Great piece for playing a game I like to play. Blank piece of paper; write down the chord changes and there mode and inversion as they go by. And write down the counterpoint methods as they go by-sequence, augmenting, diminution, inversion, etc…😊 love playing this game with easier pieces of music.
You actually make a very perceptive point though it illustrates well why a little background context is perhaps rather more important when listening to Haydn’s symphonies than those of Mozart for example. Firstly, the Hoboken numbering is about fifteen too high as the work was compiled (carefully chosen word) c.1768 and is chronologically number 44. Secondly, along with Symphonies 12 50 60 63 65? and 68? Symphony 59 probably had its origins in incidental music Haydn wrote to accompany stage plays put on at Eszterhaza; Haydn simply put together these theatrical symphonies from the previously composed incidental music in order to re-cycle music that would otherwise have been lost. This explains some of the oddities in the music - the most obvious being the famous re-tuning moment in Symphony 60 which was directly related to the forgetful man’s actions on the stage (similarly, Mendelssohn has his braying donkeys in the Overture to A Midsummer Night’s Dream). It also explains why you identified ‘…scattered rehearsal ideas’, which in a sense they are, but understanding that what you hear today is divorced from the stage action, it should make more sense. A number of other Haydn symphonies have important background context such as sonata da chiesa type works, those intended for Holy Week, sturm und drang works, those written for Eszterhaza, or for pan-European sales, or specifically for Paris or London for example; they are extremely varied depending on the purpose, market, audience et cetera. Nothing by Haydn is less than highly professionally composed, and I normally suggest that of the 107 symphonies: 65 are *Absolutely Essential Listening* 41 are *Essential Listening* 1 is *Required Listening* (To truthfully claim you know all the symphonies of Haydn). Symphony 59 I place in the ‘Essential Listening’ category, but on a list of personal favourites - a different and more subjective list - I have it down as one of my least favourite symphonies of all. 41 are *
Thank you Brilliant Classics for this weekly gift you send to me : Haydn 's symphonies ! 😊😊😊😊😊😊❤❤❤❤❤❤
Haydn's music is always a great pleasure. Your Haydn symphonies series is the best.
Wunderbar!
As always, thank you very much for this Haydn Symphonies series.
Great piece for playing a game I like to play. Blank piece of paper; write down the chord changes and there mode and inversion as they go by. And write down the counterpoint methods as they go by-sequence, augmenting, diminution, inversion, etc…😊 love playing this game with easier pieces of music.
Zauberhaft, Dankeschön 😊❤
Delicada sinfonía ❤
Brilliant!
Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer Haydn: Symphony No.59 in A Major
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Not one of his best works...sounds like some scattered regearsal ideas
You actually make a very perceptive point though it illustrates well why a little background context is perhaps rather more important when listening to Haydn’s symphonies than those of Mozart for example.
Firstly, the Hoboken numbering is about fifteen too high as the work was compiled (carefully chosen word) c.1768 and is chronologically number 44.
Secondly, along with Symphonies 12 50 60 63 65? and 68? Symphony 59 probably had its origins in incidental music Haydn wrote to accompany stage plays put on at Eszterhaza; Haydn simply put together these theatrical symphonies from the previously composed incidental music in order to re-cycle music that would otherwise have been lost.
This explains some of the oddities in the music - the most obvious being the famous re-tuning moment in Symphony 60 which was directly related to the forgetful man’s actions on the stage (similarly, Mendelssohn has his braying donkeys in the Overture to A Midsummer Night’s Dream).
It also explains why you identified ‘…scattered rehearsal ideas’, which in a sense they are, but understanding that what you hear today is divorced from the stage action, it should make more sense.
A number of other Haydn symphonies have important background context such as sonata da chiesa type works, those intended for Holy Week, sturm und drang works, those written for Eszterhaza, or for pan-European sales, or specifically for Paris or London for example; they are extremely varied depending on the purpose, market, audience et cetera.
Nothing by Haydn is less than highly professionally composed, and I normally suggest that of the 107 symphonies:
65 are *Absolutely Essential Listening*
41 are *Essential Listening*
1 is *Required Listening*
(To truthfully claim you know all the symphonies of Haydn).
Symphony 59 I place in the ‘Essential Listening’ category, but on a list of personal favourites - a different and more subjective list - I have it down as one of my least favourite symphonies of all.
41 are *