It is a really beautiful movement, and I find it curious that it could pass for the adagio of a solo concerto for the flute. Edit: well, the article says the adagio most likely came from a now lost flute concerto by Haydn 😂
Why do so many conductors play grace notes in Haydn as if they are full, on-the-beat notes, such as in the Menuet in this recording? Haydn literally notated the same two phrases in different ways but they were still played same.
they're not grace notes, they're appoggiaturas, meaning they are usually played for the same length as the specified note. Weird notation, but that's the way they're played
It is too long to reproduce here, but an essential reference work to the whole issue of embellishments is CPE Bach’s Versuch (Essay on the True Art of Playing Keyboard Instruments). Haydn (and almost every other contemporary composer) studied the Versuch and adopted its principles, as for example in some of the modern fingering expounded by CPE to be found occasionally in Haydn’s own sonatas (for example the repeated notes in finale of sonata in E flat Hob. XVI:45). Whilst written specifically for the keyboard, the precepts of CPE’s manual can be applied elsewhere, so in Part 1* of the Versuch, we find Chapter 2 headed ‘Embellishments’, which following a general introduction, the first detailed section is ‘The Appoggiatura’. You may find this of interest to your discussion (as indeed may some conductors), as CPE explains clearly and illustrates how appoggiaturas and other ornaments are to be executed correctly. * Part 1 was published in 1753, Part 2 in 1762; a revision of Part 1 appeared in 1787 a year before CPE’s death. It is worth noting that Beethoven was still using the Versuch into the early 19th century.
Haydn is so innovative, even experimental, not afraid to try out things no one was doing at the time.
the allegro is absolutely banging
I liked so much the adagio
It is a really beautiful movement, and I find it curious that it could pass for the adagio of a solo concerto for the flute.
Edit: well, the article says the adagio most likely came from a now lost flute concerto by Haydn 😂
Why do so many conductors play grace notes in Haydn as if they are full, on-the-beat notes, such as in the Menuet in this recording? Haydn literally notated the same two phrases in different ways but they were still played same.
they're not grace notes, they're appoggiaturas, meaning they are usually played for the same length as the specified note. Weird notation, but that's the way they're played
@@isaacn9382 I figured. Is it a publishing thing? Or did Haydn really write the same phrase in two different ways?
@@whatadamnusername idk, i guess the orchestra interpreted both ways as being appogiaturas instead of grace notes
It is too long to reproduce here, but an essential reference work to the whole issue of embellishments is CPE Bach’s Versuch (Essay on the True Art of Playing Keyboard Instruments).
Haydn (and almost every other contemporary composer) studied the Versuch and adopted its principles, as for example in some of the modern fingering expounded by CPE to be found occasionally in Haydn’s own sonatas (for example the repeated notes in finale of sonata in E flat Hob. XVI:45).
Whilst written specifically for the keyboard, the precepts of CPE’s manual can be applied elsewhere, so in Part 1* of the Versuch, we find Chapter 2 headed ‘Embellishments’, which following a general introduction, the first detailed section is ‘The Appoggiatura’.
You may find this of interest to your discussion (as indeed may some conductors), as CPE explains clearly and illustrates how appoggiaturas and other ornaments are to be executed correctly.
* Part 1 was published in 1753, Part 2 in 1762; a revision of Part 1 appeared in 1787 a year before CPE’s death.
It is worth noting that Beethoven was still using the Versuch into the early 19th century.
@@whatadamnusername
You may find my observation regarding your discussion of some interest.