Haydn Symphony nº81 Hob. I:81 G major Hogwood
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- Опубліковано 1 лис 2011
- The Symphony No. 81 in G major (Hoboken 1/81) is a symphony by Joseph Haydn was composed in 1784 as part of a trio of symphonies that also included symphonies 79 and 80.
It is scored for flute, two oboes, two bassoons, two horns and strings.
Vivace
Andante, 6/8
Menuetto and trio: Allegretto, 3/4
Finale: Allegro ma non troppo, 2/2
Although it is easy to explain in the framework of harmonic theory, for listeners at that time the beginning of Symphony No. 81 must have sounded fairly alien: over the tonic G in the repeated eighth notes of the basses the dissonant F is heard first, over which the suspended dissonant C is ushered in. The sound is only defined with the resolution of this C after B-natural, the various notes forming a seventh after the subdominant C major. It is undoubtedly this unusual edifice of principal themes which form the experimental centre of this entire first movement of Symphony No. 81: in the development Haydn uses increasingly bolder variants of appoggiaturas and "alien" harmonies. Like most of the introductory movements of the preceding symphonies No. 81 also has a incorrect reprise: the principle theme, which is simply passed over at this point, is heard again in its original form as a coda at the end of the movement. In the character of a siciliano, the second movement presents a mix consisting of variations and a tripartite melodic form, or a simple variation, the varying element consisting only of the figural play on the principle melody - in which a contrasting minor episode is inserted that has only remotely to do with the variations theme. The closing movement is a sonata movement again, its composition brisk and light with no stumbling blocks for intellectually challenged ears.
Haydn is really the father of the symphony. The elegance and harmony of their compositions are amazing. Viva Haydn and his incredible and incomparable music. The symphonies are true musical masterpieces that provides us moments of unforgettable pleasure. The interpretation and direction of orchestra are superb.Bravissimo.
Such genius Haydn had, and shared with his pupil Mozart. Inventiveness, originality, surprise, and unpredictability. Hogwood and his Academy bring everything they touch to brilliant life. Original instruments add subtlety to the energy too!
Excellent performance, full of verve and energy. Sir Roger Norrington once said: "If you find Haydn boring, shoot the conductor!" Hogwood is safe from the gun. Sometimes, perhaps, he drives the music a bit hard; but he does so much to bring the music thrillingly to life that I will forgive him almost anything. So many conductors seem uncertain how to play this music, probably down to a lack of deep conviction about Haydn's originality or of his seminal influence on a whole musical era. He is driven by rhythms and by his fascination with making magnificent mountains out of molecules of sound; less lyrical than Mozart, more rooted in the raw energy of folk music; less monumental in scale than Beethoven, preferring to state his musical case in as few well-chosen notes as possible; and yet there are moments of lyricism and grandeur to equal either. It has taken the period-instrument movement for a deeper understanding and appreciation of Haydn to arise, and long may it continue.
Shoot Hanoncourt?
A brilliant interpretation, showing Haydn's spirit beauty and symphonic mastery . Bravissimi!
Haydn es el músico más trascendente que ha habido en la historia de la música, y espero que se me comprenda bien. No era un genio como W.A. Mozart o como Beethoven, ni lo era como J.S. Bach, pero sí compartió con éste una cualidad fundamental: HAYDN FUE UN SABIO, y supo guiar a TODOS hacia los nuevos horizontes que él vislumbró. ¡AMO A HAYDN! Y bueno, la interpretación del Maestro Christopher Hogwood es de antología. ¡Gracias por compartirtlo!
Es toda verdad a mi tanbien me giusta mucho ....ivna...
The Haydn 81st is one of my favorite symphonies. It has enormous energy and wonderful charm. This Hogwood recording is outstanding although the short lived by Antal Dorati recording, originally on Mercury, is still the best. It is available for download but it is hard to find.
Mastered and played MASTERFUL. Beautifully arranged wonderful. BRAVO BRAVO APPLAUSE
Wonderful symphony, I need to buy this.
O segundo movimento é delicado, suave, emocionante. Tudo perfeito. Bravo!
- I. Vivace (0:16);
- II. Andante (10:12);
- III. Menuetto e trio: Allegretto (17:40);
- IV. Finale: Allegro ma non troppo (22:28 , end in 28:42)
Antonio NG 8
No matter who's conducting Haydn masterpieces is a great interpretation of such great works
And there isn't a lot of evidence that Haydn conducted that much. Even when he did, it was often from the piano.
@@petercrosland5502
The concept of the modern conductor as we know it today post-dates Mozart and Haydn by some time, though they both *directed* a huge amount of their own music as you say, often from the keyboard; James Webster and others have demonstrated that Haydn normally played the violin at Eszterhaza in the performance of his symphonies.
From the descriptions of some of the rehearsals in England to be found in Robbins Landon and others, I think we were getting closer to the idea of a modern conductor, but as is widely known, the reports in the British press constantly refer to Haydn at the keyboard.
What is less clear is what exactly he was doing there; I cannot believe he was realising a totally unnecessary basso continuo, so perhaps he was indicating tempo, dynamics and so forth, but doing it from the keyboard (which would have been there anyway for other items in the concerts) rather than at a conductor’s podium.
The other related issue is the division of roles between leader Luigi Tomasini and Haydn both playing violin at Eszterhaza, and leader Salomon and Haydn (sat at the keyboard) in London; perhaps yourself or others could answer this question which I am sure must have been studied at some point, but if so, I have not come across.
Impresionante la tensión cromática del Allegro inicial.
00:17 I. Vivace
10:14 II. Andante
17:42 III. Menuetto
22:28 IV. Finale: Allegro ma non troppo (length 6.14)
Again. as in Hogwood's 79, I find the minuet particularly effective with its wonderful cutting energy.
Great recording of this exhilarating and interesting symphony.
Some clever person should really issue on CD these symphonies that Hogwood never got to record for his L'Oiseau Lyre series. (Maybe that's why he chose these particular works for this performance?) The performances are very strong. This is the best recording of this symphony that I've heard.
That series was pulled by Decca because they were losing so much money. The chief problem was that Hogwood insisted on doing every repeat possible. This made the works very long and tedious to listen to. It also meant that, in a lot of cases, whereas other conductors recordings got 3 symphonies on a CD Hogwood only got 2. On top of that Decca set an insanely high retail price of circa $50 for a 3 CD set. This meant that buying them that way would result in an outlay of over $500 for the whole series (if it had been completed).
Hogwood compounded the problem by taking dubious musical advice and leaving out the continuo. Most experts believe it should be there until the London symphonies at least. In my view the resulting sound is unsatisfactory in a lot of the works.
All respect to Hogwood for his services to music though and RIP.
@@pigsbishop99 Thanks for giving us the scoop there. The fact that Hogwood never compromised on repeats-even in the slow movement of No. 54!!-is part of why he's one of my favorites. I got a box set of the series that was released, and it was much less expensive in that format. It is lamentable that we didn't get all of them, although I respect your concern about the continuo. I have not looked into that issue as much, and still only have heard a few recordings of the Haydn pre-London Symphonies with continuo, although when I have heard it, I have appreciated it.
P.S. Intact performances of Haydn symphonies are still not nearly as long as a James Cameron movie.
Andrew Kohler
Hogwood was right; the da capo/repeat markings by Haydn, Mozart and Beethoven - and their contemporaries - in their sonata form movements are instructions, not optional take-it-or-leave-it suggestions.
Ignoring the composers’ specific markings is indefensible as as it unbalances both individual movements and often the work as a whole.
@@elaineblackhurst1509 Truth!!
Excelente interpretación. Bravo 💪👌
Excelente interpretación
I see Paul Goodwin playing oboe. This must have been back in the early 90s.
I have most of haydn symphony decca recordings from hogwood.
It is a shame that the project could not be completed.
Papa Haydn war der Beste! :-)
Haydn’s father made der Beste cartwheels, but I think his son Joseph Haydn wrote music that war der Beste.
Esta versiòn me gusta màs que la de Hanoncourt.
"Like" on 16 September 2017
Almost sounds like there might be an orchestra there... why are they given no credits at all ?
Why would one not want repeats of fulfilling music?
ANother exhilarating performance of a splendid symphony. But WHERE is it?
As far as I can guess, the series of Haydn symphonies conducted by Hogwood were recorded at the Mozarteum in Salzburg
It is the Handel&Haydn Society of Boston, and it was recorded in Symphony Hall, Boston. I have heard them there.
@@pierrekemner2376 Recorded in studios in London.
Symphony Hall, Boston. H&H didn't record in London.
Is this performance on period instruments?
Yup
Why is he wearing brown (ick) shoes with his black priest's costume?
1990s
@@Sshooter444 Bad taste in wardrobe.
This gives me a major hogwood.
A what?
Unfortunate compressed sound...
Recorded in 1846!
A new circle in hell must be created for people who upload videos without crediting the people in them. This video would be pretty unwatchable if it only featured the person named. Which orchestra is this? Are they just nobodies? Servants beneath your notice?
Poor old Cristopher Hogwood. He died too young and I wonder what effect Decca pulling his complete Haydn series had on him. Yet, here he is once again playing every conceivable repeat. Repeats were one of the resons his Haydn symphony series failed. There are however some great recordings in it particularly in the early works. IMO repeats are a commercial not artistic device.
The repeat - da capo -markings in the vast majority of the works of Mozart, Haydn, Beethoven and all their contemporaries, along with all later composers are instructions; they are therefore as important as any other markings in the score such as those relating to tempo, mood, volume, et cetera.
These repeats are not optional, take-it-or-leave-it suggestions; all three of the composers mentioned above wrote movements specifically without repeats when that was what they actually wanted.
Where the repeats are written, they are necessary to maintaining the correct balance of individual movements, and therefore the work as a whole.
The Hogwood series did not fail; though it was not completed for fickle commercial reasons, observing the repeats had nothing to do with the series being pulled.