Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
This is my all-time favourite Haydn symphony, and it`s well performed throughout, and also it`s the same key as Winter from The Four Seasons by Vivaldi.
Arguably, f minor was Haydn’s most personal key; there are a string of works in different genres in this moody key - symphony, string quartet, song, opera arias and scenas, et cetera - which are without exception very fine.
A true masterpiece. Haydn is genius, same rank as Mozart and Beethoven, no less. And there is no need to compare these extraordinary composers, for their music speaks for themselves. All of them gave us the best we can have as human beings. So grateful to them.
E. Silva A perceptive comment. The more you get to know Mozart and Haydn, the more you understand the enormous stature of each, but also how different they actually were, something I think they both mutually recognised at the time and a key reason why they found each other so interesting. Beethoven is really from the next age - I usually refer to him as post-Classical - but his particular genius was to move music into a new 19th century world. Your main point though is important; these composers are not better, or worse, they are different. We enrich our own enjoyment of music if we can appreciate those differences.
@@elaineblackhurst1509 Elaine, let us agree on the observation that the very same music is being perceived by ourselves differently at different times. To compare composers is futile exercise. Furthermore, stating of the fact that that many people like this composer while another many love that-is sheer trickery and hypocrisy. We cannot be even sure that each of us is perceiving red or blue color the same way, let alone music.
@@SuperArkleo I am struggling to understand your point. You write ‘To compare composers is [a] futile exercise’; surely if you have understood my comment, that is also what I said. You have gone on to add ‘Stating the fact that...’ but the problem is that I have done nothing of the sort! I am not sure that you are even replying to my comment which is actually not controversial at all.
@@elaineblackhurst1509 You are right. The very same thought can be phrased in a number of ways. Machine understands only one way, but humans - typically much more.This is our weakness and our strenghts. Trump' s second impeachment trial is a good example of the consequences of this ambiguity 😄
I just read a comment that you can't say which composer is the best. I thought Beethoven top them all but when I listen to Hyde, bauch, Mozart even lizt how can you compare its not fair to say who's the best because all of them gave their life to give us this music. It would be an injustic to say who's the best. Beethovan went death and some of them were broke but what ever happen to them they all gave us this glorious music.💝😁
Theresa Green When you are discussing composers of the stature of Mozart, Haydn and Beethoven, ‘best’ is an absolutely non-sensical concept - rather like trying to decide which is the ‘best’ colour between red, blue, and yellow. It is far better to try to understand and appreciate the differences between these three very great composers, something which incidentally, all three composers did mutually amongst themselves (except Mozart about Beethoven, as Beethoven did not move to Vienna until after Mozart’s death).
Furthermore when assessing who's best so called 'experts' use different criteria for different composers. This is most striking for Bach, Mozart and Beethoven.
gosh, works in minor tones are so scarce in classical works and yet so wonderful. Sublime adagio followed by an energic allegro. one of the true gems by Haydn...
Namekuseijin Br Mozart wrote just *two* minor key symphonies - both in g minor: 1773 - the one-off sturm und drang-style 25 (K183) 1788 - his unique 40 (K550). Haydn wrote rather more in a variety of keys, a total of *eleven* between c.1765 and 1791: Symphonies 26, 34, 39, 44, 45, 49, 52, 78, 80, 83, and 95. Both Mozart and Haydn used minor keys in other forms, for example piano sonatas, string quartets and opera, though once again, Haydn did so rather more than Mozart - for example, of Haydn’s fifty seven completed mature quartets from Opus 9 to the incomplete set that was Opus 77, no less than *twelve* are in minor keys - actually quite a high percentage.* Mozart’s use of d minor in Don Giovanni and the piano concerto No 20 (K466) was a very new and powerful - almost demonic - use of minor key tonality, whilst in a different way, Haydn’s use of minor keys as in his London opera L’anima del filosofo is also extraordinary. * Haydn’s unfinished string quartet Opus 103 would also have been in a minor key (d minor).
You’re right, this is an exceptional symphony of a very particular type. PS: My personal list of *absolutely essential* Haydn symphonies numbers 65, the remainder - bar one - being only *essential.* The early Symphony ‘A’ Hob. I:107 is I think Haydn’s most ordinary symphony and the only one I would not really recommend as a stand-alone work; I would label it *required* listening so as to be able to claim to have heard all 107 (sic) symphonies.
Leon Zurawicki I’m saying that they are both great works (*****), but suggesting that like comparing red and blue, it’s a pointless exercise as they are impossible to judge meaningfully - you just end up choosing personal favourites which is a very different thing.
Haydn, Mozart, Beethove,...All of them are super composers! It's not about who is better than the other, it's about each one of them has special feelings in his Music.
I always consider the three like the "Family" of High Classics. Haydn is the humorous and innovative father, Mozart the elegant and deeply feeling mother and Beethoven the revolutionary and powerful child. :-)
Gerald Hessenberger Obviously Haydn is far more than just humorous and innovative. He was a profound composer of subtle nuance. Mozart, I like by far the least of the three, because to me he is very formulaic. Beethoven is simply one of the great 3 apex composers of music history.
It was common practice in those days to borrow from each other. Mozart was no exception. I clearly see where Mozart got his inspiration for his Maurische Trauermusik in the first movement of this symphony. The famous 4 note motif from his Jupiter Symphony comes literally from Haydn's 13th Symphony.
speaking of Maurerische Trauermusik, most recordings of that piece on youtube are crap. (recorded at low quality, or not played at the proper tempo), I consider this to be the best of the bunch: ruclips.net/video/qpPtIe1mSeY/видео.html
Bartje Bartmans It is extremely unlikely ‘...that Mozart got his ‘…inspiration’* for his Maurische Trauermusik’ from this symphony. Haydn 49 is a sonata da chiesa type symphony, written in 1768 during his ‘sturm und drang’ phase; the Mozart work was written seventeen years later in 1785; it has virtually no sturm und drang features at all. The characteristics of sturm und drang made it a form of composition that was relatively uncomfortable to Mozart which is why there is virtually nothing by him in this style apart from the pretty much one-off g minor Symphony 25 (K183) which is clearly modelled on Haydn’s Symphony 39 also in g minor. (You might possibly add some of the 1773 Thamos music as well). Mozart’s minor key music in the 1780’s was very much his own creation, it post-dated sturm und drang by some years, and he certainly had no need to look so far back for ‘inspiration’; it was very much his own original sound. The four note tag from the opening of the finale of Mozart’s Jupiter was an old theme used by many composers due to the fact it offered so many opportunities for contrapuntal development; no one composer invented it and as you rightly state, it appears, or variants of it appear elsewhere such as in the finales of Haydn’s Symphonies 3, and 13 where it is used as the first subject of a fugue, and in the second movement of Symphony 11, and the third of Symphony 25. Additionally, as is rather less well known, the do-re-fa-mi motif is in other Mozart symphonies besides K551 - it is to be found in the Andante of Symphony 1 (K16), and the first movement of Symphony 33 (K319); it also appears in the Mass (K192) written in 1774. * The word ‘Inspiration’ is as ludicrously miss-used as it is over-used in English. Do we really think that Mozart was *inspired* by Haydn 49, or perhaps it was something he might have noted, assimilated, synthesised, used as a model, and so forth, all things he did to an extraordinary degree throughout his life; but *’inspired by…’* is absurd.
Written in 1768 for performance on Good Friday, this quintessential ‘sturm und drang’ symphony is a pure Classical symphony in every respect; it is Haydn’s last - and probably greatest - symphony cast in the old Baroque sonata da chiesa form. Some suggestions from scholars in the past - which are sometimes resurrected on cd sleeve notes - suggesting that Haydn underwent a ‘Romantic crisis’ during c.1765 - 1773 are today given rather less credence - and for what it is worth - none at all by myself. The Romantic connotations are related almost entirely to the literary sturm und drang (which slightly post-dated the musical movement), and are misleading when retrospectively and anachronistically back-dated to try to fit works like ‘La Passione’ whose very name tells you exactly what was the extra-musical context - nothing Romantic whatsoever, but the Passion of Christ. Haydn was *not* a Romantic composer - neither was Mozart - but both expressed a full range of emotions in their own ways, using their own language which absolutely should not be compared anachronistically to the music of a later age. That apart, you’re quite right - Chills!
To compare an f minor ‘sturm und drang’ type symphony, written in 1768, intended for private performance on Good Friday at the Eszterhazy palace at Eisenstadt, redolent with heavy religious undertones… …with one written in 1791, in G major, with a deliberate big-bang special effect, for a large and excitable ticket-buying public audience in a London concert hall… …makes no sense whatsoever.
It's always amazed me that Haydn, whose music is so associated with cheerfulness, could write a symphony with all 4 movements in the minor. One would have to look hard and fast and come up with Mahler's 6th to find such comparable negativity!
Minor is not "negative" but tense, due to the interval of minor third, which is the 13th on the scale of natural harmonic tones. It's sort of compression.
Roger Nortman Haydn is actually very far removed from the simplistic caricature and rather one dimensional image that is often presented of him by commentators whose ignorance and lack of acumen far surpass their knowledge and understanding of the composer.
Bartje Bartmans See my reply to a similar comment you have made above. Additionally, Mozart’s Requiem owes nothing to this ‘sturm und drang’ symphony; not a single note of the Requiem could be described as sturm und drang. Try Michael Haydn as a possible model - Mozart certainly knew if - or Anfossi’s Sinfonia Venezia for a direct theft of the famous Confutatis theme. (There are some other borrowings as well, one or two of which are very easy to identify).
This symphony in F minor, "la passione", is obviously coloured by its minor tonality. F minor has always benn used for pathetic but fierce scores by the classics and the protoromantics (Mozart; fantasy for organ ; Beethoven; sonata "Appassionata"). Here, the tone is given by the slow and particularly long introduction and is maintained all along the symphony. Note that there is no slow movement, but a severe minuetto which softens a bit in the trio. The finale is vey tense again. As usual in that period, the score is written for strings , 2 horns and 2 oboi. Haydn is in his 'sturm und drag' period.
I love to play this on a warm summer's day whist I await my family coming to visit me. I almost expect them to drop out of the flimsy clouds that are passing overhead.
who is the conductor ? , the very beginning is much better interpreted in this version than many others . It is slightly slower ( or somehow I hear it that way).and I find it to be deeper & more emotional than other versions.
+Sali Mall If anything, the first movement here does sound too slow: Haydn's tempo marking is Adagio, but this sounds closer to Larghetto. Still, it is moving when played that way. Incidentally, in answer to your question, the orchestra and conductor are the Orchestra of St. John's, Smith Square, London , with John Lubbock conducting. However, you could have discovered that for yourself, simply by looking at the information provided above (it's right under the Upload Date).
dont pay attention to galantski, he/she/it w/e, is a phoney with no clue to the music or to music at all and is a negative, hurtful, pretentious snob that enjoys taking happiness away from others because they don't have any grasp of it to beging with. probably a high school teacher
In "Storm and Stress" Symphonies Haydn has that quite often. This order is also used a lot in "Church Sonatas" (due to liturgical reasons). Only in the High and Late Classical Period, the other order was finally established.
It's written in the sonata da chiesa form. (slow - fast - slow - fast) This was the last symphony he wrote in that form, actually. It was an older baroque form that went out of fashion during Haydn's lifetime.
existio un cuarteto de grandes musicos y extraordinarios compositores que, en mi humilde opinion y apreciacion,- son: hayden,mozart, bhetoben y bach, y.... es que hablar y comentar sobre musica es harto dificil por cuanto son tantos los maestros de grandes composiciones musicales que no quisiera dejar pasar por alto el resto tambien excepcionales.... dios los bendigaaaa
Se il titolo "la passione" è quello ufficiale, il secondo "il quacchero" appare nondimeno su alcune copie dell'epoca e in una di esse si precisa, in lingua italiana, che questa sinfonia "serve da compagnia" al "Filosofo" dello stesso autore (n.22). L'ipotesi che l'opera si ispiri alla Passione di Cristo sembra infondata, anzitutto perché Haydn aveva già scritto una sinfonia sull'argomento (n.26), in secondo luogo perché essa non contiene alcun corale e, pur adottando la forma sonata da chiesa, ha un tono pensoso, ma non religioso. Il titolo "Passione" va dunque inteso nel senso di "emozione", una emozione intensa che si sprigiona dai quattro movimenti, tutti in minore. LDC
@@darionbuck8864 Check out the Haydn 2032 project and channel; brilliant performances - and filming - of a cross-section of the symphonies of which they have recorded so far about one third of the total, the rest to be completed by 2032 (the composer’s 300th birthday). The latest recordings published are two of the Morning, Noon, and Evening trilogy - Symphonies 6, and 7, with presumably 8 imminent; they are some of the best performances and recordings available.
@@elaineblackhurst1509 funny, I just discovered some more Haydn symphonies in the last couple weeks. I didn't think 49 could be topped but I would say 82 is my number 1 now. NO WAY it could get any better... i especially love the HR Sinfonie recordings. but thanks for the suggestion ill check them out.
@@darionbuck8864 It’s a great voyage of discovery; the music is of the highest quality, but then you can just choose big orchestra or small, period performance or modern, harpsichord continuo or not, et cetera. 49 and 82 are fundamentally different works: a highly personal f minor one written for private performance on Good Friday and redolent with obvious religious overtones, and written for Haydn’s employer and his own small orchestra; the other a bold aggressive C major-type, written on commission for a public performance, with a huge orchestra in Paris. You’ll be surprised at the variety you will find over the 107 symphonies - ceremonial and chamber; public and private; church and theatre; Eszterhaza, Paris, London; sturm und drang and galant; three, four, and even six movements - the list is endless. Enjoy the journey.
I've got at least 10 versions of this symphony. For me this is the best. The Penguin guide wasn't too kind to Lubbock suggesting that he over-characterised this work. I couldn't disagree more. In my view Lubbock has the timing and emotion to perfection. Sure it's sad. It's a Sturm und Drang minor key symphony so that's expected, but it's also a great under-vaued masterpiece.
Disagree completely that ‘La Passione’ is under-valued - it is universally acknowledged as one of the finest of all sturm und drang symphonies. I would agree however that it is perhaps not as well known as it should be - in some parts of the world, but not all; it is an unqualified masterpiece. You’re right as well that this is a very fine and memorable performance of the symphony.
That's a lie, there's beautiful tantalizing music in all cultures and continents. This you may find out when u allow bias out of your soul and the joy of music into your heart. What true musician/critique allows such minisule thoughts to limit their experiences with music. No one made you the judge of everyone's ears! Don't spread this known or unbeknown to yourself hate talk!!!🧐🤫😬
That is a very short-sighted and close minded thing to say. Either you are completely ignorant of other musical traditions, or you are wilfully denigrating them for some ideological reasons of your own.
Видеоклипы
0:00 I. Adagio
7:50 II. Allegro di Molto
14:40 III. Menuet e Trio
19:35 IV. Presto
Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
The mountainside looks like a man blowing smoke. I can't unsee it now that I've seen it.
What amazing and fabulous music. Viva Haydn and divine grace, elegance and wonderful compositions. This is my preferred symphony so far!!!
Сказка,чудо,прекрасный звук.Какое счастье слушать такую музыку в таком формате.БРАВО.Благодарю ТВОРЦА.
I studied this for A-level music in 1999. This and my other set texts have never left me. It still sounds great now. He was so innovative.
Що за диво ця музика! Закрив очі- і летиш, летиш...Все земне відходить на другий план. Казкове задоволення!
Найкраще Адажіо Гайдна!
Yes
This is my all-time favourite Haydn symphony, and it`s well performed throughout, and also it`s the same key as Winter from The Four Seasons by Vivaldi.
Arguably, f minor was Haydn’s most personal key; there are a string of works in different genres in this moody key - symphony, string quartet, song, opera arias and scenas, et cetera - which are without exception very fine.
Me too! I just love this symphonie, especially the 2nd mouvement.... FABULOUS!
優しくて心に柔らかく響く音色は、素晴らしいと思います。時代を超えて心に響きます。
One word comes to mind......Beautiful
This symphony is a specific moment in the "strurm und drang" period of Haydn. It is excellently diretcted.
Yes I always loved this version by Lubbock but some critics were not kind to him.
A true masterpiece. Haydn is genius, same rank as Mozart and Beethoven, no less. And there is no need to compare these extraordinary composers, for their music speaks for themselves. All of them gave us the best we can have as human beings. So grateful to them.
E. Silva
A perceptive comment.
The more you get to know Mozart and Haydn, the more you understand the enormous stature of each, but also how different they actually were, something I think they both mutually recognised at the time and a key reason why they found each other so interesting.
Beethoven is really from the next age - I usually refer to him as post-Classical - but his particular genius was to move music into a new 19th century world.
Your main point though is important; these composers are not better, or worse, they are different.
We enrich our own enjoyment of music if we can appreciate those differences.
@@elaineblackhurst1509 Elaine,
let us agree on the observation that the very same music is being perceived by ourselves differently at different times. To compare composers is futile exercise. Furthermore, stating of the fact that that many people like this composer while another many love that-is sheer trickery and hypocrisy. We cannot be even sure that each of us is perceiving red or blue color the same way, let alone music.
@@SuperArkleo
I am struggling to understand your point.
You write ‘To compare composers is [a] futile exercise’; surely if you have understood my comment, that is also what I said.
You have gone on to add ‘Stating the fact that...’ but the problem is that I have done nothing of the sort!
I am not sure that you are even replying to my comment which is actually not controversial at all.
@@elaineblackhurst1509 You are right. The very same thought can be phrased in a number of ways. Machine understands only one way, but humans - typically much more.This is our weakness and our strenghts. Trump' s second impeachment trial is a good example of the consequences of this ambiguity 😄
@@elaineblackhurst1509 I agree with you
Simplement sublime. Tellement proche de la perfection. Du grand art du 18ème siècle.
Le Menuet est de toute beauté. Il provoque une grande émotion. Une sorte de déchirement.
I have a sense that this piece was one of the pinnacles of the classical period
On train , forgot headphones , but I look forward to this piece of music when I pick up car , I hear it's a gem, thanks for the upload.
Formidable enregistrement ! Une grande authenticité. Un discours musical superbement conduit.
F minor- arguably the most versatile scale, with uses in pop, dubstep, classical and many others.
Except for people with perfect pitch, there is no discernible difference between F minor and any other minor key.
@@jakegearhart nah that's noy true
@@jakegearhart This is true for orchestral and vocal works, not for keyboards that were not tuned in our present equal temperament.
@@christianwouters6764 Note how I specified "unless you're writing with specific instruments... in mind"
I just read a comment that you can't say which composer is the best. I thought Beethoven top them all but when I listen to Hyde, bauch, Mozart even lizt how can you compare its not fair to say who's the best because all of them gave their life to give us this music. It would be an injustic to say who's the best. Beethovan went death and some of them were broke but what ever happen to them they all gave us this glorious music.💝😁
Theresa Green
When you are discussing composers of the stature of Mozart, Haydn and Beethoven, ‘best’ is an absolutely non-sensical concept - rather like trying to decide which is the ‘best’ colour between red, blue, and yellow.
It is far better to try to understand and appreciate the differences between these three very great composers, something which incidentally, all three composers did mutually amongst themselves (except Mozart about Beethoven, as Beethoven did not move to Vienna until after Mozart’s death).
Furthermore when assessing who's best so called 'experts' use different criteria for different composers. This is most striking for Bach, Mozart and Beethoven.
This is a Music!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
@PetPeePee Oriental rug Urine Odor Removal Naturally.
it sure is
Wonderful!!!
Fantastic recording
I agree. This is an excellent recording.
gosh, works in minor tones are so scarce in classical works and yet so wonderful. Sublime adagio followed by an energic allegro. one of the true gems by Haydn...
In general, I think among those pieces in minor are some of the most sublime and beautiful ones in the whole history of classical music.
They aren't as common as the major keys but they are not scarce and as MC says here they tend to include the most notable.
Beethoven's great ninth is in D minor.
they're not that scarce, as significant sections of minor key music is contained within major key pieces: ruclips.net/video/udAGMaBa7Eg/видео.html
Namekuseijin Br
Mozart wrote just *two* minor key symphonies - both in g minor:
1773 - the one-off sturm und drang-style 25 (K183)
1788 - his unique 40 (K550).
Haydn wrote rather more in a variety of keys, a total of *eleven* between c.1765 and 1791:
Symphonies 26, 34, 39, 44, 45, 49, 52, 78, 80, 83, and 95.
Both Mozart and Haydn used minor keys in other forms, for example piano sonatas, string quartets and opera, though once again, Haydn did so rather more than Mozart - for example, of Haydn’s fifty seven completed mature quartets from Opus 9 to the incomplete set that was Opus 77, no less than *twelve* are in minor keys - actually quite a high percentage.*
Mozart’s use of d minor in Don Giovanni and the piano concerto No 20 (K466) was a very new and powerful - almost demonic - use of minor key tonality, whilst in a different way, Haydn’s use of minor keys as in his London opera L’anima del filosofo is also extraordinary.
* Haydn’s unfinished string quartet Opus 103 would also have been in a minor key (d minor).
One of the handful of the very best Haydn symphonies. Fantastic piece of music.
You’re right, this is an exceptional symphony of a very particular type.
PS: My personal list of *absolutely essential* Haydn symphonies numbers 65, the remainder - bar one - being only *essential.*
The early Symphony ‘A’ Hob. I:107 is I think Haydn’s most ordinary symphony and the only one I would not really recommend as a stand-alone work; I would label it *required* listening so as to be able to claim to have heard all 107 (sic) symphonies.
Gracias maestro Haydn por toda tu música excelsa !
As a Mozart lover .. I find this so beautiful and so heart warming
This is the first time i listen to this symphony and i loved it
Yes, it beats Mozart maybe except for his Requiem
Leon Zurawicki Surely comparing Haydn Symphony 49 (*****), to Mozart’s Requiem (*****), is as pointless as comparing Blue with Red.
@@elaineblackhurst1509 it is just your opinion. People always make judgments on comparative basis
Leon Zurawicki I’m saying that they are both great works (*****), but suggesting that like comparing red and blue, it’s a pointless exercise as they are impossible to judge meaningfully - you just end up choosing personal favourites which is a very different thing.
... Why did you have to mention that you are a Mozart lover?
This is quite wonderful!❤
La lección de un Maestro!
It's so beautiful 💓
Exquisitely beautiful-thank you all.
Really delightful performance.
la grandeza humana reside en el hecho de dejar una huella imborrable en el tiempo ,una obra que rebasa lo terrenal.Obra sublime.
¡¡¡Sí señor!!! Bravo por este comentario
Haydn, Mozart, Beethove,...All of them are super composers! It's not about who is better than the other, it's about each one of them has special feelings in his Music.
+Raed Al-Sabbab You are wise in your statement.
Thank you sir
I always consider the three like the "Family" of High Classics. Haydn is the
humorous and innovative father, Mozart the elegant and deeply feeling mother
and Beethoven the revolutionary and powerful child. :-)
Gerald Hessenberger
Obviously Haydn is far more than just humorous and innovative. He was a profound composer of subtle nuance. Mozart, I like by far the least of the three, because to me he is very formulaic. Beethoven is simply one of the great 3 apex composers of music history.
Don't be ridiculous... Mozart is a giant among giants.
The imitation in the second movement (08:43, 11:15 etc.) always gives me gooseflesh. It is like anxious rumors rippling through a crowd.
Hello Rami It seems he expressed the peace and force of our young hearts.
So much passion! My heart dropped at 2:50 and again at 6:27, at 7:50 I think I stopped breathing
Nicole Klanfer yes I agree
EXACTLY!! I fucking cried today at the supermarket while listening to this, at these music periods :S
I cried too. At the price of the T-bone steaks.
7:50 is amazing
Nicole Klanfer
One of my favorite Haydn symphonies!
Magnifique ..
Fantastische Interpretation, dynamisch, inspirierend, vital und berührend. Danke den leider unbekannten Interpreten.
"Orchestra of St. John's, Smith Square, London - John Lubbock, conductor" - Die Videobeschreibung
Ich studiere Deutsch und habe Ihre Woerte genau gelesen...was fuer eine schoene Lied, dass Herr Haydn gemacht hat, nein?
Fantástica sinfonia!
Merveilleux.
Belíssimo!!
Manuel SerpaBranco jugar j
Molto bello, quasi commovente. Solo gli inglesi possono eseguire così il classicismo musicale.
Date un’occhiata al progetto Haydn 2032 e Giovanni Antonini.
Molto bello il tema di pastorale al 17:16. Splendida sinfonia, bravo maestro!
It was common practice in those days to borrow from each other. Mozart was no exception. I clearly see where Mozart got his inspiration for his Maurische Trauermusik in the first movement of this symphony. The famous 4 note motif from his Jupiter Symphony comes literally from Haydn's 13th Symphony.
speaking of Maurerische Trauermusik, most recordings of that piece on youtube are crap. (recorded at low quality, or not played at the proper tempo), I consider this to be the best of the bunch: ruclips.net/video/qpPtIe1mSeY/видео.html
Bartje Bartmans
It is extremely unlikely ‘...that Mozart got his ‘…inspiration’* for his Maurische Trauermusik’ from this symphony.
Haydn 49 is a sonata da chiesa type symphony, written in 1768 during his ‘sturm und drang’ phase; the Mozart work was written seventeen years later in 1785; it has virtually no sturm und drang features at all.
The characteristics of sturm und drang made it a form of composition that was relatively uncomfortable to Mozart which is why there is virtually nothing by him in this style apart from the pretty much one-off g minor Symphony 25 (K183) which is clearly modelled on Haydn’s Symphony 39 also in g minor.
(You might possibly add some of the 1773 Thamos music as well).
Mozart’s minor key music in the 1780’s was very much his own creation, it post-dated sturm und drang by some years, and he certainly had no need to look so far back for ‘inspiration’; it was very much his own original sound.
The four note tag from the opening of the finale of Mozart’s Jupiter was an old theme used by many composers due to the fact it offered so many opportunities for contrapuntal development; no one composer invented it and as you rightly state, it appears, or variants of it appear elsewhere such as in the finales of Haydn’s Symphonies 3, and 13 where it is used as the first subject of a fugue, and in the second movement of Symphony 11, and the third of Symphony 25.
Additionally, as is rather less well known, the do-re-fa-mi motif is in other Mozart symphonies besides K551 - it is to be found in the Andante of Symphony 1 (K16), and the first movement of Symphony 33 (K319); it also appears in the Mass (K192) written in 1774.
* The word ‘Inspiration’ is as ludicrously miss-used as it is over-used in English.
Do we really think that Mozart was *inspired* by Haydn 49, or perhaps it was something he might have noted, assimilated, synthesised, used as a model, and so forth, all things he did to an extraordinary degree throughout his life; but *’inspired by…’* is absurd.
I always think of a rainy night when I hear this
My favorite ❤
Very interesting composition by Haydn, which here clearly anticipates romanticism. Chills
Written in 1768 for performance on Good Friday, this quintessential ‘sturm und drang’ symphony is a pure Classical symphony in every respect; it is Haydn’s last - and probably greatest - symphony cast in the old Baroque sonata da chiesa form.
Some suggestions from scholars in the past - which are sometimes resurrected on cd sleeve notes - suggesting that Haydn underwent a ‘Romantic crisis’ during c.1765 - 1773 are today given rather less credence - and for what it is worth - none at all by myself.
The Romantic connotations are related almost entirely to the literary sturm und drang (which slightly post-dated the musical movement), and are misleading when retrospectively and anachronistically back-dated to try to fit works like ‘La Passione’ whose very name tells you exactly what was the extra-musical context - nothing Romantic whatsoever, but the Passion of Christ.
Haydn was *not* a Romantic composer - neither was Mozart - but both expressed a full range of emotions in their own ways, using their own language which absolutely should not be compared anachronistically to the music of a later age.
That apart, you’re quite right - Chills!
More than 20 years before the "Paukenschlag" symphony was written.
So much more dramatic and more exciting!
I wasn't aware they were in competition with one another! I like to hear both.
To compare an f minor ‘sturm und drang’ type symphony, written in 1768, intended for private performance on Good Friday at the Eszterhazy palace at Eisenstadt, redolent with heavy religious undertones…
…with one written in 1791, in G major, with a deliberate big-bang special effect, for a large and excitable ticket-buying public audience in a London concert hall…
…makes no sense whatsoever.
It's always amazed me that Haydn, whose music is so associated with cheerfulness, could write a symphony with all 4 movements in the minor. One would have to look hard and fast and come up with Mahler's 6th to find such comparable negativity!
Minor is not "negative" but tense, due to the interval of minor third, which is the 13th on the scale of natural harmonic tones. It's sort of compression.
Roger Nortman
Haydn is actually very far removed from the simplistic caricature and rather one dimensional image that is often presented of him by commentators whose ignorance and lack of acumen far surpass their knowledge and understanding of the composer.
Terrific performance.
That’ll do, Haydn. That’ll do.
LOVELY MUSIC
Sublime.
Mozart looked back at this Symphony's first movement in his Maurische Trauermusik and Requiem.
Bartje Bartmans
See my reply to a similar comment you have made above.
Additionally, Mozart’s Requiem owes nothing to this ‘sturm und drang’ symphony; not a single note of the Requiem could be described as sturm und drang.
Try Michael Haydn as a possible model - Mozart certainly knew if - or Anfossi’s Sinfonia Venezia for a direct theft of the famous Confutatis theme.
(There are some other borrowings as well, one or two of which are very easy to identify).
DOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOU ES BUENARDO
Many thanks for the upload of this beautiful piece ( & the witty artist/album/licensing info...)
This symphony in F minor, "la passione", is obviously coloured by its minor tonality. F minor has always benn used for pathetic but fierce scores by the classics and the protoromantics (Mozart; fantasy for organ ; Beethoven; sonata "Appassionata"). Here, the tone is given by the slow and particularly long introduction and is maintained all along the symphony. Note that there is no slow movement, but a severe minuetto which softens a bit in the trio. The finale is vey tense again. As usual in that period, the score is written for strings , 2 horns and 2 oboi. Haydn is in his 'sturm und drag' period.
Fminor is such an amazing key, especially for slow movements
Interesting, but somehow not surprising that Haydn had a drag period. Forward thinking and liberal kind of guy.
Slow movements from Mozart Piano Sonata No.2 in F major K280, String Quartet No.8 in F major K168.
L oeuvre d un géant de la musique classique
Thanks.
Lovely symphony 😊
Estab buscando simphony no 40 pero accidentalmente presione esta cancion... No me arrepiento de haber hecho eso...
Le premier mouvement est bouleversant.
Sublime
I love to play this on a warm summer's day whist I await my family coming to visit me. I almost expect them to drop out of the flimsy clouds that are passing overhead.
who is the conductor ? , the very beginning is much better interpreted in this version than many others . It is slightly slower ( or somehow I hear it that way).and I find it to be deeper & more emotional than other versions.
+Sali Mall If anything, the first movement here does sound too slow: Haydn's tempo marking is Adagio, but this sounds closer to Larghetto. Still, it is moving when played that way.
Incidentally, in answer to your question, the orchestra and conductor are the Orchestra of St. John's, Smith Square, London , with John Lubbock conducting. However, you could have discovered that for yourself, simply by looking at the information provided above (it's right under the Upload Date).
dont pay attention to galantski, he/she/it w/e, is a phoney with no clue to the music or to music at all and is a negative, hurtful, pretentious snob that enjoys taking happiness away from others because they don't have any grasp of it to beging with. probably a high school teacher
That second movement.
Com tanta clareza na execução e excelente dinâmica a beleza está transmitida!
There is no better than that! Period!!!!
How unusual is it that the first movement is slow and the second movement fast? Typical of Haydn's whimsy. Thanks for posting.
In "Storm and Stress" Symphonies Haydn has that quite often. This order is
also used a lot in "Church Sonatas" (due to liturgical reasons). Only
in the High and Late Classical Period, the other order was finally established.
It's written in the sonata da chiesa form. (slow - fast - slow - fast) This was the last symphony he wrote in that form, actually.
It was an older baroque form that went out of fashion during Haydn's lifetime.
existio un cuarteto de grandes musicos y extraordinarios compositores que, en mi humilde opinion y apreciacion,- son: hayden,mozart, bhetoben y bach, y.... es que hablar y comentar sobre musica es harto dificil por cuanto son tantos los maestros de grandes composiciones musicales que no quisiera dejar pasar por alto el resto tambien excepcionales.... dios los bendigaaaa
Te faltó Chaycovksky
Debussy, Brahms,Grieg....
Te faltó chuvert, jendel, bibaldi, vrams, chuman.. Aajajajaj de los que nombraste solo me gusta Beethoven y Haydn... Detesto a Bach y Mozart 🤮
7:50 and 19:34
Fucking phenomenal
An intense performance of the first two movements. Too slow the performance of the menuet, a bit routine the performance of the finale.
Sencillamente exquisita Sinfonía..¡¡¡
ALABADO SEA JESUCRISTO
greate music.
9:08 - 9:12 I really like the bass strings there. So vehement!
EDIT: Oh, it reappears at 13:40! Yes!
and de wind instruments ! I wanted to see them when the orkest is playing. I mean there are many horns ?
And 10:22 to 10:25 plays a nice major version of the progression. I love it!
horn's already found on you tube. Naturel horn's !! I like this performens so much and I love Haydn !
Reminds me of Beethoven's Appassionata
Se il titolo "la passione" è quello ufficiale, il secondo "il quacchero" appare nondimeno su alcune copie dell'epoca e in una di esse si precisa, in lingua italiana, che questa sinfonia "serve da compagnia" al "Filosofo" dello stesso autore (n.22). L'ipotesi che l'opera si ispiri alla Passione di Cristo sembra infondata, anzitutto perché Haydn aveva già scritto una sinfonia sull'argomento (n.26), in secondo luogo perché essa non contiene alcun corale e, pur adottando la forma sonata da chiesa, ha un tono pensoso, ma non religioso. Il titolo "Passione" va dunque inteso nel senso di "emozione", una emozione intensa che si sprigiona dai quattro movimenti, tutti in minore. LDC
es ist so .
Reminds me of Vivaldi's Winter.
Joy unalloyed.
3 19:35
I didn't hear a single woodwind playing any melody. They all are harmonising.
Thats sturm und drang, my friend.
Lox Tyrrell
It might have been better to listen to the whole of the symphony before hitting the keyboard.
Listen to the Trio of the Minuet.
aguante el pan con manteca y azucar
Papa
7:50
Oh I thought schubert was it but now haydn
2 14:40
20:10
Two set brought me here. Next stop: 2 hours of Haydn's best.
What video was it my beautiful brother?
Fantastic, original, not academic.
Source?
Is there any way to quit Haydn symphony addiction? Please help, I cannot get this music out of my head!
No, but you can peer pressure me into the habbit. What other Haydn symphonies do you like?
@@darionbuck8864
Check out the Haydn 2032 project and channel; brilliant performances - and filming - of a cross-section of the symphonies of which they have recorded so far about one third of the total, the rest to be completed by 2032 (the composer’s 300th birthday).
The latest recordings published are two of the Morning, Noon, and Evening trilogy - Symphonies 6, and 7, with presumably 8 imminent; they are some of the best performances and recordings available.
@@elaineblackhurst1509 funny, I just discovered some more Haydn symphonies in the last couple weeks. I didn't think 49 could be topped but I would say 82 is my number 1 now. NO WAY it could get any better... i especially love the HR Sinfonie recordings. but thanks for the suggestion ill check them out.
@@darionbuck8864
It’s a great voyage of discovery; the music is of the highest quality, but then you can just choose big orchestra or small, period performance or modern, harpsichord continuo or not, et cetera.
49 and 82 are fundamentally different works:
a highly personal f minor one written for private performance on Good Friday and redolent with obvious religious overtones, and written for Haydn’s employer and his own small orchestra;
the other a bold aggressive C major-type, written on commission for a public performance, with a huge orchestra in Paris.
You’ll be surprised at the variety you will find over the 107 symphonies - ceremonial and chamber; public and private; church and theatre; Eszterhaza, Paris, London; sturm und drang and galant; three, four, and even six movements - the list is endless.
Enjoy the journey.
I've got at least 10 versions of this symphony. For me this is the best. The Penguin guide wasn't too kind to Lubbock suggesting that he over-characterised this work. I couldn't disagree more. In my view Lubbock has the timing and emotion to perfection. Sure it's sad. It's a Sturm und Drang minor key symphony so that's expected, but it's also a great under-vaued masterpiece.
Disagree completely that ‘La Passione’ is under-valued - it is universally acknowledged as one of the finest of all sturm und drang symphonies.
I would agree however that it is perhaps not as well known as it should be - in some parts of the world, but not all; it is an unqualified masterpiece.
You’re right as well that this is a very fine and memorable performance of the symphony.
Es ist so
Anybody else see a face in the rock face on the left?
I do
Неймовірно....я розгублений і зачарований.
Great, wonderful music ! Search for music like this in Asia, Africa, America, Middle East... you won't find any.
That's a lie, there's beautiful tantalizing music in all cultures and continents. This you may find out when u allow bias out of your soul and the joy of music into your heart. What true musician/critique allows such minisule thoughts to limit their experiences with music. No one made you the judge of everyone's ears! Don't spread this known or unbeknown to yourself hate talk!!!🧐🤫😬
That is a very short-sighted and close minded thing to say. Either you are completely ignorant of other musical traditions, or you are wilfully denigrating them for some ideological reasons of your own.
Search for Asian, Middle Eastern, African or American music in 18th century Europe and you won't find it there either! Crazy
Sturm und Drang implications..