J. Haydn - Hob I:85 - Symphony No. 85 in B flat major "La Reine" (Brüggen)
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- Опубликовано: 9 июл 2024
- The symphony is set in 4 movements:
1. Adagio - Vivace (0:00)
2. Romance: Allegretto (7:32)
3. Menuetto: Allegretto (14:16)
4. Finale: Presto (18:31)
en.wikipedia.org/wiki/Symphony...)
Performers: Orchestra of the 18th Century, conducted by Frans Brüggen. 
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1:33 Farewell symphony!!! Oh, Haydn...!
Bellísima.Qué elegancia en el Allegretto con variaciones .Es Haydn
I dont know as much about classical music as some here but the words that come to mind having just listened to the whole of this are " elegance" and " poise". The slow movement sounds like a song without words. Not for the first time I'm staggered at how great composers were able to sit down with a blank sheet of manuscript and produce such sounds out of their head.
The second movement is, in fact, based on a French folksong -- one said to be a favorite of Queen Marie Antoinette! Good call.
Not an entirely blank sheet. Listen to opening movement of the Farewell Symphony No. 45 ruclips.net/video/guFtLJjRuz4/видео.html and hear the echo's.
@@adrianklaver113 Aha!
This was the favored piece of the last Queen Consort of France Marie Antoinette.
Marie-Antoinette was not the last queen consort of France, and I doubt very much that this was her favorite piece of music. It was merely named in her honor.
Massialot
There probably is a link with Marie-Antoinette and there is no reason to suppose she did not have the symphony as a favourite.
From the earliest performances, her name was linked with the symphony, but it was probably the melody of the Romance Allegretto second movement that was particularly attractive to her.
Haydn had very adroitly used an old French folk song melody ‘La gentile et jeune Lisette’ as the basis for the second movement,* it was published later as a piano solo too, such was its universal popularity.
It has been suggested by some, that Marie-Antoinette played this movement on the harpsichord during her final imprisonments prior to her execution.
Compared to many Haydn symphony nicknames, this one is actually quite reasonable.
* Mozart similarly used well-known French - and other - melodies throughout his life.
@@elaineblackhurst1509 "It has been suggested by some..." Sorry, I deal with facts, not fairy tales!
@@saltator1802 Which is usually good, but not always. Hoomeyow!!
Massialot there is a connection to her these were composed and commissioned specifically for Paris and she enjoyed his music as she was a contemporary of his. She was also a talented amateur musician. It’s documented. .
Charming. Clear and very intelligent performance.
Haydn is really the father of the symphony. The elegance and harmony of their compositions are amazing. Viva Haydn and his incredible and incomparable music. The symphonies are true musical masterpieces that provides us moments of unforgettable pleasure. The interpretation and direction of orchestra are superb.Bravissimo.
I love this symphony
7:35 Trumpet concerto 1st mvt
Marie Antoinette’s favorite piece❤️🩹
Thanks for uploading!
Very thorough, even with unorthodox ideas.
It's very hard to put a label on the form of much of Haydn's music. That's one of the things that makes him so great.
El padre de la sinfonia
Non è vero.
Invece sì, come ampiamente sostenuto dalla maggior parte degli studiosi.
@@nondum8565
Ancora una volta, non è vero.
Any clue about painter's name? or the painting itself?
"Leopoldinentempel mit Teich" by Albert Christoph Dies.
De la vergaaaaaaa
buenisimoooooo chingooooooon
14:16 aka the part I listened to and immediately loved after hearing it in history class
Reminds me Motzart 39 symphony
See my comment above. This came before that Mozart symphony and as Mozart conducted these Haydn symphonies in Paris the conclusion is obvious.
pigsbishop99
Mozart did not conduct these symphonies in Paris; however, he clearly did know them.
The first three were published just before Mozart wrote his last three in 1788; it is no coincidence that Mozart’s three were in E flat, g minor and C - the same keys as the first three of the Paris symphonies published by Artaria in Vienna.
Interesting. They seem worlds apart to me.
Greg King
They are worlds apart, because the compositional styles are entirely different, and though the two composers speak the same late-18th century musical language, they have very different accents and say different things - not better or worse - different.
Perhaps one of the easiest ways to think of the difference is to recognise that everything Mozart wrote has a cantabile (singing) character about it, even when writing for instruments; everything written by Haydn has an instrumental character, even when writing for voices.
That established, what each composer does with his ideas is completely different, much more contrast, balance and poise in Mozart, more motivic development, disruption of expectation and tonal wandering in Haydn.
In short: Mozart was more interested in the sound of the notes; Haydn in what he could do with them.
There is also the blatantly obvious point that Haydn 82 - 87 were written specifically for an audience in Paris, whilst Mozart 39 - 41 were intended for Vienna; this made a significant difference.
Beethoven in the next generation was clearly in the Haydn camp in most of these areas - only rarely in that of Mozart - and then he went off in his own direction.
Hope that helps!
1:34 symphony no. 45
☺️🌱🥀💙
There are a lot of parallels between this and the Kuijken version. I find Bruggen better in all sorts of subtle ways.
Hmm. First movement sounds similar to his famous 45th.
2:06 reminds me of o isis und osiris form the magic flute!?
Grazie papà Haydn. Così lo considerava Mozart.
Penso di no, forse solo di tanto in tanto; Mozart chiamava Haydn ‘il mio migliore amico’ secondo Constanza Mozart.
Haydn si chiama Joseph o Giuseppe.
The flute really drags at around 12:10 in the repeat. Surely it's not written like that?
I meant 'and' in the repeat.
3:05 sounds a little like Beethoven's 3rd
Except that this piece was written 20 years before Beethoven wrote a symphony. Whenever people say that Haydn sounds like someone else you will always find that his is the work that came first. Haydn is the most influential composer of all time. He was even influencing Prokofiev 150 years later.
@@pigsbishop99 It's impossible to say who "the most influential composer of all time" was. There's no denying that Haydn was extraordinarily influential, but one must also consider Guillaume de Machaut, Claudio Monteverdi, Ludwig van Beethoven, Richard Wagner, etc. etc.
@@pigsbishop99 Bach is still the most influential in Music History, Mozart and Beethoven come after, as well as Shakespeare in Literature, and Leonardo DaVinci in most branches of study, not just painting. They were only recognized after death.
@@jesustovar2549
Could I suggest that there is no ‘most influential’ and that it is better not to get drawn into a debate to which there is no ‘correct’ answer.
Bach was a hugely influential composer but had absolutely nothing to say in the areas of opera, the symphony, the string quartet, lieder, atonality, Romanticism, Nationalism, et cetera.
The same could be said of almost every other composer: Beethoven for example could not really be described as being influential in the areas of vocal music where he comes a poor second to composers of the stature of Rossini, or in contrapuntal music where it is almost impossible to compare him meaningfully to Bach.
All great composers are great for a reason; and they were usually hugely influential in their own lifetimes - Mozart being something of an exception here.
The great composers were all influential beyond their own time - but none could fairly be said to be the ‘most influential’ and trying to identify someone as such is a waste of time.
this sounds ridiculously fast.