A comment that rather goes to prove the point that an opinion is a judgement not necessarily based on knowledge and understanding; that said, everyone is entitled to an opinion however ill-informed. Mozart no less noted down the incipit of this symphony (along with a couple of others) as a reminder to use the work in one of his own concerts, something I would suggest he would not bother to do with a ‘mediocre symphony’, but still, what does Mozart know ?
I find this one on the contrary very interesting. So many diverse rhytmic patterns, dotted rhytms, groups of 3, 16th notes, all in one movement without its losing its cohesion. Only H attempted to do such things. Most other composers didn't even attempt this.
@@christianwouters6764 It is an interesting symphony, and as I mentioned, so too thought Mozart; I wonder if it was the ‘Mozart rhythm’ in the horns in the opening bars - only rarely used by Haydn - that was one of the things that attracted him to this symphony ? By the way, the German system adopted in the US of half notes, quarter notes, 16th notes and the like is not universal and is limited to those who use American-English; in the rest of the English-speaking world they are semibreves, minims, crotchets, quavers, semiquavers and all the rest - the German/US system is never used outside North America by those communicating in English, and is not understood. The two systems are confusing as the whole note (American English) is only a semibreve (ie half a breve) in English - this throws the fractions out all the way down the line. The system used in the UK is in line with the Italian, French and Spanish non-mathematical systems. I must say also that that I get a slight pang of regret when Europeans use American-English terms in preference to the more universal English terms; I can only imagine the outrage from Paris if French were to be supplanted by a secondary version of the language from elsewhere around the world.
i love this Symphony, vale la pena hacerle un estudio completo,
armónico, melódico, y estructural.
第1楽章 古典派ソナタ形式 ト長調
00:00→提示部第1主題 ト長調
01:04→提示部第2主題 ニ長調
01:36→提示部リピート
03:07→展開部
04:44→再現部第1主題 ト短調
05:07→再現部第2主題 ト長調
05:46→コーダ
音友のハイドン交響曲のスコアは41～49番の分持ってないので
提供ありがとうございます。
再現部第1主題が同主調なのは聴いてて気持ちいいです。
この頃だと入ってるか微妙な通奏低音入りの音源も聴いてみたいです。
Beautiful writing for horns.
This is clearly the 47th, not sure why I'm seeing people in the comments guess such low numbers
20:52 Sounds like Mozart's Flute and Harp concerto (1st mvt.)
Das Minuet verwirrt etwas
This symphony must have been composed for connoseurs (like Mozart).
Ninth!
ハイドンの交響曲の中で、モーツァルトが気に入った曲の一つらしいですね。
モーツァルトが気に入ったもう１つは７５番で、７５番の第１楽章などを参考にしてハフナーやリンツを書きました。
（モーツァルトがハイドンから影響を受けた交響曲は、実はそれほど多くない）
７５番の緩徐楽章は４７番と同じく変奏曲で、オリジナルのコラール風の主題を特徴としています。
Третий!
Second!
First!
Mediocre symphony
A comment that rather goes to prove the point that an opinion is a judgement not necessarily based on knowledge and understanding; that said, everyone is entitled to an opinion however ill-informed.
Mozart no less noted down the incipit of this symphony (along with a couple of others) as a reminder to use the work in one of his own concerts, something I would suggest he would not bother to do with a ‘mediocre symphony’, but still, what does Mozart know ?
I find this one on the contrary very interesting. So many diverse rhytmic patterns, dotted rhytms, groups of 3, 16th notes, all in one movement without its losing its cohesion. Only H attempted to do such things. Most other composers didn't even attempt this.
@@christianwouters6764
It is an interesting symphony, and as I mentioned, so too thought Mozart; I wonder if it was the ‘Mozart rhythm’ in the horns in the opening bars - only rarely used by Haydn - that was one of the things that attracted him to this symphony ?
By the way, the German system adopted in the US of half notes, quarter notes, 16th notes and the like is not universal and is limited to those who use American-English; in the rest of the English-speaking world they are semibreves, minims, crotchets, quavers, semiquavers and all the rest - the German/US system is never used outside North America by those communicating in English, and is not understood.
The two systems are confusing as the whole note (American English) is only a semibreve (ie half a breve) in English - this throws the fractions out all the way down the line.
The system used in the UK is in line with the Italian, French and Spanish non-mathematical systems.
I must say also that that I get a slight pang of regret when Europeans use American-English terms in preference to the more universal English terms; I can only imagine the outrage from Paris if French were to be supplanted by a secondary version of the language from elsewhere around the world.