A truly splendid symphony indeed. 34 is one of my (many) favourite works by Haydn, truly is. The Dorati version is fabulous, a pure gem, but the naxos version's less accentuated and toned-down approach imparts the finale with more of the bittersweet quality you are referring to than Dorati's, in my view. These barely 2 and a half minutes can express many different things depending on the interpretation (one of the powers of genius, I suppose). Darn, this crusade is really exciting! There is so much to learn from Haydn with regards to musical appreciation, subtlety and range of expression. My particular epiphany occurred 7 years ago when I purchased the String Quartets boxed set by the Schneiders and "The Seven Last Words" by Bruggen (in spite of the tiny Webernian interludes, which I must confess sound out of place - the seven last words of the Webernian school of doodle confectioners pehaps, making this particular version a 2-works deal blended into one - a strange idea either way). The Garden of Haydn is such a wonderful place, always recognizable yet forever changing
As always, great episode. I am a big Haydn mélomane. Sure, the booklets of CDs are slightly informative but not as you are in these videos. I really rediscover Haydn. Thanks a lot!
If only nine of Haydn's symphonies survived (and it almost wouldn't matter which nine), we would lament the loss of so many works by an obvious master. But instead we have over a hundred of the things, and getting acquainted with all of them is too overwhelming a task. The usual excuses for not doing so are (1) "they're all alike" and (2) "only the famous ones are good". Without this series of videos, most of us would never guess how much variety and quality Haydn's symphonic output includes.
Your Haydn Crusade talks for me are the real highlights of all your videos Dave and I really appreciate the considerable effort you go to in making them. I like to listen to the work first and get my own take on it and then your insights are so much more meaningful. I can't understand why more of your subscribers don't want to share in this experience.
Thanks, as always, for these wonderful Haydn expositions. In the case of No. 34, we have what may well be the first truly "great" symphony of the Classical period (by which I don't mean to belittle any of its prececessors--but this one strikes me as a breakthrough). That opening movement is larger is larger in scale and ambition than any of its predecessors, and that very ambiguity you emphasized would become the trademark of the mature Haydn. I have known and loved this work since my childhood, first from my father's Haydn Society LP, then later via Dorati and others. The major sections of the finale always somehow remind me of an "Irish jig;" and the mainor mode central section retains the dance-like character while recalling the seriousness of the opening movement. Quite a feat for such a brief span. Can't wait to hear your take on no. 35, another splendid work.
Would you ever consider a short video explainer on how you obtain permission from labels like Naxos to play excerpts on your channel? I'd like to support the companies that see the value in providing this service to your viewers, and I think it would a great opportunity for us to see what happens behind the scenes.
@@DavesClassicalGuide No doubt! As someone who's also contemplating a podcast in 2022 that would benefit greatly from musical examples, I'm hoping to get permission from Naxos to use some of their recordings.
I like the slow-fast-minuet/scherzo-fast and fast-minuet/scherzo-slow-fast layouts as much as the standard fast-slow-minuet/scherzo-fast layout. It would be interesting to know why the latter became so ubiquitous for a long time.
After a hard day of work, Dave’s videos are the best way to start the week🙏
A truly splendid symphony indeed. 34 is one of my (many) favourite works by Haydn, truly is. The Dorati version is fabulous, a pure gem, but the naxos version's less accentuated and toned-down approach imparts the finale with more of the bittersweet quality you are referring to than Dorati's, in my view. These barely 2 and a half minutes can express many different things depending on the interpretation (one of the powers of genius, I suppose). Darn, this crusade is really exciting! There is so much to learn from Haydn with regards to musical appreciation, subtlety and range of expression. My particular epiphany occurred 7 years ago when I purchased the String Quartets boxed set by the Schneiders and "The Seven Last Words" by Bruggen (in spite of the tiny Webernian interludes, which I must confess sound out of place - the seven last words of the Webernian school of doodle confectioners pehaps, making this particular version a 2-works deal blended into one - a strange idea either way). The Garden of Haydn is such a wonderful place, always recognizable yet forever changing
As always, great episode. I am a big Haydn mélomane. Sure, the booklets of CDs are slightly informative but not as you are in these videos. I really rediscover Haydn. Thanks a lot!
If only nine of Haydn's symphonies survived (and it almost wouldn't matter which nine), we would lament the loss of so many works by an obvious master. But instead we have over a hundred of the things, and getting acquainted with all of them is too overwhelming a task. The usual excuses for not doing so are (1) "they're all alike" and (2) "only the famous ones are good". Without this series of videos, most of us would never guess how much variety and quality Haydn's symphonic output includes.
Your Haydn Crusade talks for me are the real highlights of all your videos Dave and I really appreciate the considerable effort you go to in making them. I like to listen to the work first and get my own take on it and then your insights are so much more meaningful. I can't understand why more of your subscribers don't want to share in this experience.
Thanks, as always, for these wonderful Haydn expositions. In the case of No. 34, we have what may well be the first truly "great" symphony of the Classical period (by which I don't mean to belittle any of its prececessors--but this one strikes me as a breakthrough). That opening movement is larger is larger in scale and ambition than any of its predecessors, and that very ambiguity you emphasized would become the trademark of the mature Haydn. I have known and loved this work since my childhood, first from my father's Haydn Society LP, then later via Dorati and others. The major sections of the finale always somehow remind me of an "Irish jig;" and the mainor mode central section retains the dance-like character while recalling the seriousness of the opening movement. Quite a feat for such a brief span. Can't wait to hear your take on no. 35, another splendid work.
When I listened to this symphony, I thought "Wow!!!" Haydn is just so unbelievably fertile.
Would you ever consider a short video explainer on how you obtain permission from labels like Naxos to play excerpts on your channel? I'd like to support the companies that see the value in providing this service to your viewers, and I think it would a great opportunity for us to see what happens behind the scenes.
They will never tell us the truth, because that would mean giving power to the critics and consumers. That is a terrifying thought for them.
@@DavesClassicalGuide No doubt! As someone who's also contemplating a podcast in 2022 that would benefit greatly from musical examples, I'm hoping to get permission from Naxos to use some of their recordings.
I like the slow-fast-minuet/scherzo-fast and fast-minuet/scherzo-slow-fast layouts as much as the standard fast-slow-minuet/scherzo-fast layout. It would be interesting to know why the latter became so ubiquitous for a long time.
The Finale sounds like one of those shanties. An enigmatic shanty?
Are there any recordings that take all repeats?