F.J. Haydn - Hob I:28 - Symphony No. 28 in A major (Hogwood)
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- Опубліковано 28 лип 2024
- The symphony is set in 4 movements:
1. Allegro di molto (0:00)
2. Poco adagio (5:07)
3. Menuet: Allegro molto (16:38)
4. Presto assai (19:22)
en.wikipedia.org/wiki/Symphony...)
Performers: The Academy of Ancient Music, conducted by Christopher Hogwood.
Композитор мажора и радости, света и надежды. Гайдн утром молился, чтобы вдохновиться на написании радостных тем в симфониях.
Il primo movimento è straordinario: ritmi puntati, un materiale melodico apparentemente scarso eppure l'equilibrio è sapientemente costruito, la tensione non viene mai meno, il medesimo motivo udito e riudito più volte è sempre fonte di meraviglia e sorpresa: nel 1765 Haydn che non fu un bambino prodigio come Mozart o Mendelssohn aveva 33 anni e raggiunto la piena maturità; la stessa abilità costruttiva lo accompagnerà sino all'epoca dei trionfi londinesi. Anche il movimento lento dice moltissimo con pochissimo materiale
(1765) L'esperienza acquisita nel corso di circa 30 sinfonie ha reso la penna di Haydn fluida; i temi nascono spontanei e sono sempre meno legati alle formule del barocco, dure tuttavia a morire. In questa opera che ritorna allo strumentale arcaico ( archi, oboi, corni e basso continuo) l'ispirazione è costante, ogni movimento reca tracce di originalità, le forme sono calcolate ed equilibrate come nei capolavori dell'età matura. E' uno dei prodotti migliori del primo periodo presso il principe Esterhazy. LDC
Wunderschön und super zum arbeiten!
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
The father, but not the inventor?!
@@Deadbushfan1618
A father by definition *must* be involved at the conception; Haydn wasn’t, so isn’t - it’s really very simple.
@@elaineblackhurst1509 Hence the question mark.
Hmmm - a four-note phrase to begin - I wonder if Beethoven had heard this symphony? It hardly sounds similar though...spritely rather than serious. This movement is followed by a charming, delicate, and inspired 'adagio'; a quite unusual 'menuet' launched by what I could describe as a distressed (but amiable) bird call; and a jaunty 'presto' to put a cap on the proceedings. It's another delightful Haydn symphony - enough said!
ronald b woodall
Good point; the use of motifs like this, and/or fragments of them, then using them as a basis for development over a whole movement is one of the key compositional techniques Beethoven took from Haydn.
Recognising motivic/thematic development and working-out as one of the most important compositional techniques is key to understanding the greatness of Haydn (and Beethoven).
An infinite inventing mind...
@@elaineblackhurst1509 I remember reading somewhere that Beethoven claimed he never learned anything from Haydn.
And likewise Haydn seemed taken aback with some Beethoven innovations in his early works, notably the suspended resolution in the introduction to his Symphony #1 and the beginning of the Development section of his Quartet Op. 18 #4 in C minor, which abruptly raises the tone one-half step. Apparently Haydn referred to both cases as "poor learning" and undeveloped compositional technique, without taking into effect Beethoven's sense of sardonic humour.
@@timothythorne9464
1. Beethoven’s comment refers specifically to the counterpoint lessons which Haydn gave to Beethoven in Vienna between about November 1792 when Beethoven arrived, and January 1794 when Haydn set off for England again - it absolutely cannot be extrapolated into a general criticism of Haydn.
The lessons consisted of Beethoven completing hundreds of dry academic exercises from Fux - many of which were not corrected by Haydn - this is what Beethoven was complaining about.
2a. Off-tonic, and tonal ambiguity are tricks Beethoven learned from Haydn.
2b. You are on very dodgy ground talking about Beethoven without having a thorough knowledge of Haydn; listen to the first two chords of Haydn’s string quartet Opus 74 No 1 then square that with your comment about the Beethoven symphony.
How on earth could Haydn be ‘taken aback’ by the exact same thing he had done himself seven years earlier ?
(Check your source - then bin it).
3. Beethoven’s tonal experimentation is foreshadowed in much of late Haydn: something like the Fantasia* movement from the string quartet Opus 76 No 6 - both structurally and tonally - is simply extraordinary, and set a challenge to Beethoven that he only matched very much later; the unresolving harmonies and tonal meandering of the Representation of Chaos are proto-Wagnerian.
4. I am not aware of the ‘poor learning’ quote, but many of the early Beethoven biographies rely on sources and evidence, some of which is not now accepted as credible.
They are often plagued by apocryphal nonsense of doubtful, dubious, and spurious provenance, and sometimes motivated by personal self-aggrandisement; such ‘evidence’, is now totally discredited, but is unfortunately still constantly being re-cycled.
Modern Beethoven biographies by such as Solomon, Lockwood, and Swafford for example have dealt effectively with a number of myths surrounding Beethoven; many of these myths related to Haydn - some to Mozart too** - and great care needs to be taken when attributing comments and beliefs to Haydn taken from these corrupt Beethoven sources.
5. Haydn was in the forefront of musical change in his late years until he ran out of steam - as exemplified by the late quartets, trios, and Part-songs for example; he acknowledged there was so much to do in music, and in many respects he could see the future too, but simply had no strength to continue - and this distressed him.
Haydn said that Beethoven would take his place amongst the greatest of composers.
6. You may care to suggest a list of people who actually did get on with Beethoven, and who did get his ‘sardonic humour’; it will be one of the shortest lists in musical history, though it is always Haydn who seems to be the one - as in your comment - that seems to be highlighted for failing to understand the ‘Grand Mogul’ - probably because he had more contact than many.
7. In the 1790’s, it is probably a fair comment that Beethoven’s compositional technique *was* undeveloped, though I’m not sure Haydn actually said that.
The fact that Beethoven in his mid-20’s still needed lessons from a number of composers and teachers, such as Haydn and Albrechtsberger for counterpoint, and Salieri for Italian vocal music, confirms this point.
Hope that helps.
* The Italian word Fantasia is correctly pronounced ‘fan-tasz-*ee*-ah’; forget the horrible Disney mispronunciation.
(Similarly, it is ‘seen-fon-*ee*-ah’ as in Sinfonia ‘Eroica’ by Beethoven; in Italian, the stress is usually on the penultimate syllable).
** Such as the ridiculous myth about Beethoven meeting Mozart on a short trip to Vienna in 1787 - which did *not* happen.
@@elaineblackhurst1509 Well said, and yeah, Haydn’s string quartet Opus 74 No 1 is an otherworldly one, maybe my favorite piece of all time.
good
thumbs down oh man come on guys this pisses me off
Deutsche Frauen, Deutsche Treue,
Deutscher Wein,
Und Deutscher Sang
Sollen in der Welt behalten
Ihren alten, schoenen Klang!
Das hätten sie mal lieber in 1933-1945 berücksichtigen sollen, jetzt ist es dazu zu spät.
oh belt up.
Regardless of political considerations, you cannot deny the absolute brilliance of this music!
I learned the old lyrics of the German national anthem (Deutschland Über Alles) from a pre-WW2 German grammar book, so blame the Kaiser.