges for later composers.
I think whereas Haydn posed questions for Beethoven, Mozart tended to provide answers and final solutions; for example, whilst Beethoven took the post-Haydn symphony into new areas, there was no attempt by him (nor anyone else) to explore beyond Mozart 40 or 41, and when he did attempt to take Mozart on as in his c minor piano concerto v Mozart K491, the result was markedly less successful than when he worked in Haydn’s areas of strength such as the symphony and string quartet.
Generally speaking, Beethoven’s greatest music is not in the areas of Mozart’s greatest strengths - opera, concertos, chamber music other than quartets - but in those of Haydn.
dammit my school ask us to learn this :L
Чёткая песня
68/3 is better, sry Mr Haydn. love you
One of Haydn's finest!
1:42
Haydn ist der Beste
Nein. Beethoven ist der Beste. (I don't speak German fluently, then sorry)
Ich denke, Bach ist der Beste. (Meine Meinung)😁
@@yannaischrire7327
Trying to say which composer is the best is as pointless as trying to say which colour is the best.
@@elaineblackhurst1509 dark purple.
@@elaineblackhurst1509 actually it's not that hard. If you took away the average of 5 years Beethoven took to write all his good works, and say gave him only 5 months each. Then with Bach, maybe don't give him his whole lifetime to update all his past works over and over again and say he died a little earlier like 50. Then you just let mozart live another 20 years to do his thing. I know he was the most gifted. Handel had the advantage of a long life too. Yet, they are always put ahead of Mozart who died at 35, with multiple masterpieces in every single genre of his time. Beethoven was a little slow. HE didn't write his 3rd symphony until 35. Mozart wrote his last 3 (all masterpieces) in 9 weeks. Mozart was the best. If you gave him 20 more years, there is no doubt who the best is!!
1:43