Joseph Haydn / Symphony No. 31 in D major "Hornsignal" (Mackerras)
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- Опубліковано 2 лип 2024
- Franz Joseph Haydn (1732-1809)
Symphony No. 31 in D major "Hornsignal", Hob. I:31 (1765)
00:00 - Allegro
07:02 - Adagio
17:07 - Menuet; Trio
22:07 - Finale: Moderato molto (Theme)
23:26 - (Variation 1)
24:41 - (Variation 2)
26:00 - (Variation 3)
27:10 - (Variation 4)
28:28 - (Variation 5)
29:32 - (Variation 6)
31:01 - (Variation 7)
33:08 - Presto
Performed by Charles Mackerras and the Orchestra of St. Luke's (Telarc: 1989).
An anecdote. The professor of Botany at my university during my interview for admission asked if I liked Music, because in his department he wanted to have something in common other than plants. I replied that I did, and he asked whether I liked Mozart. I said I preferred Haydn Symphonies. Oh. You had better be admitted. I could not have it on my conscience for you to be on the loose with opinions like that. I recommended that he heard the Horn Signal Symphony,. You deserve admission for that alone. What a joy that is. I owe it to Haydn that I became a Botanist.
31 l ululato del lupo. 41 la jupiter. non mescoliamo capra con cavoli!
Plants enjoy good music too.
I love the chamber music of Mozart, but when it comes to his symphonies I find them overall tedious, and rarely if ever listen to them now. The symphonies of Haydn, on the other hand, I adore and are full of so many catchy themes. I do not know why, as the classical style of both composers are similar.
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
Haydn always calms me and makes me happy. So glad he existed and that we still know his music. Thanks.
Try his brother Johann Michael. Also a very good composer.
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Magnificent Haydn, and magnificent performance. Excellent in every way.
Happy birthday, Joseph Haydn! Thank you for having been born! Lost without your soul.
He might as well still be here doing Glastonbury.
If you notice that this version is longer than other Recordings, it's because they honor all of the Repeats. Also, the last Movement appears to be Haydn's version of "Young People's Guide to the Orchestra!"
You make an important point.
Haydn - Mozart as well - wrote the da capo (repeat) markings as *instructions,* not optional, take-it-or-leave-it suggestions.
Far too many conductors’ cavalier attitude to repeats is not acceptable; it both diminishes and unbalances both individual movements, and the work as a whole.
This fine performance as you rightly say, honours the repeats, and therefore helps us to feel the true stature of this magnificent symphony.
@@elaineblackhurst1509 That's not true. Mozart and Haydn were still at a point in time where music was meant to be entertainment for some occasion, and repeats had to be flexible in order to fit the time constraints of the occasion.
@@jakegearhart
An interesting point, though I don’t agree overall, particularly in the case of Haydn who had Eszterhazy patrons up to 1790 who paid an annual fortune for their musical establishment, and categorically did *not* consider music to be background, entertainment incidental music.
Music was a priority, and things were made to fit.
Additionally, for Mozart post-1781 in particular, people were paying money for tickets to hear his music and could not be short-changed; for Haydn too post-1790, the same was true.
My main concern about the modern practice of picking and choosing whether or not to observe repeats remains the fact that it unbalances works, and balance is a key aspect of music in the Classical period.
Repeats being ‘…flexible in order to fit the time constraints of the occasion’ is a late-20th and 21st century concept; in music, almost nothing was too long for Prince Nicholas.
One of the main features that has killed Haydn’s operas for many listeners is the leisurely pacing of the operas; Prince Nicholas was quite happy to listen to 10 minutes of the stunningly sensual trio for three sopranos ‘Mi sembra un sogno’ from L’incontro improvviso, whereas Mozart cut his similar ‘Soave sia il vento’ in Così fan tutte to a dramatically far more effective 2 to 3 minutes.
In short, I think the time constraints you mentioned only rarely occurred.
@@elaineblackhurst1509 Haydn and Mozart were court composers for much of their lives. And even when their work wasn't being commissioned for a specific occasion, they still lived in a time where that was uncommon and wrote most music so that it could be flexible.
Beethoven was the first 'idol' composer who could make a living off of composing music just by selling concert tickets. Throughout Beethoven's life, a middle class formed that had enough buying power to listen to music when they wanted to rather than saving up to get peasant seats at the opera house occasionally. Concerts where symphonies were played in Mozart's days were just as often or more locked off to the public as they were open. By the end of Beethoven's life, scheduled strict programatic concerts based on the music alone and not based around a dinner party before or afterwards, were becoming the norm. You can see this reflection in just his symphonies alone. Look at the first one, there are repeats everywhere. And then by the time you get to his ninth symphony, there are extremely few repeats (maybe even none at all).
@@jakegearhart
Whilst I partly agree with some of this, I think you have over-simplified the bits relating to Mozart and Haydn which was a common problem with much of the older Beethoven literature which *did* in effect, seek to idolise and almost deify Beethoven (or in very different ways, attempt to create myths and legends around the relationships between Beethoven and his two most important predecessors).
Perhaps you need to read up a bit on Haydn in England where he made a fortune from popular over-subscribed concerts in a city where the aristocracy were musically irrelevant, and square that with your comment; and also re-consider some of the comments about Mozart and Haydn being ‘…court composers’ which is again only partly accurate - almost all of Haydn’s best-known works were written whilst *not* a court composer,* and almost every work programmed today by Mozart was written after he had left Salzburg.
Be careful about re-writing Beethoven’s life story and recycling some of the mythology - Beethoven does not need it; almost all his supporters and patrons were a long list of the Viennese aristocracy, and they were essential to him.
Without that aristocratic support, it is almost certain that Beethoven would have struggled in the manner of Mozart, Boccherini, Dittersdorf, and a string of other previous generation composers post-patronage.
Haydn really only had the Eszterhazys, who were extremely generous to him.
He had a salary and/or pension unbroken from 1761 until his death in 1809; he therefore had in effect from 1790, almost total artistic freedom to go where he pleased, and compose what he pleased.
Haydn’s London audiences were far more middle-class** than the aristocratic dominated ones endured by Beethoven in Vienna; Mozart for the last ten years went along freelance with varying degrees of success.
The symphonies of Mozart and Haydn were not based around a dinner party, they were major public events supported by a ticket-buying public.
That said, some interesting thoughts - thanks for your comment.
* Haydn could only really be described as a court composer from 1757 - 1761 (Count Morzin), and 1761 - 1790 (the Eszterhazy family): in other words only 33 of his 77 years (post-1790, he was only nominally in the Eszterhazy service and received both a pension and salary).
Outside these years noted above - ie for 44 years of his life - he was in effect a freelance composer.
** Unusually when compared to Vienna - and almost everywhere else in Europe - the monarchy, aristocracy, and the Anglican Church in England were in musical terms, practically irrelevant.
This is a sophisticated symphony probably written to welcome Esterhazy to his new home in Suttor. If so, it was a celebration fit for a prince. Too bad that some of his orchestra was depleted shortly thereafter. Anyway, Haydn was a genius for using all of his instruments to their full potential. It is a marvelous piece of music to listen to.
Diese Musik reisst mich sofort in die Sphären des Himmels und meine Seele fliegt über alles hinweg. Freude Pur...
Always fresh and nicely structured.
A work from a great genius.
Heavenly music. I love it!
Perfect performance! Highly enthusiastic! Mackeras was one of the first who introduced authentic performance practices in a orchestra playing on modern instruments, for instance using a continuo harpsichord - essential in Haydn Symphonies!
Graceful & delightful Symphony! A profoundly poetic work with such flawless technique and elegance.
Obrigada!!!
É realmente sublime.
!!Wunderbar!! Danke Joseph Haydn, danke den exzellenten Interpreten!!
Mozart loved this mans works so much and so do I!
What a wonderful and fabulous music. Thanks for this remarkable and unforgettable recording.
I love the lusty horn calls at the opening! Thank you for posting!
Superb performance of a highly original symphony by a composer who is truly underrated, as Simon Rattle rightly said. I have yet to hear a better recording of this work.
His work (beyond the last ~5 symphonies and a couple of his concertos) is vastly underplayed by major orchestras. In his time, Haydn was the biggest name in music all over Europe. As a music student who's studied music history and theory fairly in depth, he's undoubtedly an underrated master. He created, or at least refined and popularized, both the symphony AND the string quartet. While Mozart was a prodigy who expanded the style, Haydn was the structure. He's a composer's composer because his music is the prime example of, I guess what you'd call "proper", form. And to add to that, it's good and interesting music.
@@Loe_Jist
I get your point, but you have inadvertently de-valued Haydn by including comments like ‘Mozart...expanded the style...’, and limiting Haydn’s contribution to ‘structure’.
In a number of areas, in the approximately 12 years after Mozart’s death before Haydn retired, he moved significantly beyond anything in Mozart, and stood on the threshold of Beethoven’s new world.
Certainly, one of the best of this Great composer's marvelous symphonies. It is interesting to note the change from the vigorous and wholehearted first movement to the delicate and sweet second, the latter of which reminds me of the ending of Haydn's 45th, the Farewell, which was composed later. Anyone else reminded of that? Exquisite.
An excellent performance. Bellissimo. Squisito. Grazie and Thanks for posting.
FRAGIORGIO1 a little bit similar, but s. 45 sounds more melancholic, while this one is more charming
@@biomuseum6645 --I was referring only to the last movement of 45 sounding similar to the 2nd of this 31st., not the overall tone.
@@biomuseum6645
Between Symphony 31 of 1765 and the ‘sturm und drang’ Symphony 45 of 1772, Haydn’s musical language had developed almost beyond recognition.
Interestingly, you have used exactly the same word Mendelssohn used in the 1838.
Mendelssohn conducted a revival performance of the work on 22 February 1838 in his historical concerts series in Leipzig - the same series he began the 19th century revival of interest in the works of JS Bach.
Mendelssohn wrote to his sister following the performance saying that he was ‘jubilant’, and profoundly moved, added that ‘it is a curiously melancholy little piece’.
In short, what a very perceptive comment about Symphony 45 being ‘melancholic’; it puts you on the same wavelength as Mendelssohn no less.
@@elaineblackhurst1509 Hey Elaine. Do you know if Antonini and his orchestra have recorded this symphony?
How refreshing to hear all Haydn's repeats correctly performed. To omit one is to make a cut in Haydn's music. But many conductors do it.
I appreciate your sentiment, but in the 21st century, who has time for repeats? Sorry, gotta go now, and answer my iPhone!
What? @@graeme011
@@graeme011 --Lol
Francis Roads
Absolutely correct; the da capo (repeat) marks are *instructions* from the composer, not optional take-it-or-leave-it suggestions.
To ignore these markings is as wrong as to ignore instructions regarding tempo or dynamics.
Mozart, Haydn and Beethoven knew very well what they were doing and their instructions should be followed as failing to observe the repeats very often unbalances both a movement, and therefore the symphony as a whole.
All three composers ditched the da capo markings when they didn’t want them - they knew what they were doing.
Beethoven thought long and hard over the first movement exposition repeat in the ‘Eroica’ symphony for example, before deciding - in spite of its length - that he wanted it in; for myself, that means we get the repeat, not the conductor over-ruling the composer’s carefully considered decision.
@@graeme011 I do so hope that's conscious self satire.
GREAT HORN SOUND!!!!!!!!!!!!
FANTASTIC!!!!!!!!!
I LOVE THIS!!!!!!!!!! :-) :-) :-) :-)
Yes wonderful, really delicious job. Congratulations!
One of the few times Haydn used Four Horns.
Out of all of Joseph Haydn's symphonys,symphony No.31 in D major"Hornsinal," Is the best my opinion.
Sends shivers through my thighs for some reason. Maybe gardening a the weekend.
I can also recommend symphony no. 51, 72 and 103
It's certainly one of the best of the early ones. I love it and often listen to it.
#31 is one of my 10 favorite of all 104 and ranks with Haydn's very best. It is so soothing & joyous while ever delighting & never boring with its intricate & complex construction with superior melodies & harmonies only Haydn could join in celebration.
Very few would argue that the ‘Hornsignal’ is Haydn ‘best’ symphony, but you’re fully entitled to have it as a favourite (which is a different thing).
Rather like Mozart’s ‘Paris’ symphony (K297), Haydn 31 is a very spectacular sounding work, something that in both cases has inflated the reputation of both works, K297 0:23 in particular which is actually very straightforward indeed (noisy, lots of tonic/dominant banging about, scales and arpeggios aplenty, special effects, very little development, et cetera).
If you like Haydn 31 (1765) you need to listen to its sister work 72 (1763) which in spite one of the worst mis-numberings in the list, was actually written two years before 31, and is clearly a practice run at a four-horn symphony of this type.
Bella musica de Haydn uno de mis músicos preferidos
Among many sorrows on the horizon of the human condition, art seems to be a kind of medicine that heals our souls so afflicted! Greetings from city of Juiz de Fora, in Brazil.
A very appealing symphony from Joseph Haydn, Mackerrsa conducts it perfectly.
DANKE JOSEPH HAYDN...
Jawohl, danke, Papa Haydn......
@@XAVER9192
Papa [Recte Joseph] Haydn.
Franz Joseph Haydn composed 104 symphonies, and this has been my favorite for over 30 years, because of the first movement. I had the pleasure to hear it performed live by the St. Paul Chamber Orchestra several years ago. Their French Horn player did a superb job, as does the one in this recording. Both outstanding! (In 1990, I had the pleasure to visit the Haydn House Museum, the church containing his tomb, and the Esterhazy Palace, his place of employment for decades in Eisenstadt, Austria.)
What you hear is FOUR horn players, although in the primary fanfare there is the one playing the highest part that stands out....elsewhere the four are playing in harmony. Some groups use five players, to lessen the strain of the challenging parts on the players, or because the extreme ranges might exceed the skills of the players in some groups, so they use more players with specialty ranges. The second movement probably shows the four players as an ensemble better than the other movements.
I love all the movements of this symphony, and while the opening bravura one really sets things off with a punch, I still get goosebumps over the fourth movement with its brilliant variations.
And if you love this No. 31 symphony, check out the somewhat less known No. 72 (mis-numbered, it really should have been numbered close to this No. 31). It calls for almost the same instruments, and was written for the same group of four virtuoso horn players in Haydn's Esterhazy orchestra as no. 31, so there is a lot to love there as well. No. 72 is nicknamed "Fire", apparently due to Haydn borrowing parts of it for the incidental music of a play of that name that was performed at the Esterhazy estate shortly afterwards.....retroactive association.
I became forever stuck on this symphony as a teenager living in Stuttgart when Helmut Rilling's Bach Collegium orchestra was playing it (No. 31) over and over in various venues (and recording it for the Turnabout label.......Time Records also selected that recording to represent Haydn's symphonies in their classical music series) in various forms. A local, and award winning, jagerhorn ensemble was playing the horn parts in one of those public performances, and they were perfect and the overall performance was magical. I also heard another performance around the same time where they used French Horns. Our high school band was invited to go to a workshop put on by Rilling and the group, where we were invited to 'sit in' on a couple movements of the symphony, playing our band instruments if they were compatible...I was a tuba player, but also was studying string bass, so they let me try my hand at a few easier passages. I was HOOKED, and this remains my favorite symphony of not just Haydn but of anyone.
One of my high school girlfriend's mothers played cello in the Bach Collegium ensemble, and played the cello solo (from one of the fourth movement variation) on some of those performances of No. 31. She even came to one of our school band rehearsals and played to solo from the to demonstrate the instrument. She told me that she played on the recording.
Once of my school teachers was friends with Rilling, and knowing I liked the concerts of No. 31, got one of the LPs that were provided to give to the players from the recording, and gave it to me (I still have it).
Much later, after I moved to the States, and back when it first became possible to burn recordable audio CDs, I sweet talked the local audophile equipment store to let me come in after hours, and they used their LP cleaning system and then put the LP on their best turntable with an expensive cartridge, through an audiophile preamp, into one of the earlier DAT recorders. They did that for free since I was a good customer and friend of some of the store employees. A nearby recording studio had a CD burner (I recall they said it cost about $20,000) and let me come in in the evening to transfer my precious DAT of No. 31 to a blank CD (they cost about $100 each back then!), so I could listen to No. 31 without wearing out the LP anymore. Later on, as prices dropped, I made a couple backups of that original CD, onto gold archive CD blanks. Those CDs sound rally great, except for some tick and pops near the beginnings of each side due to needle drops (No. 31 was on Side A and No. 72 was on Side B).
Recently, I started perusing eBay and bought three LPs of the same recording from sellers who claimed that they were "mint" condition. Unfortunately, they were all less than mint, but still pretty good. Just groove noise from worn stylus/needles and various ticks and pops in different places. I used my own audiophile turntable and preamp to transfer all of those onto the computer, then laboriously determined which transfer of each track of each LP sounded best, edited them together and sparingly applied software 'vinyl restoration' algorithms to deal with the worst blemishes. The result was about as good, but not better, than my original CD transfer from decades earlier. So now I have two versions of the same recording on CD, and can choose which to listen to. I wish that I could legally upload one of these recordings to UA-cam, as that Rilling/Bach Collegium version would certainly be welcome by many listeners.
The thing I still don't know is, does the recording use the jagerhorns or the French Horns; could be either, and the record jacket does not say. To my ears, and to the ears of from professional horn players I have has listen to my CD, they think it is probably the jagerhorns. Years later, I met Helmuth Rilling again as he directed a performance in the midwest of Bach's St. Matthew Passion that I was in the chorus of. I talked to him about the 70s in Stuttgart, and reminded him of the performances of No. 31 and he said he could not remember which version of his ensemble was used for the recording.
youtuuba
Some interesting reminisces.
You are quite right to draw attention to the less well-known Symphony 72 for those who enjoy the special role given to the horns; it was written probably in 1763 so was two years before Symphony 31 in 1765 - it is in effect a trial run.
In his biography of the composer, Robbins Landon writes about the difficulties of finding four horn players in New York competent to play the challenging parts when they attempted to perform the symphony soon after WW2; the work was virtually unknown at the time in both Europe and the US.
Just need to correct one point: Symphony 72 has no nickname.
It is Symphony 59 (1769) which is the ‘Fire’ symphony (Feuer = Fire in German), probably due to part - or possibly all - of the music being used as incidental music to a performance of the play ‘Die Feuerbrunst’ at Eszterhaza in 1774.
‘Franz Joseph Haydn composed 104 symphonies…’
[Recte: *Joseph* Haydn composed *107* symphonies…].
beautifal! i love it!
Gracias !!!
I like this symphony. 1st mov's introduction is so cheerful and 4th variations make me satisfied.
Great Sound !!!
Mackerras is surely a fine Haydn conductor.
Magnifica , sinfonía,resuena espléndida
HAYDN I LOVE YOU 📯
❤
Great , Wonderful Music of all aspects
Joseph Hadyn numa alegre e fresca sinfonia. Um dos meus músicos preferidos e um das grandes referências da música clássica do século XVIII e início do século XIX.
sim, a música de Haydn com frescura no bom sentido, em alemão digo Frische, Frischheit
You see Mozart was more like a prodigous kid, but basically Haydn´s music is more valuable if we focus on its form and because he was the father of the classic style. There´s no Mozart or Bethoveen without him. Mozart sounds just like him many times but he could improvise on the piano and doing whatever he wanted on it. He got the fame for being the talent he was. Mozart and Bethoveen were still effing superb composers don´t get me wrong. Best of all times!
You can hear the work that goes into Haydn symphonies. Mozart's feel like he just tossed them off. Of course, he was a genius, and could get away with it. But Haydn challenges me more.
presbyterosBassI
A very perceptive comment.
I think one of the main reasons for this was that particularly for Mozart’s earlier works, and especially those written for Salzburg, Mozart did not have a particularly attentive or appreciative audience.
In contrast, Haydn had a first rate orchestra and a musical and appreciative Prince who actually listened to the music; this is one of the reasons Haydn developed the symphony from being background entertainment music to a far more holistic experience with a series of imaginative, varied works of rather more musical substance than required - or expected - somewhere like Salzburg.
Mozart’s later works, written after he had left Salzburg and was writing for different audiences - and had met Haydn - are similarly, far more impressive.
Being Sri Lankan, and not easily accessing European classical, it was in mid-life that I first listened to Haydn seriously and soon began to love his work - not that I have heard much. Somehow, perhaps it is an aesthetic laziness, I seem to prefer the earlier classic composers to the later and, also the lesser known. So I like Salieri, Borchcherini, Corelli, more than Beethoven, Mozart, Chopin. Thank you for uploading this music and thereby enabling me to access an enjoyment I would not otherwise find easily.
Music is a little like food, some you like, some you don’t - there is no right or wrong.
As you listen or study music more, you will however find that under the surface, there tends to be more musical, intellectual, and emotional content in the greatest composers; therefore, you will find more content in the quartets of Haydn than Boccherini, more in the operas of Mozart than Salieri, et cetera.
That said, I would not be without Boccherini or Salieri, and some of the greatest of composers can be hard work sometimes.
Corelli is a genuine mid-Baroque ‘A’ list composer, only Handel matched his twelve string Concerti Grossi Opus 6 (with his own Opus 6), and Corelli’s Opus 5 Violin Sonatas are arguably the greatest set of such sonatas ever written.
Una Joyita,que es una Joya!!!!!.-
He comparado,con otras versiones,esta es excelente.Agil,liviana,llena de energia.Cabalguemos con ella!!!!!.-
The picture is of the Rebleutehaus /gasthof Waldhorn in Ravensburg..
QJJ7+F8 Ravensburg, Germany
Simplemente una joya!!!
ハイドンはやはり大作曲家です。演奏も最高！
The languorous variation at 31:00 reminds me of the elephants from Saens' 'carnival des animaux' !
Que lindo às trompas , e sinfonia linda
great work
Nice horn sounds
Thanks!
His symphonies are some of the best I've heard... Not that I've heard a myriad of symphonies yet. :-)
A fine advertisement for Haydn and Mackerras
An excerpt from the first movement is an audition piece for my highschool orchestra class
Gorgeous as this is, it might be better described as a sinfonia concertante than as a regular symphony. It's a concerto in which solos of almost every instrument take their turn.
Ken Howes -- Haydn does that at times. He has such consideration for his musicians that he gives them chances to shine. Was fuer ein Mensch. or What a fine person he was and comes across as.
I get your point, but really, a sinfonia concertante is an entirely different species!
'Tis the only one of his 104 symphonies where I recall him endulging in a double bass solo!
An interesting aspect of Haydn's Esterhazy years is what we know from historical documents was going on at that time and place....with Haydn, with patron(s) Esterhazy with his small orchestra. We know that the Esterhazy orchestra had four natural horns, but one of them quit and another died sometime not long before this symphony was composed. Initially, the prince would not grant Haydn's petition to hire replacement hornists, but later he was allowed to and the normal set of four horns was restored. This symphony was written and performed very soon after that.
Haydn is known to have often done things with his music to make sure that the musicians remained employed and that he would have a consistent ensemble to write music for. The audience was almost always just the prince and a handful of others, and it has been noted that in many performances even the very small orchestra outnumbered the audience. What a good way to both thank the prince for reinstating the two hornists than to immediately write and perform a symphony that showed them off so prominently, and to thus convince the prince that his decision was the right one, thereby helping to maintain the group's numbers for the future.
Giving his excellent, top drawer, players so many nice little solos within the piece would also remind the prince what a great little band he had at the palace, and what a great champion he had in Haydn.
@@youtuuba
A thoughtful comment - you might find the following helpful.
The normal complement of the early-Eszterhaza orchestra (1761) was as follows:
Violins I and II
Viola
Cello
Violone (double bass)
2 Oboes
2 Horns
Bassoon
The essential reference work about Haydn’s Eszterhaza orchestra between 1761 and 1790 is Volume 2 (Haydn at Eszterhaza) of HC Robbins Landon’s five-volume biography of the composer Haydn: Chronicle and Works.
Every player ever engaged is listed by name, along with a huge amount of detail about their abilities, ups-and-downs, and just about everything else.
From time to time, extra players were engaged, or could brought in for special occasions: these included extra horns, cor anglais, clarinets, trumpets, flutes, an extra bassoon, and so forth.
The orchestra in 1761 when Haydn was appointed numbered 14 players, though when needed this could be supplemented and brought up to about 25; by c.1780, it had grown to a regular 24 players.
We know that the players were extremely good, the solos and some of the extremely challenging parts written into many symphonies demonstrate this, and the composer Kraus on a visit to Esztehaza - part of a four year European tour - described it as ‘…one of the best’.
Haydn was the only keyboard player employed, and would play the harpsichord in the opera performances (the recitatives), and the organ in church, and whenever else one was needed; in the symphonies performed in the Sala terrena at Eszterhaza, he played the violin.
Una excelente obra
And THIS is why Haydn would be my desert island composer.
(And I really do not understand the 9 "dislikes". What is there not to like?)
the bass solo
Enzo Cypriani *SERIOUSLY?*
yeah, i like very much the bass solo but dont you think its lamely played here? besides that, really ther is nothing to not like
People who dislike a piece don't necessarily have a precise reason, it may be just that they don't like this kind of music in general.
@@MarcusHK1
…or the performance in question compared to others.
Cors mêlés aux cordes, j'adore!
bella edizione
Where are my fellow horn players at?
Sir Simon Rattle once said that Haydn is the most underrated composer. Perhaps, he is right for the 104 symphonies of which Rattle felt at least 80 were great, and for his string quartets, the Seasons, his masses, concertos for violin, piano, trumpet, and cello, etc, or is it better to say EtCetera?
Haydn era un uomo straordinario ed allo stesso tempo, molto umano, scherzoso, simpatico. Posso cercare una tavola e seggiola cerca di lui nel paradiso?
He spent his younger days being not as great as Mozart and his older ones being not as great as Beethoven.
+Mike Schilling What was it Blake said about poets (you'll find it in the marginalia in his copy of Wordsworth's poems)? 'This is all in the highest degree Imaginative & equal to any Poet but not Superior I cannot think that Real Poets have any competition None are greatest in the Kingdom of Heaven it is so in Poetry.'
Haydn and Mozart's friendship (they played chamber music together, exchanged ideas, studied Handel and Bach, so on) is arguably the most famous in music history -- certainly the most generous between two supremely creative men in a highly competitive field each at the peak of his powers.
Beethoven and Haydn, while the latter was still healthy and the former still primarily a traveling virtuoso, did the same. (Albrechtsberger, in 1796, talks of a few meetings where Haydn improvised the whole of the Creation while he and Beethoven were present. One of the Op. 1 trios was also performed.)
It's difficult not to overstate his influence on all music that came after him. Who's free of it? Not Wagner, Brahms, Stravinsky, Schoenberg, Prokofiev, Shostakovich. Rosen: 'The pretension of Haydn’s symphonies to a simplicity that appears to come from Nature itself is no mask but the true claim of a style whose command over the whole range of technique is so great that it can ingenuously afford to disdain the outward appearance of high art. Pastoral is generally ironic, with the irony of one who aspires to less than he deserves, hoping he will be granted more. But Haydn’s pastoral style is more generous, with all its irony: it is the true heroic pastoral that cheerfully lays claim to the sublime, without yielding any of the innocence and simplicity won by art.'
+Mike Schilling How can you say that? Mozart may have been a child prodigy, but he didn't compose anything outstanding till he was in his 20s, after 1776, when Haydn was already in his mid 40s and famous? After Mozart died in 1791, Beethoven did nothing notable until 12 years later, when in the meantime Haydn had composed the London symphonies !
You can discuss about things outside of those periods, otherwise I fear you have oversimplified.
+scrymgeour34 Bravo! Excellent analysis. My compliments and respects.
+FRAGIORGIO1 i agree.!!!!!!!!!!!
La música de Haydn, no tan popular quizás como Mozart, Beethoven, tiene la magia de levantarnos por el aire, hacernos flotar y ver desde lo alto imágenes hermosas; campos, pueblos, calles, palacios, damas misteriosas; arrobando...
Tomás de Iriarte (1750-1791) Tributo poético a Joseph Haydn:
...Que el instrumento a quien Haydn
comunica su artificio,
declama, recita, pinta,
tiene alma, idea y sentido
No afecta su melodía
estudiados gorgoritos,
difíciles menudencias,
todos adornos postizos
con que se finge grandioso
el canto pobre y mezquino,
que olvida llegar al alma
por engañar el oído.
El canto de Haydn es noble,
es verdadero y sencillo,
es juicioso, es perceptible,
siempre vario, siempre rico.
En él nunca el Auditorio
se alabará de adivino;
que, en vez del paso esperado,
suele hallar el imprevisto...
Haydn Amigo, perdona
lo que de tu ingenio he dicho
para conocerte es poco,
nada para quien te ha oído.
; ) In translation to googlean...
That the instrument to whom Haydn
Communicate his artifice,
Declare, recite, paint,
It has a soul, an idea and a meaning
Doesn't affect his melody
Studied gurgles,
Difficult trifles,
All fake ornaments
With which he pretends great
The poor and mean song,
That forgets to reach the soul
By deceiving the ear.
The song of Haydn is noble,
It is true and simple,
It is judicious, it is perceptible,
Always varied, always rich.
In it never the Auditorium
He will praise himself as a soothsayer;
That, instead of the expected step,
You usually find the unforeseen...
Haydn Friend, excuse me
What of your ingenuity I have said:
To know you is little,
Nothing for those who have heard you.
Tomás de Iriarte (1750-1791) Poetic tribute to Haydn
Trompas de caça. Um dos toques imita o "post horn", (trompa postal).
Rasarit de Soare in negura vietii a oricarui om, apt sa vada frumosul dincolo de capacitatile lui, senzoriale.
🎶 🌾 😍 ❤ 🎵
Some misinformation here in these comments:
- Elisha Kim, 'lusty' is a good word for this opening movement. Common meanings are "joyous", "vigorous" (it can also mean "full of lust", but obviously that meaning does not apply to this context. Also, it is not a 'military fanfare' at all; it is a well known posthorn call used primarily for hunting, which is clearly what Haydn had in mind. Mozart and others used the same posthorn call in their compositions.
- Roger Huss, the piece is scored for FOUR hunting horns (jagerhorns), or the similar French hunting horns, NOT a single French Horn (it was not invented yet), although today many orchestras will use a French Horn. This particular recording by the Orchestra of St. Lukes does not indicate the instruments used on the CD booklet. To me they sound like natural horns, but there are still very audibly multiple horns.
I had the good fortune to hear a group in Stuttgart play this with a Jagerhorn ensemble, and I have an old Helmut Rilling recording that also uses Jagerhorns. The piece sounds best when they are used, closest to Haydn's intentions.
Paul Schmidt Thank you very much for your informative commentary. Enjoyed and appreciated by this listener! Are you a member of the Facebook closed group, Horn People? You might enjoy many posts. I would welcome you as a friend on my Facebook timeline, as well. Are you familiar with the noted expert on Dennis Brain, Stephen Gamble? He is on Facebook. With appreciation, Marcy Stemm.
_Sinfonía afilada🌀🧿_
I like Haydn and Heavy Metal as well.
...but, please not at the same time ;-)
French horns..... the power of music🤩🤩
nice
Papa Haydn war ein großer Komponist. Alles Gute zum Geburtstag, Herr Haydn - 31 März 1732 👍🏼
Joseph Haydn ✅
Giuseppe Haydn ✅
Herr Haydn ✅
Dr Haydn ✅
Papa Haydn ❌
French horns are the best instrument. That's why I clicked the one that said "Hornsignal".
Lucas Strom
Haydn's main curse has been that of composing some of his best work (late 1780s to 1790s) when Romanticism was on the ascendant, together with the catchy and dramatic image of the composer as a tragic hero. As a great artist, but without much personal drama, his personality couldn't compete with someone like Beethoven with his Promethean public image. Hence his being posthumously relegated to bronze on the podium of the three great classics.
Some interesting points, which have set me thinking.
I think you have probably pre-dated the rise of Romanticism in music by at least 30 years,* even Beethoven (d.1827) is not really Romantic in the sense that Schumann, Chopin, Mendelssohn, Liszt, at al may be so labelled.
The ‘tragic hero’ image of some largely 19th century composers - whilst partly true - are largely a posthumous creations, and also rely on a fair amount of myth and legend, generously sprinkled with fatuous and spurious nonsense (Beethoven meeting Mozart for example, and Haydn telling Beethoven not to publish the c minor Opus 1 No 3 trio, and the subsequent alleged fall-out because of it).
The single biggest contributory factor to Haydn’s alleged lack of ‘personal drama’, and comments about his ‘personality’ are founded on ignorance of both the man and his music; Costanza Mozart described him as her husband’s best friend, how could such a supposedly anodyne figure be so described by such a mercurial talent as Mozart ?
In a very different way, how could such an un-Romantic figure as Haydn have so got under Beethoven’s skin as to provoke more tetchy and irritated comments about him than almost any other composer ?
Haydn’s image in his own time was Promethean, in fact it was pan-European; it was Haydn’s stature and position that Beethoven coveted, and in his own lifetime, across the continent, it never really matched that of Haydn.
I think you’re right about Haydn’s bronze medal overall, though it is not a uniform position across every country; judging from your user-name, Switzerland is at the forefront of one of the great recording projects of the 21st century - Haydn 2032.
That said, I think in general, Haydn’s position is better acknowledged and understood around Europe than it is in the US for example.
Of all the greatest composers, Haydn is arguably the one in need of the greatest re-evaluation by music lovers today.
* Dating transitions is almost impossible; the late-Baroque and early-Classical ran concurrently for about a quarter of a century c.1740-1765.
@@elaineblackhurst1509 Thank you, Elaine, I enjoyed reading your reply.
4 natural horns, no valves, not sure this is possible. but even so you can hear bassoons, double bass, less is maybe more. Incredible.
Many of Haydn's earlier symphonies only use an orchestra of limited strings, 2 oboes, 2 horns & 2 bassoons.
Here we have a plethora of 4 horns plus the addition of a flute.
@@ripvanwinkle9592 You normally get a flute as standard equipment, 2 in later works! Rumour is that Haydn's boss managed to find 2 brothers who played alto horn and he virtually kidnapped them for as long as possible, I think there are 3 symphonies with 4 horns plus a very early one written for a different boss. Someone pointed out that 4 horns in an orchestra this size is a bigger proportion than even Richard Strauss managed.
Soberbio !!
I agree that Haydn is very underrated and has been eclipsed by Mozart and Beethoven. That is extremely ironic since Mozart and Beethoven both considered him a god and they learned their trade from him. His late symphonies and his string quartets say it all.
Mozart and Beethoven have brought forward Haydn's speech to romantic music, but I prefer the Haydn symphonies
claudio8313
Mozart and Beethoven have not ‘brought forward Haydn’s speech to romantic music’, nor should they be paired together as though they are the same thing.
Haydn, Mozart and Beethoven are highly original, and complete musical worlds in their own right.
It is wrong to judge a composer by how close he is to ‘romantic’ music as though that is the final goal - it is not, nor is it a yardstick by which earlier music should be judged.
To do so leaves Bach, Handel and the rest of the Baroque composers nowhere, and places Schumann, Chopin and Mendelssohn ahead of Beethoven because they ‘bring forward Beethoven’s speech to romantic music’.
It is not an invariable rule that all progress in music means better, or ‘brought forward’; most great composers are complete in themselves and should not be judged in comparison to music from a later age.
TJFNYC212
I’m not sure he has been eclipsed.
The bigger problem is performers concentrating on repeated performances of the same small percentage of each composer’s’ works.
Taking Mozart first, of his 41 symphonies, how many are played regularly ?
I would suggest only eight (possibly ten): 25, (possibly 28 and 29), 31, 35, 36, 38, 39, 40 and 41.
Likewise with Beethoven, there are not many performances of 1, 2, 4, or 8.
The number of regularly performed symphonies by Haydn is considerably higher, though like Mozart and Beethoven, he suffers from some unimaginative programming.
Away from the symphony, all three composers suffer pretty much equally from performers sticking to the more popular - ticket selling - sonatas, quartets, operas, concertos et cetera, which is a shame as all three composers wrote very little that is not worth repeated hearing.
@@elaineblackhurst1509 Ho letto ora il commento, si, non si deve giudicare quanto e' grande un'artista in base a quanto romanticismo mette nelle composizioni, sono d' accordo: Come sviluppo e modernizzazione del linguaggio musicale non intendo superiorita'. Haydn, Mozart e Beethoven sono tre geni ed i geni non si possono paragonare. Poi entra in gioco il fattore personale quanto a ciascuno piace un compositore di piu' rispetto ad un' altro , per le sinfonie ad esempio,a molti piace di piu' Mozart soprattutto negli ultimi lavori ; io preferisco Haydn sia nelle prime, intermedie ed ultime sinfonie, mi trasmettono piu' sensazioni, emozioni e non capisco la gente a cui non piacciono. Complimenti per la preparazione sull'argomento!
claudio8313
Grazie per la segnalazione.
È sempre interessante leggere le opinioni degli altri, soprattutto quando quei commenti sono scritti con conoscenza e comprensione.
Credo che la gente a cui non piacciono le sinfonie non capiscono il linguaggio musicale di Haydn - spesso, vogliono che suoni come Mozart, ma è diverso.
Anch’io mi piacciono molto le sinfonie di Haydn, un regalo al mondo per coloro che hanno orecchie per sentire.
05:32-05:35 this little scale dive seems a very common Haydn fingerprint in his early works
or just 05:33-05:35
Hi, l am Indian. I also like haydn.
Please can anybody tell me,ware the cover picture was taken. I suspect it is a brass instrument maker's shop ?
nice, i will buy vinyl records
J'ai visité sa.maison à Wien
La mejor sinfonía de Haydn.
jajaaj cool :-)
+Matías González Marilicán Better than 94?
For me is much better ;-)
OK.
+Matías González Marilicán Talvez, o al menos, uno de los mejores, y esto Seguramente !
Does anybody know where the picture was taken?
Ich sehe hier 41 "Mag ich nicht"! Wie kann man NICHT mögen ???
Wahrscheinlich neidische Trompeter
you MUST be a Horn player..... LOL!!!!! I am, so I feel ya Bro
I think everyone here is horn player
31:00 if you came for double bass solo
Just want to say that I played second bass in this recording and that THAT IS NOT ME PLAYING THE BASS SOLO!!!!!!!!!!!!!!
did you think that the bass soloist wasn't good?
i notice that the tempo is slower. is that as it's supposed to be.
It was not good. The bass solo you hear on this recording, as pathetic as it is, is the result of countless edits and engineering wizardry. It was a low point for me to have to witness. I will be playing the solo this season on Viennese Violone and it will be quite different indeed!
i listened to some other recordings and I see what you mean. Good luck with your solo. I'm sure you will do better.
what happened? who was it -- a student?
It's my absolute dream to play this piece with some of my friends in my section! Maybe in youth symphony (I'm fully aware of how tough this piece is)?
Feast of trumpets
7/1 Holy calendar
Sep -oct western calendar
Rosh Hashanah
( New years Israel)
おかしいな。
何故UA-camのおすすめは私がこの曲を大好きな事が分かるのであろうか？
Movie the pretender
The 1st movement was supposed to be in sonata form and that means NOT repeating the exposition. Not treating it as binary form.
Haydn did not compose in textbook sonata form, a theory invented to describe Beethoven's style for 1st movements. Haydn's 1st movemrnts, however, follow no textbook forms for 'twas Haydn who invented the classic style of music in the late 17th century.
@@ripvanwinkle9592
Both comments in this thread are as inaccurate as to fact as they are muddled in thinking.
Posthornet gjalder men er det postvognen eller er det blot en Ford A, der trutter i hornet.......
That background image reminds me of a terrible place in Germany...
MARANATA
" Jesus coming soon
Saint r your ready white linen gow ?"
7 year tribulation began"
Mack is my authority for Dvorak. I feel that the industry goes overboard for sound clarity. It,s not realistic.
Great Croatian
🥱
joseph hadyn sounds like a modern name
Never heard of joseph hadyn (sic), but there’s a Joseph Haydn [recte] who was quite a good composer.
I am from my late childhood a fervent Haydn fan. So please don't misunderstand what follows. IMHO this is among Haydn's weakest symphonies, a decorative symphony with comparatively scarce musical thought.
One of the most important things when listening to Haydn is to understand why the work was written and for whom.
This symphony was one of four very different, high quality symphonies written in 1765: numbers 28, 29, 30 and 31.
Taken together, they show off different aspects of the orchestra; 31 was designed to show off the four horns in the spectacular acoustic at Eisenstadt, something Haydn had had modified when he was first appointed by the Eszterhaza princes.
Secondly, rather like symphonies 6,7,8, and the badly mis-numbered 72 - the practice attempt for 31 - it was designed to show off the skills of the individual Eszterhaza players - everyone apart from the viola has a solo.
Some of the parts, particularly for the horns were written to demonstrate the high technical ability of the players and Robbins Landon reports that when the symphony was rediscovered and first played in New York in the 1950s, they struggled to find players capable of managing the parts.
The difficult horn music is found in a number of Haydn’s other Eszterhaza works, for example in the Divertimenti a otto voci (Hob: X 1-6 and 12).
Symphony 30 (‘Alleluia’), in contrast, was written for an entirely different purpose as is clearly audible.
Listen to Symphony 31 as Haydn intended it to be heard - a showcase for four horns - rather than listening for something like ‘sturm und drang’ which you will not find.
If you listen afresh to the work, and understand Haydn’s aim, then it makes more sense; additionally, the horn calls or fanfares would have been recognised at the time and this touch would have been very popular.
Musically, bringing back the opening horn calls in the speeded up coda at the end of the final variation movement was a new and innovative touch, the sort of thing which had it been done by Beethoven would have been labelled ‘revolutionary’.
Regarding this performance; I have always felt that it was one of the best modern instrument versions available, it is beautifully played and conducted, with real understanding, flair and enjoyment.
Hope that helps you to get a bit more out of this almost unique symphony.
@@elaineblackhurst1509 you wrote very well, "show off". I don't compare 31 with the sturm und drang masterpieces, but with early works like symphonies 3, 14 and 16 and find that these latter are much more consistent in term of musical thought. It goes without saying that even 31 is above the average of the time...
My comment was simply intended for any listener who read your original remarks to have a better understanding of what Haydn was doing in this particular symphony.
I disagree completely that 31 is:
‘...amongst Haydn’s weakest symphonies’,
and that it is:
‘…decorative’,
with:
‘…comparatively scarce musical thought’.
I do respect your right however to judge the symphony thus as you clearly have an understanding of and interest in the composer’s works.
I agree that 3, 14 and 16 are all fine works, though were written with very different intentions in mind from 31 which as I stated, was written for a very particular purpose.
I think Haydn still suffers from more misconceptions and misunderstandings than almost any other major important composer, so discussion is good and enlightening for us all - I enjoy reading other people’s considered views.
@@elaineblackhurst1509 ---Thank you so much for your valuable explanations, Elaine. My best respects to you for your knowledge and gracious sharing.
FRAGIORGIO1
Ti ringrazio per il tuo gentile commento.
Getting Wagner Vibes
The popular opinion that Haydn was always performing his symphonies without a keyboard instrument seems not really convincing to me. In operas he alway played continuo. Why should he not have done it in symphonies? There may have been occasional performances without harpsichord or - in his later works - fortepiano because there was no musician disposible. Certainly, I do not consider that practice as normal standard.
Un peu dépassée cette version... Hogwood est le meilleur!