Siamo agli inizi di una carriera splendida di Haydn. Se il buongiorno si vede dal mattino, allora era già evidente una sapiente e piacevole conoscenza della musica. E anche l’ispirazione è originale.
Great performance of this wonderful little chamber symphony. Just thirteen players, but this allows us to hear all the clever contrapuntal tricks in the first movement - a four note held motif - with various counterpoints, the canonic Minuet, and double fugue finale. Enjoyed this very much; many thanks.
하이든의 초기 교향곡들은 새로운 고전양식과 바로크적인 옛 양식 이 자주 혼합되어 나타난다. 관현악 편성에서는 여전히 하프시코드를 사용하 고 있다. 1770년경까지 하프시코드는 하이든 교향곡의 필수적인 악기로 나타 난다. 초기 50여개의 교향곡의 관현악 편성을 보면 일반적으로 2개의 오보에, 2개의 호른, 현악기와 하프시코드가 있는 콘티누오로 구성된다. 제20번 이후 의 작품부터는 다른 악기들이 간헐적으로 삽입되는데 제20번에는 2개의 트럼 펫이, 22번에는 2개의 잉글리시 호른(English horn)이 들어 있다. 제70번을 시 작으로 하여 1779년 이후의 작품에는 플루트가 지속적으로 편성되어 있다. 출처 곽근수 blog.daum.net/2006jk/13252089
Regarding Haydn’s standard early orchestra: in addition to that noted, there was *always* at least one bassoon which until the middle period plays the same line as the cello; Haydn notes on the scores sometime ‘fagotto (pl. fagotti) col basso’* = bassoon with the bass. A more accurate, and very lengthy and detailed list of the instrumentarium and players at Eisenstadt and Eszterhaza can be found in Volume II of HC Robbins Landon’s five volume biography of the composer. A harpsichord was *not* used at Eszterhaza during performances of Haydn’s symphonies; the composer himself played the violin (search the study by James Webster which investigates the evidence surrounding this point). The pair of timpani tuned to tonic and dominant were played by one player (Google translate has rendered your point unclear into English), and many of the symphonies especially in C major include parts for trumpets *and* drums, never drums alone. Haydn’s symphonies are only approximately chronological as Hoboken had to take over the list compiled in 1907 by Mandyczewski which is a product of the dark ages of Haydn scholarship and is consequently full of errors, so using Symphony 20 as a marker is meaningless as for example, Symphony 37 was Haydn’s second symphony, and the well-known set Symphonies 6-8 should be 18-20 if re-ordered chronologically. These errors with Symphony 20 to which you referred is one of the seventeen written whilst Haydn was employed by Count Morzin prior to his appointment to the Eszterhazy family in 1761; in short, about a dozen symphonies are numbered far too high (37, 40, 65, and 72 for example) and the same number too low (6-8, 9, and 26 for example) along with a number of minor mis-numberings. These errors with the chronology of the symphonies are not limited only to early symphonies as the six written for Paris are completely wrong (should be 87 85 83 84 86 82), as are the six symphonies written during Haydn’s first visit to London (should be 96 95 93 94 98 97).
Siamo agli inizi di una carriera splendida di Haydn. Se il buongiorno si vede dal mattino, allora era già evidente una sapiente e piacevole conoscenza della musica. E anche l’ispirazione è originale.
Great performance of this wonderful little chamber symphony.
Just thirteen players, but this allows us to hear all the clever contrapuntal tricks in the first movement - a four note held motif - with various counterpoints, the canonic Minuet, and double fugue finale.
Enjoyed this very much; many thanks.
00:16 (06:22) I. Allegro [Sol maior]
06:35 (10:00) II. Andante moderato [Sol menor]
10:09 (13:27) III. Menuetto & Trio [Sol maior]
13:39 (15:48) IV. Finale (Presto) [Sol maior]
Why isn't this symphony of Haydn more famous, the 3rd movement brings me to tears, I love that French horn part in that movement
Now it will be more famous ! What do you think about the number 63, second mvt ?
beautiful ensemble, impressive than Hogwood CD, I am happy
하이든의 초기 교향곡들은 새로운 고전양식과 바로크적인 옛 양식
이 자주 혼합되어 나타난다. 관현악 편성에서는 여전히 하프시코드를 사용하
고 있다. 1770년경까지 하프시코드는 하이든 교향곡의 필수적인 악기로 나타
난다. 초기 50여개의 교향곡의 관현악 편성을 보면 일반적으로 2개의 오보에,
2개의 호른, 현악기와 하프시코드가 있는 콘티누오로 구성된다. 제20번 이후
의 작품부터는 다른 악기들이 간헐적으로 삽입되는데 제20번에는 2개의 트럼
펫이, 22번에는 2개의 잉글리시 호른(English horn)이 들어 있다. 제70번을 시
작으로 하여 1779년 이후의 작품에는 플루트가 지속적으로 편성되어 있다.
출처 곽근수
blog.daum.net/2006jk/13252089
Regarding Haydn’s standard early orchestra: in addition to that noted, there was *always* at least one bassoon which until the middle period plays the same line as the cello; Haydn notes on the scores sometime ‘fagotto (pl. fagotti) col basso’* = bassoon with the bass.
A more accurate, and very lengthy and detailed list of the instrumentarium and players at Eisenstadt and Eszterhaza can be found in Volume II of HC Robbins Landon’s five volume biography of the composer.
A harpsichord was *not* used at Eszterhaza during performances of Haydn’s symphonies; the composer himself played the violin (search the study by James Webster which investigates the evidence surrounding this point).
The pair of timpani tuned to tonic and dominant were played by one player (Google translate has rendered your point unclear into English), and many of the symphonies especially in C major include parts for trumpets *and* drums, never drums alone.
Haydn’s symphonies are only approximately chronological as Hoboken had to take over the list compiled in 1907 by Mandyczewski which is a product of the dark ages of Haydn scholarship and is consequently full of errors, so using Symphony 20 as a marker is meaningless as for example, Symphony 37 was Haydn’s second symphony, and the well-known set Symphonies 6-8 should be 18-20 if re-ordered chronologically.
These errors with Symphony 20 to which you referred is one of the seventeen written whilst Haydn was employed by Count Morzin prior to his appointment to the Eszterhazy family in 1761; in short, about a dozen symphonies are numbered far too high (37, 40, 65, and 72 for example) and the same number too low (6-8, 9, and 26 for example) along with a number of minor mis-numberings.
These errors with the chronology of the symphonies are not limited only to early symphonies as the six written for Paris are completely wrong (should be 87 85 83 84 86 82), as are the six symphonies written during Haydn’s first visit to London (should be 96 95 93 94 98 97).