I. Allegro con spirito (1:28); II. Adagio cantabile (10:56) - un poco allegro 15:40); III. Menuetto & Trio: Allegretto (17:30); IV. Finale: Vivace (21:42, end in 26:06)
The first movement of this is a particularly glorious achievement on Haydn's part, faitfhully served by Hogwood and his orchestra. It is almost Wagnerian/Miltonic in the way it takes tiny units and builds them into indivisible paragraphs yet with such lightness and good humour that we are more likely to think of Rossini. While not going as far as Fabio Grassi below (where can we find the essay?), which seems to me to undervalue the amazing London Symphonies, I would place this at the top of the pre-London symphonies - along with 45, 48, 49, 52, 70, 86, 88, 90, 92. well, perhaps just "below" 86, 88, 92 which have deeper and broader dimensions. WHERE is this? The "harsh" acoustic suits Haydn very well, differentiating him from the softer edged Mozart. Particularly telling in the vigorous Minuet, which really dances and springs without being rushed.
You’re quite right that Hogwood’s set was never completed, though I was fortunate enough to come across Symphonies 76 and 77 which I think had appeared separately to the series stuck to the cover of a BBC music magazine; they are in fact particularly good, and are outstanding symphonies both. The series has of course been completed since with the missing symphonies (78-81) performed by Ottavio Dantone with Accademia Bizantina (very fine performances), though with some of the Hogwood performances - about 20 - replaced with excellent Bruggen ones who also covers those never recorded by Hogwood.
In my essay on Haydn I dare arguing this is the top of Haydn's symphonies! Hogwood's conducting is very vigorous, even too much, sometimes one desires a softer and more elegiac performance.
@@walterbushell7029 Yes, streaming is great today, especially those who remember back to the ‘70’s when we had to wait for the Dorati recorded releases of the complete symphonies, most of which existed only in the score. Simply don’t get the obsession with linking Haydn and humour; it does exist, but so to does it in Mozart and Beethoven. Dorati certainly does not highlight ‘humour’, which anyway is I think better describe as playful ingenuity.
I agree, excellent execution but a bit too...muscular. The Concerto of Mozart for horn was not written in 1791 but before 1784; Haydn evidently quoted the music of his beloved friend and scholar
@@Sshooter444 Indeed, so either Mozart was recalling Haydn or the resemblance is coincidental. The latter is more likely given that the second movement was completed by Süssmayer after Mozart's death.
muslit By the time Haydn wrote this symphony (1783/4), he was writing works intended for international publication and knew full well that the works would be performed in London, Paris, Amsterdam, Vienna and elsewhere using much larger forces than his own orchestra at Eszterhaza. It is therefore quite authentic to perform them with larger forces; they were not always performed by smaller orchestras in the eighteenth century, though that is often the case today. There is room for both approaches in both Mozart and Haydn - and Beethoven too.
@@patriciayeiser6405 Is that why Mozart was so impressed with the size of the orchestra in Paris - 40 violins? I've read enough, including Mozart's letters, to know what he liked, without having to read Neal Zaslaw's book. Furthermore, they way 'they did it back then' is just that. It doesn't mean that's the best way to hear it, or to play it. Personally, I've always liked the way the St. Martin In the Fields orchestra do Mozart. ua-cam.com/video/rYTd3jWGYik/v-deo.html&ab_channel=variousassorted go right ahead and complain. And here's some Handel by the same group, vibrato and all - they didn't play it back then this way. Go ahead and hate it. ua-cam.com/video/toLsr07jPZ4/v-deo.html
@@muslit VIbrato was used to make a particular emotional and musical point. It wasn't to be used all the time. And Zaslaw has read all of Mozart's letters. He knows more than you do.
Perhaps better eccentric and original; Haydn doesn’t do ‘silly’, but even this relatively conventional symphony written with a view to being sold to publishers across Europe, it is a fascinating work with unusual features - just not ‘silly’.
This one is so very preety and mastered. BRAVO. BRAVO. BRAVO
In fortunate commercial. BRAVO. To all of the violins
The playing and interpretation are simply perfect. Thanks.
Beautiful performance!
I. Allegro con spirito (1:28);
II. Adagio cantabile (10:56) - un poco allegro 15:40);
III. Menuetto & Trio: Allegretto (17:30);
IV. Finale: Vivace (21:42, end in 26:06)
Sorry you missed two movements out, common in many symphonies. 1. Clappous spirito 00:01 2. Cacophonous andante 00:15.
ハイドンのこのNo79
交響曲普段聴く機会は、
ありませんが、心地良い
です、時代考証もされています。
The first movement of this is a particularly glorious achievement on Haydn's part, faitfhully served by Hogwood and his orchestra. It is almost Wagnerian/Miltonic in the way it takes tiny units and builds them into indivisible paragraphs yet with such lightness and good humour that we are more likely to think of Rossini. While not going as far as Fabio Grassi below (where can we find the essay?), which seems to me to undervalue the amazing London Symphonies, I would place this at the top of the pre-London symphonies - along with 45, 48, 49, 52, 70, 86, 88, 90, 92. well, perhaps just "below" 86, 88, 92 which have deeper and broader dimensions.
WHERE is this? The "harsh" acoustic suits Haydn very well, differentiating him from the softer edged Mozart. Particularly telling in the vigorous Minuet, which really dances and springs without being rushed.
Bravo Ehsen ela guzel!
Valuable recordings of symphonies not in Hogwood's unfinished set of complete Haydn symphonies for L'Oiseau Lyre
You’re quite right that Hogwood’s set was never completed, though I was fortunate enough to come across Symphonies 76 and 77 which I think had appeared separately to the series stuck to the cover of a BBC music magazine; they are in fact particularly good, and are outstanding symphonies both.
The series has of course been completed since with the missing symphonies (78-81) performed by Ottavio Dantone with Accademia Bizantina (very fine performances), though with some of the Hogwood performances - about 20 - replaced with excellent Bruggen ones who also covers those never recorded by Hogwood.
In my essay on Haydn I dare arguing this is the top of Haydn's symphonies! Hogwood's conducting is very vigorous, even too much, sometimes one desires a softer and more elegiac performance.
The sound is a bit harsh. You might find the performance less aggressive if the recording was remastered.
With streaming we can appreciate several performances, for their special qualities. Dorati is noted for bringing out the humor, for example.
@@walterbushell7029
Yes, streaming is great today, especially those who remember back to the ‘70’s when we had to wait for the Dorati recorded releases of the complete symphonies, most of which existed only in the score.
Simply don’t get the obsession with linking Haydn and humour; it does exist, but so to does it in Mozart and Beethoven.
Dorati certainly does not highlight ‘humour’, which anyway is I think better describe as playful ingenuity.
reminds me of sunny day in the park as a child
This is the Handel&Haydn Society (Boston) playing in Symphony Hall.
This is neither the Handel&Haydn society orchestra, (of which I was a member) nor is it symphony hall Boston (in which we played)
Mozarteum Hall Salzburg
Ancient music? If he had written it last week, you would still be impressed!
I agree, excellent execution but a bit too...muscular. The Concerto of Mozart for horn was not written in 1791 but before 1784; Haydn evidently quoted the music of his beloved friend and scholar
Mozart's D majr horn concerto was a late work, 1790s
Music is muscular. It was written by human beings and played by human beings - not spirits.
@@Sshooter444 Indeed, so either Mozart was recalling Haydn or the resemblance is coincidental. The latter is more likely given that the second movement was completed by Süssmayer after Mozart's death.
This is a Baroque orchestra using period instruments, why are some string players using vibrato?
Because there are times in 18-th Century music when it is called for. A straight tone throughout is boring and colourless. That is why.
@@patriciayeiser6405 (
1:31 Start
The sound is a bit harsh.
Thread Bomb - Period instruments do produce a harsher sound.
Yes it is but it is honest, later audio editors would look at what was playing and magically make it louder.
Which orchestra is this?
The Academy of Ancient Music.
like mozart, haydn would have wanted his orchestra to be larger. the way they 'did it back then' doesn't cut it.
muslit
By the time Haydn wrote this symphony (1783/4), he was writing works intended for international publication and knew full well that the works would be performed in London, Paris, Amsterdam, Vienna and elsewhere using much larger forces than his own orchestra at Eszterhaza.
It is therefore quite authentic to perform them with larger forces; they were not always performed by smaller orchestras in the eighteenth century, though that is often the case today.
There is room for both approaches in both Mozart and Haydn - and Beethoven too.
Read Neal Zaslaw's book on Mozart's orchestras. The way they did it in the 18th century cuts it exactly the way Mozart 'cut' it.
@@patriciayeiser6405 Is that why Mozart was so impressed with the size of the orchestra in Paris - 40 violins? I've read enough, including Mozart's letters, to know what he liked, without having to read Neal Zaslaw's book. Furthermore, they way 'they did it back then' is just that. It doesn't mean that's the best way to hear it, or to play it. Personally, I've always liked the way the St. Martin In the Fields orchestra do Mozart. ua-cam.com/video/rYTd3jWGYik/v-deo.html&ab_channel=variousassorted go right ahead and complain. And here's some Handel by the same group, vibrato and all - they didn't play it back then this way. Go ahead and hate it. ua-cam.com/video/toLsr07jPZ4/v-deo.html
@@muslit It depended on the piece. The later symphonies take more than the earlier ones. And he always wrote his strings "divisi."
@@muslit VIbrato was used to make a particular emotional and musical point. It wasn't to be used all the time. And Zaslaw has read all of Mozart's letters. He knows more than you do.
I wouldn't want to sit next to a brass player. All that pouring out of saliva from their instruments is real icky.
Its not saliva, condensation.
Haydn 's silly symphony
Perhaps better eccentric and original; Haydn doesn’t do ‘silly’, but even this relatively conventional symphony written with a view to being sold to publishers across Europe, it is a fascinating work with unusual features - just not ‘silly’.