Whenever I listen to this marvelous symphony, I imagine if Haydn could have written more symphonies, what they would sound. His last symphony is full of genius motives, unexpected progress of harmony and balanced length of each parts. I really miss theml
If I remember correctly it was Robbins Landon who proposed to regard his latter Piano Trios and Masses as natural continuations of Haydn’s symphonic work; as if he just “moved on” to those media towards the end of his life.
@@leoperarm The idea of the masses as choral symphonies originated I think with HCRL, and has been picked up by others since; the piano trios having been heavily promoted by Charles Rosen in The Classical Style (1971) are an entirely separate and unrelated matter.
Викторина Мурова I ч. 0:03 - Вступление 2:27 - Главная партия 2:52 - Связующая партия 3:20 - Побочная партия №1 (на материале ГП) 4:03 - Побочная партия №2 4:13 - Заключительная партия II ч. 9:40 - Основная тема 13:35 - Эпизод (g-moll - B-dur) III ч. 19:20 - Основная тема («крестьянская») 21:14 - Трио (B-dur) IV ч. 24:35 - Главная партия (чешская) 24:59 - Связующая партия 25:19 - Побочная партия №1 25:45 - Побочная партия №2 26:02 - Заключительная партия
Potential publishing error at 12:22. In the last measure of the system, off-beat of beat one, the score shows the second violins playing “mi” when in fact in the audio the violins are playing “re.”
INTRO 0:04 homo 1:44 dissonance retard 1:57 homo EXPO 2:27 TA 2:44 pont p f 3:20 TB 3:59 GTB2 DEV 6:26 motif TA 6:50 dev GTB2 7:30 montée chroma vl épique REXP 7:43 TA 7:59 pont 8:32 rapel motif TA developpé puis silence 8:42 TB à la tonique sans conséquent 9:04 GTB2 I) ANALYSE a) forme 2:27 TA 3:20 TB Suspension de carrure : 3:20 à partir de TB Formule cadentiel 3x1mesure 2:44 Pont 2x2mesures et 1x2 mesures b) HARMONIE 3:29 TB V/V 3:47 V/V puis pédale dominante 1:44 fin intro dissonance retard
Les symphonies de Haydn sont magnifiques, cependant pour cette version le second mouvement est trop lent. Il est marqué Andante, ce mot vient de l'italien "andiamo", que l'on pourrait traduire par "allons", les Andante sont sont plutôt relativement rapides.
Sinceramente, ho eseguito questa Sinfonia qualche anno fa, conosco decine di esecuzioni, questa è tra le più equilibrate, so chi tiene tempi più stretti nell'andante, il movimento ci croma è abbastanza giusto così, altrimenti si perde la cantabilità, io stesso ho tenuto un tempo simile
I find this the absolutely best Haydn symphony. The splitting of the first 4 bars of the theme in two and using the 2 parts as elements for the whole development section is sheer Genius . I agree with another comment that the 2d movement is taken to slowly.@@elaineblackhurst1509
Isn't this piece actually in F Major?, I know that the title says D Major, but, I don't see any 2 sharps(which is either D Major or B minor) at the beginning of the piece, I only see 1 flat(which is either F Major or D minor)
It’s in d major, the intro is in d minor until the end of the intro, it uses a neopolitan 6th chord (in this case Eb major) and then a 6/4 cadence to modulate to the tonic major! Fascinating stuff
Naturalmente c'è molto Haydn in Beethoven dato che J. Haydn è stato il maestro di Beethoven nei primi anni 90 del 700. Esiste una differenza nettissima tra le prime composizioni di Beethoven del periodo di Bonn e le successive composizioni viennesi scritte dopo aver studiato con Haydn... le prime composizioni del periodo di Bonn pur essendo gradevoli, non avevano quella solida architettura e quell'equilibrio nella forma tipici delle composizioni di Beethoven successive. Queste caratteristiche sono l'insegnamento più importante, fondamentale, che l'anziano grande maestro Haydn fece al giovane Beethoven, da allora il genio creativo di Beethoven esplose senza limiti, proprio perché solidamente inquadrato nella struttura formale haydniana, che è quella che noi conosciamo anche sotto il nome di classicismo viennese.
@@jkim-08 4 of those are arguable. I forget what they all are, but I think one's a "symphonia concertante", and the others are similarly "almost-but-not-quite symphonies"
@@klop4228 For your benefit, and others sharing random thoughts here, I offer the following guidance. Haydn wrote 107 symphonies. Hob. I:1-104 are the familiar numbered symphonies. Hob. I:106 is the three movement sinfonia to Le pescatrici. Hob. I:107 is Symphony ‘A’. Hob. I:108 is Symphony ‘B’. The missing Hob. I:105 is the Sinfonia concertante.
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](http://i.ytimg.com/vi/3_TzIjb3QVs/mqdefault.jpg)
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](/img/tr.png)
i played this at a concert yesterday, it's the most fun i've ever had playing a concert in my life
What instrument
@@Nico27901we’ll never know 😔
@@m4l4ch1_ hahahaha
At the beginning sounds like beethoven's 9th symphony, amazing. Definitely a huge source of a great ideas
Whenever I listen to this marvelous symphony, I imagine if Haydn could have written more symphonies, what they would sound. His last symphony is full of genius motives, unexpected progress of harmony and balanced length of each parts. I really miss theml
If I remember correctly it was Robbins Landon who proposed to regard his latter Piano Trios and Masses as natural continuations of Haydn’s symphonic work; as if he just “moved on” to those media towards the end of his life.
@@leoperarm
The idea of the masses as choral symphonies originated I think with HCRL, and has been picked up by others since; the piano trios having been heavily promoted by Charles Rosen in The Classical Style (1971) are an entirely separate and unrelated matter.
It would sound like Prokofiev's first symphony 😊
Викторина Мурова
I ч.
0:03 - Вступление
2:27 - Главная партия
2:52 - Связующая партия
3:20 - Побочная партия №1 (на материале ГП)
4:03 - Побочная партия №2
4:13 - Заключительная партия
II ч.
9:40 - Основная тема
13:35 - Эпизод (g-moll - B-dur)
III ч.
19:20 - Основная тема («крестьянская»)
21:14 - Трио (B-dur)
IV ч.
24:35 - Главная партия (чешская)
24:59 - Связующая партия
25:19 - Побочная партия №1
25:45 - Побочная партия №2
26:02 - Заключительная партия
1. daļa:
0:00 - Ievads
2:27 - GP
3:19 - BP
6:25 - Izstrādajums
7:42 - Reprīze
2. daļa:
9:40 - A
13:35 - B
3. daļa:
19:20 - Pamattēma
4. daļa:
24:33 - GP
25:45 - BP
1 часть:
2:27 - ГП
3:20 - 1ПП
3:59 - 2ПП
6:25 - Разработка
2 часть:
9:40 - Начало
13:35 - Эпизод в d moll
3 часть:
19:20 - Начало
21:14 - Трио
4 часть:
24:33 - ГП
25:19 - ПП
25:45 - Сдвиг
28:01 - Разработка
1 часть
00:00 - Вступление
02:27 - ГП
2 часть
09:40 - осн. тема
3 часть
19:20 - Менуэт
21:13 - Трио
4 часть
24:33 - ГП
Всем удачи на викторине)
Without a doubt his best symphony
Marvelous symphony ❤️
This is one of my A level set works!!!
cry about it
@@PretzelPunch Why?
@@PretzelPunch its a good piece lol
@@sphoenix7156 shut it nerdoid
Yes, the Great London!
Potential publishing error at 12:22. In the last measure of the system, off-beat of beat one, the score shows the second violins playing “mi” when in fact in the audio the violins are playing “re.”
Ich mag so sehr die Klassiker von Wien. Haydn, Mozart und Beethoven waren der Anfang neuer Ära in der Musik.
1.Satz
0:03 (0:04) - Einleitung
2:27 (4:25) - Hauptsatz
3:20 (5:19) - Nebensatz
6:25 - Durchfuehrung
6:33 - "unendliches Kanon"
6:40 - forte, No.4
6:48 - cis moll
7:00 - forte, No.5
7:41 - Reprise (Hauptsatz)
7:51 - Holzblaeser (!)
8:38 -> 8:45 - Nebensatz
2.Satz
9:40 (10:05) - Hauptthena
13:35 - mittlere Strukture (g moll)
13:47 - subito fortissimo
14:28 - Falschreprise (B dur)
15:14 - Reprise
3.Satz
19:20 - Меnuett
20:03 -> 20:17 - Pause (!)
21:13 - Тrio
23:21 - Reprise (da Capo)
4.Satz
24:32 (26:18) - Hauptsatz
25:45 (27:30) - Nebensatz
28:00 - Durchfuehrung
29:08 -> 29:10 - Reprise
Спасибо
21:16 the trio begins here yes
excerpt timestamps
0:00 (1)
14:28 (2)
29:06 (3)
It boggles the mind that Haydn outlived Mozart and this piece for instance was written 4 entire years after Mozart's passing... Wild!
the consert was great.
2:28
9:40
13:46
violin lvl 9 orchestral excerpt
INTRO
0:04 homo
1:44 dissonance retard
1:57 homo
EXPO
2:27 TA
2:44 pont p f
3:20 TB
3:59 GTB2
DEV
6:26 motif TA
6:50 dev GTB2
7:30 montée chroma vl épique
REXP
7:43 TA
7:59 pont
8:32 rapel motif TA developpé puis silence
8:42 TB à la tonique sans conséquent
9:04 GTB2
I) ANALYSE
a) forme
2:27 TA
3:20 TB
Suspension de carrure :
3:20 à partir de TB Formule cadentiel 3x1mesure
2:44 Pont 2x2mesures et 1x2 mesures
b) HARMONIE
3:29 TB V/V
3:47 V/V puis pédale dominante
1:44 fin intro dissonance retard
6:26 - Development of 1st mvt
for me:
2:43 allegro
15:15 andante
0:00
F.J.Haydn Symphony No.104 in d major 1nd
thank you for this!
Wonderful, although for me, trying to follow score was 20 steps too far. My quill pen better left on the goose.
The second movement 🔥🔥🔥
Les symphonies de Haydn sont magnifiques, cependant pour cette version le second mouvement est trop lent. Il est marqué Andante, ce mot vient de l'italien "andiamo", que l'on pourrait traduire par "allons", les Andante sont sont plutôt relativement rapides.
Sinceramente, ho eseguito questa Sinfonia qualche anno fa, conosco decine di esecuzioni, questa è tra le più equilibrate, so chi tiene tempi più stretti nell'andante, il movimento ci croma è abbastanza giusto così, altrimenti si perde la cantabilità, io stesso ho tenuto un tempo simile
Why is 30:50 a D minor chord?
0:05 вступление
6:26
13:35
FUCK MUSIC A LEVEL
Someone capable of writing a comment such as yours should not be studying music at A level.
@@elaineblackhurst1509 I agree
What an interesting viewpoint
I find this the absolutely best Haydn symphony. The splitting of the first 4 bars of the theme in two and using the 2 parts as elements for the whole development section is sheer Genius . I agree with another comment that the 2d movement is taken to slowly.@@elaineblackhurst1509
2:26 9:40
Quantity over quality
Isn't this piece actually in F Major?, I know that the title says D Major, but, I don't see any 2 sharps(which is either D Major or B minor) at the beginning of the piece, I only see 1 flat(which is either F Major or D minor)
D Major with an introduction in the minor key
It’s in d major, the intro is in d minor until the end of the intro, it uses a neopolitan 6th chord (in this case Eb major) and then a 6/4 cadence to modulate to the tonic major! Fascinating stuff
At the beginning I thought it was Beethoven's 9th...
oh!
13:48
7:05
I think this piece sounds like a porto-beethoven symphony.
Or Beethoven sounds like late Haydn
oh!
6:59
C'è già molto Beethoven in Haydn?
C'è Haydn in Beethoven
@@hazhoner5727
Concordo in pieno con quello che ha detto.
Naturalmente c'è molto Haydn in Beethoven dato che J. Haydn è stato il maestro di Beethoven nei primi anni 90 del 700. Esiste una differenza nettissima tra le prime composizioni di Beethoven del periodo di Bonn e le successive composizioni viennesi scritte dopo aver studiato con Haydn... le prime composizioni del periodo di Bonn pur essendo gradevoli, non avevano quella solida architettura e quell'equilibrio nella forma tipici delle composizioni di Beethoven successive. Queste caratteristiche sono l'insegnamento più importante, fondamentale, che l'anziano grande maestro Haydn fece al giovane Beethoven, da allora il genio creativo di Beethoven esplose senza limiti, proprio perché solidamente inquadrato nella struttura formale haydniana, che è quella che noi conosciamo anche sotto il nome di classicismo viennese.
8:30
29:19
I,IV
last symphony of haydn
didn’t he write 108? i could be wrong though
@@jkim-08 yeah, he just write 104 symphonies!
@@jkim-08 4 of those are arguable. I forget what they all are, but I think one's a "symphonia concertante", and the others are similarly "almost-but-not-quite symphonies"
@@klop4228
For your benefit, and others sharing random thoughts here, I offer the following guidance.
Haydn wrote 107 symphonies.
Hob. I:1-104 are the familiar numbered symphonies.
Hob. I:106 is the three movement sinfonia to Le pescatrici.
Hob. I:107 is Symphony ‘A’.
Hob. I:108 is Symphony ‘B’.
The missing Hob. I:105 is the Sinfonia concertante.
14:49
8:16
2:28
14:26
2:27
17:39
2:27
2:27
4:27
2:27