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F.J. Haydn - Hob I:5 - Symphony No. 5 in A major (Hogwood)
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- Опубліковано 27 лип 2024
- The symphony is set in 4 movements:
1. Adagio ma non troppo (0:00)
2. Allegro (6:15)
3. Minuetto (12:11)
4. Finale: Presto (15:55)
en.wikipedia.org/wiki/Symphony...)
Performers: The Academy of Ancient Music, conducted by Christopher Hogwood.
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Гениальная музыка...Гениальный композитор. Как зорошо, что Гайдном в том числе написано 104 симфонии ( или больше). Сколько впереди открытий. Возвращаясь к прослушанным симфониям также получаю огромное удовольствие.
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.
I often think of the professional wind players who practice for years, just to go onstage and play half notes and whole notes in Haydn and many Mozart symphonies. These pieces are very pleasing to the ear, though!
Dave Surprenant The high horn parts are very hard to make sound like that(some of the notes are really above the high range that’s usually played within for first horn aside from a few pieces, so it’s actually challenging for the 1st horn
Sry but you have no idea, what is hard on a Horn.
There are lots of professional Hornists who practice for their whole live, which cant produce those high notes.
This is insanly high.
I am not sure if you still read this, I would like to say you are absolutely right that it is quite bizarre how my colleagues and me spent their whole lives perfecting those few notes to perfection. I guess one could imagine this to be like having to perform a backwards double salto from standing. If it works it looks simple enough… this is incredibly well played.
Primena Karališkus rūmus ir Istorinius šokius Polonezas ir kt. ir klasikinio Baleto spektaklius Žizel; Silfydę;Kopelija;Miegančiji gražiolė😉👌🎼👍🎶💯🎻🎺🎷🎤📯🎹 1977/1978/2021
Bravo ComposersbyNumbers for all Haydn symphony's you gave to us. I enjoy every bit of them. Thank you.
Absolutely. You have brought great joy to many!
Андрей Попов
И вновь сюрприз! 5-я симфония Ля мажор начинается медленной частью, Адажио ма нон троппо!
Именно целой частью, а не вступлением. Никакого сонатного аллегро! Можете припомнить что-либо подобное у кого-то ещё? 20 век и позже не берём. Кстати, во вступительном Adagio и в Менуэте довольно трудная валторновая партия на самых верхних обертонах. Даже на этой, очень неплохой записи (Академия старинной музыки, К.Хогвуд) , первый валторнист порой играет на грани кикса. Напомню, валторны тогда были только натуральными. Здесь они, как и следовало ожидать, в строе Ля.
Раз 1-я часть Адажио, вторая здесь Аллегро на 3/4. В каком то смысле первую и вторую части условно можно трактовать как одно целое, как прообраз знаменитых гайдновских медленных вступлений к сонатному аллегро в поздних его симфониях, тем более, обе эти части в ля мажоре.
Впрочем, менуэт тоже в Ля мажоре и, конечно же, финал. Все четыре части в одной тональности! От этого симфония отчасти производит впечатление старинной сюиты - Аллеманда (1 часть), Куранта (2 часть), Менуэт(3 часть) Правда, финал не жига а, скорее, галоп или экосез.
Нда... уже пятая симфония, а Гайдн ни разу не повторился ни в форме, ни в содержании.
Время создания симфонии - примерно между 1760 и 1762.
Итак, слушайте это чудо!
This is a very informative and interesting comment worth translating!
Спасибо большое!!!
I like the oboe/horn duet at 13:38
beautiful music....
The fine second movement is a prenounce of the magnificent symphonies of Haydn's second phase!
This reads like Google translate gone wrong; the English is incomprehensible gobbledygook.
There is no such thing as ‘…Haydn’s second phase’.
As a French Horn player, listening to that Adagio hurt my lips
(1759-1760 ca) Questa sinfonia occupa un posto importante nella produzione haydniana sia per la ricchezza e originalità di tre movimenti, sia perché per la prima volta, l'autore sconvolge l'ordine tradizionale, anticipando l'adagio e collocandolo in apertura. Non si tratta di un mero cambiamento di posizione per ottenere un diverso gioco di contrasti tra un tempo e l'altro, bensì di un modo diverso di concepire l'assunto di una sinfonia. La prova è che le sinfonie successive scritte in questa forma (n. 21.22.34.49) hanno un carattere particolare , pensoso, quasi religioso, come se l'adagio iniziale invitasse alla meditazione, relegando in secondo piano le schermaglie tematiche della forma sonata. Una "sinfonia d'atmosfera", quindi in contrapposto alla "sinfonia di carattere" che si inizia con un allegro popolato di gesti e di figure. LDC
The horn part is soooooooooo difficult
His symphonies do soound very simliar to giovanni samartini but yet he says he wasnt influenced by him.i wonder if he is telling the truth.some of them seem like identical copies of samartini that you csnt tell who is who.
I don’t think Haydn sounds like Sammartini at all; Haydn was extremely annoyed when this was suggested to him by Myslivecek c.1780.
Haydn said that he knew some of Sammartini’s music, but did not value it - he said that Sammartini was a scribbler (‘Schmierer’), and that he had no influence on his style at all.
The only composer Haydn ever acknowledged as a model, or prototype was CPE Bach - and at a stretch, what he learnt from Porpora whilst accompanying the old composer’s singing lessons around when he was only 20.
In this respect, the lack of influence from other composers puts him as the polar opposite of Mozart. Everyone is familiar with Haydn’s comment that the isolation at Eszterhaza meant that he was ‘...forced to be original’.
Additionally, there really is little in a composer of the stature of Sammartini from which Haydn could learn, as indicated by the very unusually critical comment from Haydn mentioned above.
Personally, having recordings of about 15 of Sammartini’s later symphonies, I think there is rather more of Sammartini in JC Bach - Sammartini worked in Milan where JC was organist in the Cathedral 1760 - 1762 before he moved to London so they would have known each other.
Also inevitably perhaps, more in Mozart too who would have known Sammartini in Milan when he visited in the early 1770’s - the melodic shape, the balance, the slightly feminine sensuousness, and the orchestration, are all rather more reminiscent of these two composers, than the more intensive masculine motivic development found in Haydn.
Sammartini however is an important figure in the story of the birth of the Classical symphony - my own view is that Haydn’s comment was a touch harsh about the music, but correct in that there was no influence.
In short: Sammartini is far more comfortable and easy than Haydn who is more challenging and original.
I think Haydn was telling Myslivecek the truth, and perhaps after reading this reply, you might be able to hear the difference!
@@elaineblackhurst1509 thanks for the insight.i never really valued symphonies that much except maybe one or two of the greats.for whatever reason be it my personality .and since getting more aquainted with symphonies ,i have heard people mention these things and i thought that if its true then its unfair to samartini.i really only looked unto the surface and so i cant make a proper judgement,but i do hear more of a complexity in haydns music.and though i like one or two of his compositions,i will always prefer baroque.it tends to have a deeper more majestic and beautiful quality to it,while symphonies tend to have too much of a lighter side to it.and my personality is about the more serious things in life.i know that in baroque,you find all the beautiful and fulfiling qualities in life.i really do try to like haydn and beethoven but i just cant.however,i do tend to like some of mozarts music a litle more but still,not even mozart can do what someone like a handel or purcell or albinoni or marcello can do for me .
It seems to me that you know very little about Haydn, Sammartini or symphonies.
Yes,i am learning.its not my preferenc.my preference by far,is baroque or itlaian overtures as they are much more majestic and beautiful .i wont say that i do understand symphonies as a result. my curiosity has pushed me to try and learn what the hype is about.and i now do realize that haydns symphonies are more complex.but i i cant bring myself to care.i thought somehow that samartini deserved more recognition but i now realize his symphonies werent very developed.but yes i dont know about symphonies and i understand that there are people that like haydns amd other symphonies because of their complexity.thats fine and i respect that,but it doesnt matter to me.and i look for certain emotional qualities in music especially the spiritual and the joyous qualities.and thats an extension of my personality and baroque and italian overtures expresses it like no other types
@@manuelalmendarez2232
Some interesting thoughts and a good response.
If you would like to try works from the period with a different type of emotion, try some of Haydn’s minor key ‘sturm und drang’ symphonies written between 1765 - 1773:
Symphonies 26, 34, 39, 44, 45, 49, and 52.
Something completely different would be almost anything by CPE Bach in his very personal empfindsamer Stil.
Try the six string symphonies Wq182, the four orchestra-symphonies Wq183, or the six Hamburg harpsichord concertos Wq43.
Hope you find something of interest amongst these very different suggestions.
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