Haydn: Symphony No. 75 in D major (with Score)

Franz Joseph Haydn:
Symphony No. 75 in D major, Hob. I/75 (with Score)
Composed: 1779-81
Conductor: Helmut Müller-Brühl
Orchestra: Cologne Chamber Orchestra
00:00 1. Grave - Presto (D major)
06:34 2. Poco adagio (G major)
15:30 3. Menuetto: Allegretto - Trio (D major)
18:47 4. Finale: Vivace (D major)
The Symphony No. 75 in D major (Hoboken 1/75) is a symphony composed by Joseph Haydn between 1779 and 1781.
The opening slow introduction is marked Grave. The first theme features a lyrical rising half-step motif followed by three loud chords. Mozart wrote down this theme along with the openings of symphonies 47 and 62, presumably, as Charles Rosen noted, "with an eye to conducting them at his concerts." The second theme is very brief and also contains a rising half-step. The second theme is omitted from the recapitulation.
The second movement is a theme in muted strings followed by four strophic variations. The second variation features a dialogue between wind & brass fanfares with simple string writing. The third features a solo string trio against a pizzicato accompaniment. Here, the solo cello plays continuously weaving sixteenth notes under the melody in the two other solo strings.
Haydn reported a curious story during his first visit to London:
"On 26th March 1792 at Mr Barthelemon's Concert, there was an English clergyman who sank into the deepest melancholy on hearing my Andante [here Haydn cites the opening of the second movement of Symphony No. 75], because the night before he had dreamt that such an Andante was a premonition of his death. - He immediately left the company and took to his bed, and today, the 25th of April, I learnt from Herr Barthelemon that this Protestant clergyman had died."
Elaine Sisman has postulated that Wolfgang Amadeus Mozart modeled the slow movement of his Piano Concerto No. 15 on the second movement of this symphony.
The fourth movement is "a rounded binary form with repeats of both halves," sometimes mistaken for sonata form.

[@detectivehome3318]

Thank you for the Haydn symphonies!

[@rbbonotto]

I hope at some point you can do #90, which I don't believe has ever had its score on UA-cam. Several writers seem to regard it as aa favorite full of interesting twists and turns. Thanks very much for this.

[@lylecohen1638]

Thank you for uploading these, some of Haydn’s symphonies in the 70s are really underrated (in my opinion most of all 76 and 70), and this recording of the wonderful 75 (possibly excepting the unending, though charming second movement) is especially “crisp” and spirited, even if the minuet is somewhat too slow for my taste.

[@matteovasta5952]

Non è facile commentare la serie da 70 a 81. Tutti pezzi gradevoli e cameristici che dovevano deliziare la corte degli Estheraza!
Haydn ci visse a lungo e bene. Insomma un ottimo ( il migliore di fine secolo) maestro di musica libero di esprimere il meglio di se.
Apprezzato unanimemente e riverito, ricevette in visita molti compositori contemporanei..
Una bella vita in una corte di primo piano con uno spaccato di vita ottimo e sereno per l’epoca. Perciò godiamoci tutta la musica del Nostro!!!!!

[@elaineblackhurst1509]

Le sinfonie che hai menzionato non sono scritto in particolare per Eszterhaza ma vendute a editore di tutto Europa; sinfonie 76-78 per esempio sono stati scritti per un viaggio proposto a Londra nel 1782.
Pochissimi sinfonie sono stati suonate a Eszterhaza nei dieci anni prima del 1790 come il principe Nicola amava l’opera italiana sopra ogni altri cosa.

[@matteovasta5952]

@@elaineblackhurst1509 grazie per la notizia.
Io mettevo in evidenza la “ libertà “ concessa ad Haydn che gli permetteva di esprimere le sua creatività ( notizie che ho letto.

[@marcus8258]

Beautiful symphony!

[@fredericchopin7538]

Marvelous!

[@TGMGame]

I think the 1st movement should be faster

[@christianwouters6764]

In fact every movement. especially the last. This is certainly no vivace like the composer wanted.