Joseph Haydn - Symphony No. 96 in D major "Miracle"
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- Опубліковано 28 лип 2024
- - Composer: Franz Joseph Haydn (31 March 1732 -- 31 May 1809)
- Orchestra: Austro-Hungarian Haydn Orchestra
- Conductor: Adam Fischer
- Year of recording: 1988
Symphony No. 96 in D major ("Miracle"), H. 1/96, written in 1791.
00:00 - I. Adagio - Allegro
07:26 - II. Andante
14:08 - III. Menuetto & Trio
19:50 - IV. Finale. Vivace assai
Supposedly, at the premiere of this work in London's Hanover Square Rooms in 1791, a chandelier crashed into the hall but didn't injure anyone because the audience had pressed forward to hear Haydn's new symphony. That's how the "Miracle" nickname arose, but it's attached to the wrong symphony; the "miracle" actually occurred during a performance of Symphony No. 102.
Symphony No. 96 opened the first "Haydn season" in London in March 1791, and the composer took pains to present himself as both a learned musician and a composer who could appeal to a wide, bourgeois audience (back in central Europe, he'd been playing to the courtly crowd).
- So this symphony begins with a brief Adagio, very serious yet neither heavy nor dramatic. This leads to the main Allegro matter with its mildly contrapuntal initial bars that burst into a resounding tutti. This music is busy, vibrant, and celebratory, full of sudden dynamic contrasts geared to keep the unpredictable English audience attentive. Of the 12 "Salomon" Symphonies, this has one of the more interesting development sections, working through the melodic fragments with greater thoroughness and variety than usual. Then after an unusual full stop comes the recapitulation, with a striking trumpet fanfare launching the coda.
- The Andante varies a hesitant theme that consists of a brief ascending phrase, an equally brief descending answer, and a fairly long rumination on the terse exchange. Variety comes through orchestration rather than manipulation of the notes themselves, although the melody does sometimes benefit from a contrapuntal treatment. Otherwise, the guises range from the intimate to the pompous, with the former quality prevailing.
- The Minuet alternates a brawny statement for full orchestra with a more delicate response for strings and woodwinds. As in the Andante, this answering phrase consists of short, hesitant utterances followed by a smoother, undulating passage. The trio features an oboe solo in a Ländler tune -- a light one, not given the buffoonish treatment that Haydn often prefers.
- The finale, Vivace assai, offers one of Haydn's lighthearted, scampering tunes for strings with occasional woodwind doubling. Things remain at a low dynamic level until the first contrasting episode, which is derived from the main theme -- as will be each episode in this movement, which is a cross between rondo and sonata form. The music becomes boisterous only intermittently, including a brief minor-mode incident and the rousing if short conclusion.
Well, here's some more views after the lecture of manga "Ron Kamonohashi" ;p
lol, me!!!!!
BRUH
Who knows whats gonna happen in the next chapter!
Hahaha.. so glad the manga brought me here 🤣 and so happy that the manga is read by many as well it's my favorite as of the moment. ❤️
Mdr, I was never interested in these music before reading the manga
People do not appreciate how hard this mans life was.
How he managed to find the time to compose anything at all is a miracle!
This Haydn 96th symphony is truly a “miracle” of musical strength and, at same time, delicacy and grace. Only a genius could have composed it. It is an incredible liveliness combined with an admirable musical harmony. Viva Haydn and his incomparable music. Andante and Menuetto are unforgettable musical moments, due to their sensitivity and gracefulness. The orchestra and its direction are amazing. Thanks for the time of pleasure that results from the delight of listening this magnificent recording.
This symphony truly is a “miracle”!
Luca R this symphony is nice and inoffensive. Like classical period works in general, it's light-hearted, trivial and inconsequential. Better than Bach and baroque music, however, which tends to be thick, academic, mathematical and dull.
Real music as art begin with Beethoven. His works are pure poetry. They're potboiler novels: at once melodramatic, then temperamental. In short, he was the best composer of them all. Haydn or Mozart would have no doubt been perplexed by Beethoven's Ninth Symphony, or Missa Solemnis.
Timothy Thorne
Wow Timothy...found 11 (sic) points in your comment with which I absolutely and fundamentally disagree, and that’s just in your first paragraph!
Relating to Luca R’s point above: this is not the real ‘Miracle’ symphony; the chandelier actually fell at a performance of the rather noisier Symphony 102.
Luca R See my comment above which might be of interest.
Charlemagne It does matter, because if the nonsense contained in the original comment is not challenged, then it is read, repeated, believed and propagated - many of the points made are simply wrong.
Timothy Thorne What are you talking about? That’s absolutely false.
the last movement is splendid!! it brings joy to me :)
It has been established that the miracle of the chandelier happened at the premiere of the 102th Symphony, so the name MIRACLE rightfully belongs to it. So what should we call the 96th? I suggest the FAERIE, because the last movement has a Mendelssohnian spirit that suggests to me faeries, elves and pixies merrily dancing at a fairy circle.
@@belianis No lol
@@bretbenzion1939 I love this response
Beautiful! Thanks for posting!
Many POWERFUL beethovenian sounds already here! This is a MASTERPIECE!
I love the mature Symphonies of Haydn and Beethoven just for that - The power. The celebration of life. The hopefulness. Mozart's Jupiter gives the same vibes. 💪💪♥️
Joseph Haydn:96.D-dúr ,,Csoda'' Szimfónia
1.Adagio - Allegro 00:05
2.Andante 07:26
3.Menuetto:Allegretto - Trio 14:08
4.Finálé: Vivace assai 19:50
Osztrák-Magyar Haydn Zenekar
Vezényel:Fischer Ádám
Lovely! I tend not to be a fan of minuets, but this one is splendid! Little rhythmic surprises abound!
Am I the only one here because of the manga called "Ron
Kamonohasi, the deranged detective"? This music was played at chapter 25.🤯 Also I must admit, this really sounds awesome
badxffhj i was looking for your comment 😭💀
Your not the only one
Thanks this helps a lot.
beautiful symphony!
A precise an accurate concucting of this rather famous symphony. The tuttti in the slow movement is a distinctive feature from Mozart.
This Haydn symphony was composed in 1759 in Dolni Lukavive, when he was under the patronage of the Count of Monzi. It is thought, however, that it wouldn’t have been the first to be composed by him.
The intervening instruments are two oboes, a bassoon, two horns, a set of stringed instruments and a harpsichord.
It consists of three movements. First,a great growing Presto. It follows an Andante, slow but with accentuated style, the melody is sweet and subtle. The clarity and charm are of a Classic nature although some parts make us think that the Baroque has not been forgotten. It represents for us, a certain calm for the Presto that follows, very fast but amazing. The composition is fabulous in harmony and only a talented and outstanding musician could write it. Viva Haydn and his music. Bravo for the superb orchestration and direction of this masterpiece.
Haydn went to work for Count Morzin (not Monzi), who had a summer palace at Lukavec in Bohemia, probably in 1757; he remained there until 1761 when Morzin disbanded his orchestra.
From 1761, Haydn was then employed - or pensioned - by the Eszterhazy family for the rest of his life until 1809.
Symphony 1 as you describe, was Haydn’s first symphony, but it was composed in 1757 (not 1759).
The question of a harpsichord continuo has been much discussed; the prevailing view is that Haydn played the violin in his symphonies - certainly at Eisenstadt and Eszterhaza - but unfortunately, almost nothing is known about his time at Lukavec.
Amongst more recent conductors, the harpsichord continuo IS used by:
Goodman, Kuijken, Pinnock, Solomons.
The harpsichord continuo IS NOT used by:
Antonini, Bruggen, Harnoncourt, Hogwood, Weil.
(Dorati in his first complete cycle from the 1970’s, rather arbitrarily uses it for about the first 40 symphonies only).
It’s interesting to hear the earlier symphonies both with and without continuo; from about 1774 - ie post-sturm und drang - with works such as Symphonies 54, 55, 56, 57, and 60 which were all composed around that time, the harpsichord really begins to sound anachronistic.
The only other thing I would mention about your summary of the symphony, is that this is clearly a very modern early Classical symphony; I would suggest that any slight vestiges of the old Baroque are almost non-existent.
Dear Elaine:
Concerning your first observation, I agree with her, since I wrongly named the patron by Count Mozin and not Morzin as you be correct.
Regarding the second observation, I cannot agree, since there are opinions of some importance (see for example the North American musicologist H.C.Robins Landon (1926/2009) who, through his work on Haydn, considered that probably the 2nd and 4th symphonies were written in 1757 and 1758 respectively, having been the 1st compound in 1759 as I mentioned in the comment.
In the remainder of your comment, only situations that refer your own opinion, that I respect, or topics are offered for discussion because there are no certainties about them.
Thanks for the commented work.
@@elaineblackhurst1509 Dear Elaine:
Concerning your first observation, I agree with her, since I wrongly named the patron by Count Mozin and not Morzin as you be correct.
Regarding the second observation, I cannot agree, since there are opinions of some importance (see for example the North American musicologist H.C.Robins Landon (1926/2009) who, through his work on Haydn, considered that probably the 2nd and 4th symphonies were written in 1757 and 1758 respectively, having been the 1st compound in 1759 as I mentioned in the comment.
In the remainder of your comment, only situations that refer your own opinion, that I respect, or topics are offered for discussion because there are no certainties about them.
Thanks for the commented work.
@@joselopes2293
Thank you for your reply covering some interesting topics.
Regarding the dating of the first symphony, the work of the great HC Robbins Landon* - whom I met for a day in 1982 at the University of Bristol - has now been superseded by others, in particular Sonja Gerlach whose work on the dating of the symphonies is now widely accepted as the most accurate list - it can be found for example on the Haydn 2032 project website.
HCRL himself accepted Symphony 1 probably was the first, but could not date it precisely;
Haydn himself was adamant that Symphony 1 was the first, but got the date wrong - the origin of the 1759 dating;
Sonja Gerlach has - as far as it is possible to do - established that Symphony 1 was the first in 1757;
and the universally accepted date amongst scholars is now as I stated - 1757.
You will only find the 1759 date now in much older texts; the problem with the 1759 date is that it means Symphony 1 cannot be the first as there is an extant manuscript of Symphony 37 dated 1758.**
The rest of my comment -apart from the point about the harpsichord sounding anachronistic after about 1773 - was not really opinions, but a balanced summary of current scholarship.
For example I listed both sides of the continuo or not debate with a comprehensive list of conductors, if you want to know more, then another
American scholar James Webster is one of the leading authorities on this subject, and my ‘opinion’ was actually based on scholarly evidence.
Regarding the harpsichord continuo debate, in the comments on UA-cam under the Haydn 2032 performance on Symphony 12 conducted by Giovanni Antonini, I have summarised the main points of the argument, and listed Webster’s reasons suggesting that Haydn did not use the continuo at Eszterhaza.
Hope that is all of some interest, and use.
* I possess all five volumes of his Haydn: Chronicle and Works - a bible for anyone interested in the composer.
** I will post separately - below - Sonja Gerlach’s dating of the earliest symphonies: the main work is unfortunately only available in German, but the lists are easy to read in any language.
@@joselopes2293
Haydn’s first symphonies composed at Lukavec.
The work of Sonja Gerlach - building on the work of previous scholars such as Larsen and Robbins Landon - has established the following:
Symphony 1 1757
Symphony 37 1757/58
Symphony 18 1757/59
Symphony 2 1757/59
Symphony 4 1757/60
Symphony 27 1757/60
WONDERFUL HAYDN WONDERFULLY PLAYED .......THANK YOU
AGREED. I own the (33 disc) box-set by this very orchestra/conductor on the Brilliant Classics label. Great investment.
This certainly is a miracle... especially the finale.
Haydn is an absolute genius
Magnificent!
Thank you for this upload including a beautiful modern looking score. I last heard this about 50 years ago, and there were some striking e sharps in the minuet. There they were in the score too, but not in the recording. There were also some rhythmic differences as noted in another comment. I wonder if there is another version of this symphony, or has the conductor taken liberties?
Where are the views? It's been 7 years
Where are the views? A very great symphony.
+shnimmuc Uploaded only a month ago :) But I agree it's a great symphony!
olla-vogala I am perplexed as to the relative unpopularity of Haydn to Mozart. For me, he is more original and less predictable.
*****
For me they are on pretty much equal heights, so yes Haydn should be played a lot more I agree!
olla-vogala Thank you for you remarks. You would not believe how I have been attacked by the Mozart Squad for my support of Haydn.
+shnimmuc Well, to be fair, Mozart did not have the time to fully grow up as a composer. What many believe to be Mozart's mature works I still find quite immature compared to what he could have done.
why should such beautiful exuberant music be insulted by commercial interruptions f*** all those companies that disrupted the music commercial advertising is a blight on democracy
Get UA-cam premium. If Something is free is because you are the product
At 12:38 comes an interesting modulation that really grabbed my attention, despite the dynamics (relatively soft passage).
That's actually a wrong note.... the 2nd violin soloist plays a B natural in place of the B flat.
@@greenday61892i don't think it's a wrong note considering both the soloist and riposta played a b natural. There were other instances of differences between the recording and this score. Plus that sharp 6 over the third scale degree in the bass has precedent in the classical period
Ron kamono hashi?
Can you tell me what frequency is being used in this video for this piece, please?
@@ludhannsebastivanbachthove4987 lol you're everywhere
By the way, at 9:51, in the violin 1 part, the notation is wrong. The first two triplets are correct but after the [B D C] there should be a repeated [B D C] and no repeated [B G E] at the end of the bar. It currently is [D F A], [B D C], ([B A G] X), [F E♮ G], [B G E], ([B G E] X), whereas it should be [D F A], [B D C], [B D C], [B A G], [F E♮ G], [B G E]. Also another picky thing, there are audible trills, as well as in the score, that are not present in the video. I know it's 8 years old but just had to.
At 9:22, this sounds the Symphony Unfinished from Schubert.
Joseph Haydn's style reminds me of Mozart (or the other way around). I slightly prefer Mozart though as i feel he had a bit more variation in his pieces. Very similar styles though. Probably because Mozart did in fact learn quite alot from Haydn.
Haydn so underrated without whom there would be no Mozart or Beethoven.
Wow, one short sentence and three things with which I disagree:
(i) Haydn is not under-rated.
(ii) There would have been a Mozart without Haydn.
(iii) Ditto Beethoven.
That said, both Mozart and Beethoven respected Haydn greatly, and learned much from him.
@@elaineblackhurst1509 Beethoven said he had nothing to learn from Haydn. Mozart and Beethoven concert programs far outweigh Haydn. Mozart' s classicism built on the model that Haydn set. I didn' t mean anything so stupid as they wouldn't' exist. Their achievements were informed by Haydn entirely.
@@mysticmouse7261
Beethoven was referring to the counterpoint lessons - a form of musical grammar - that he took from Haydn beginning soon after his arrival in Vienna in November 1792, and lasting 14 months until Haydn’s departure for his second trip to England in January 1794.
Beethoven’s complaint was referring to having to complete hundreds of dry, academic exercises from Fux’s manual Gradus ad Parnassum - many of which were not corrected - *not* to Haydn as a composer in general.
When Haydn left for his second trip, Albrechtsberger carried on the lessons from Fux exactly where Haydn left off - and he found him difficult too.
To quote this well known Beethoven comment out of context is simply disingenuous.
Your spelling of ‘humor’ suggests that you are writing from the US; Haydn’s universal programming figures are not determined in one country alone.
Judging from UA-cam comments generally, it seems that as your comment also indicates, Haydn is less well understood in the US than in Europe particularly but also elsewhere around the world, somewhat surprising as over the past c.75 years, some of the greatest musicologists, scholars, and biographers of Haydn have come from that country - most obviously HC Robbins Landon, but many others as well since.
Mozart died in 1791, so could not ‘...build on’ the ‘London’ symphonies - an utter absurdity; the Variations in f minor; the string quartets Opus 71/74, 76, or 77, the late piano trios; the Trumpet concerto; The Creation; The Seasons; the final six Masses; et cetera, much of which went some way beyond anything by Mozart in terms of controlled tonal experimentation, building large scale musical structures from small motifs, developments in form and structure, and so forth.
In many respects, Haydn is in fact closer to Beethoven (the piano sonata Hob.XVI:52 for example).
Haydn composed many of his most important - and innovative and developmental - works (as listed above) *after* the death of Mozart, so I take issue with your point about Mozart building on Haydn - a clear impossibility.
Hope that helps; in summary:
I think the greatness of Beethoven is that he successfully moved music in a different direction from Mozart and Haydn;
that Haydn both pre-dates and post-dates Mozart;
and that Mozart and Haydn are less closely related than is sometimes suggested.
@@elaineblackhurst1509 Your condescension is noted but I don't need help. My opinion is widely shared. Whatever the anecdotal context Beethoven did not give Haydn due praise considering his influence. The concert programmes speak for themselves. Beethoven's 8th so obviously shows his ambivalence bridging the so-called classical with the Romantic. So essentially Haydnesque but on Beethoven's expanded scale.
@@mysticmouse7261
Not intended to be condescending, but using the Beethoven comment out of context for example, was misleading, and therefore open to challenge.
I do not think any of the biographies of Beethoven - whether dating back from the early/mid 19th century, to the present day - have ever properly explained what it was about Haydn that so got under Beethoven’s skin, particularly from his move to Vienna in 1792, until Haydn’s retirement in about 1804 (from which period almost all the negative comments originate).
Generally speaking, you are right that Mozart and Beethoven appear more often than Haydn in concert programmes; the degree to which this is true however varies across the world.
Certainly with projects such as Haydn 2032, the publishing work going on in Germany in particular, and the performances of rarely heard operas in many places, there is certainly much going on across Europe.
I don’t actually disagree with most of your comments - particularly in relation to Beethoven - but those points I did question, like Mozart building on Haydn - which again, I felt was both partly inaccurate and therefore misleading to the casual reader - you have not answered.
I would be genuinely interested in hearing your widely shared views in those areas that prompted my initial reply.
I apologize but the following comment refers to the first symphony and not the 96th, as it turns out to be wrong. Once again I regret what happened.Sorry for the inconvenience.
José Lopes
Beethoven sinfonia n.5 coincidenze con l'andante?
Complottista
It's really a miracle! At 7:00! ❤
Was the timpanist sick ?
15:41
19:51
The trumpets didnt play! Why did the conductor this? I mean its a fantastic interpration, but without the trumpets its far away from perfect at all. Can anybody explain?
The recording and score are different editions
5:03-5:38 (?!)
Roses are red
Violets are blue
I'm here because of Lemino
And so are you
Sadly I'm not but Lemino's cool. No Haydn or hatin'
Yep! xD
What's Lemino?
Funny you mentioned that. I love lemmino, but i'm not here because of him.
yes lol
Yes, I came here because of Ron Kamonohashi.
Manifesting Ron Kamonohashi anime---
12:33 13:05 13:32
kinda goes hard tho 🤔🤔
5:28
Too many commercials... Too many commercials... Too many commercials... Too many commercials... Too many commercials...
22:40
2:18
Please don't call him "Franz". His name was "Joseph Haydn".
"Franz" was just his baptismal, for use in the church records, to honour St. Francis. It was not supposed to be used. Neither Haydn nor anyone else ever called him "Franz".
Or would you call his friend "Johannes Chrysostomus Wolfgang Theophilus Mozart"?
Does it really matter??
Bet
Timrath
Absolutely right; this ‘Franz’ business is utterly ridiculous, and is the same thing as referring to Mozart as Johannes Chrysostomus Wolfgangus Theophilus Mozart which mercifully, nobody does.
Baptismal names were *never* used.
I think the error is particularly prevalent in the US rather than Europe, but wherever - it should be plain Joseph Haydn (and Wolfgang Amadeus Mozart).
Cormuin O Raghallaigh Presumably you prefer people to get your wonderful name correct?
I need a Tin Man a Lion and Scarecrow. Oz is no longer Green
Sleepy, so sleepy…. It’s nice but wake me up when it’s over.
Normally the ads annoy me but this time I was glad… on to Prokofiev
Wow, you Classical period lovers like to shit on composers like Prokofiev or Shostakovich who made (IMHO) great music but hate it when your Haydn music is called boring. Why can't us classical musicians all get along and live in harmony (consonant or dissonant!).
16:46
16:47