Maravillosa conducción de una de las más conocidas y hermosas sinfonías de F. J. Haydn a cargo de uno de los mejores directores de orquesta del siglo XX Leonard Bernstein. La Filarmónica de Viena siempre a la altura de las mejores orquestas sinfónicas del mundo. BRAVO!!
Comments like this are not really helpful; lots of conductors get Haydn right, and generally speaking, with clean scores, and much a better understanding of 18th century performing practice, performances today are uniformly good whether using period instruments or modern. Bernstein *is* good; but so are lots of others.
@@elaineblackhurst1509 Ah hum.....Szell....an esteemed, vibrant, and studied performer of Haydn and Mozaart even with his large Cleaveland. But, as mentioned above, there are many more who are highly trained and skilled, especially in this day and age. Poke around. You'll find them. PS Although not contemporary, you might give Dorati, Marriner, Davis, or Brüggen a try. Phew, there are so many out there. :)
@@muslit In the English-speaking world beyond the US, a ‘quarter note’ is a crotchet; the German originated mathematical system is not understood at all, ditto in countries like Italy and France where similarly, it is not used.
My cats love Franz Joseph Haydn's orchestral and instrumental music and often listen to his works. A short while ago, they were exposed to the great experience of Haydn's “Surprise Symphony,” in which they presented a collective astonishment at the second movement's fortissimo strike. They now perform a synchronized vertical jumping at the same fortissimo, having acclimated to the musical stratagem. But, it appears that they have adopted this behavior as a ceremonial act of engagement with this symphony.
I. Adagio cantabile - Vivace assai - 00:29 Vivace assai. - 01:51 A - 02:15 B - 02:41 C - 03:16 II. Andante - 09:37 III. Menuetto - Trio - 16:19 IV. Finale: Allegro molto - 21:50 Q - 24:43
Cuando niño, interpreté en acoirdeon una transdcripción de algunos compases del 2do. movim,iento. Creo que toda esta sinfonía es fácil de reckordar por sus melodías tan "amigables", aunque hay otras de mayor complejidad.
I love this symphony and this orchestrate not to mention along with the conductor are the players of choice. But one needs to sit back and reflect at what an incredible composition the Andante is. Sheer genius.
@@ZJStrudwick That was the intention. I read that the crinolined ladies at performances would slumber. This was Haydn's answer. Suspect he would have been a great guy to share a pint with.
@@malcolmabram2957Hi When asked about it he said it was to show he was better than his student and that he could make a splash at his London premier. But his intention wasn't to wake people up.
@@petercrosland5502 They didn’t actually have a ‘…works number’; Haydn normally referred to them by key signature in his correspondence which is how we know the correct order of the six ‘Paris’ symphonies for example; sometimes they were identified by him writing out an incipit. In his totally unscrupulous dealings with publishers across Europe (something which Beethoven unequivocally admired in Haydn), if he had a set of three to sell, he would deliberately list them by key in a different order to each to try to deceive the buyers into thinking they had exclusive rights to different sets (which they almost invariably did not). The only two references to numbers Haydn ever used were in identifying to his early biographers Griesinger and Dies that Symphony 1 was his first, and referring to Symphony 104 (1795) on the title page of the manuscript (in English) as: ‘The 12th which I have composed in England’.
what a nice, calm symphony. Sure hope nothing surprising happens :)
My late mother favourite ever...
Passed away 15 years ago...
God rest her soul...
Bravo! Always a joy to listen to this piece, especially the finale with its tremendous energy! Thank you, Bernstein, orchestra and all!
Maravillosa conducción de una de las más conocidas y hermosas sinfonías de F. J. Haydn a cargo de uno de los mejores directores de orquesta del siglo XX Leonard Bernstein. La Filarmónica de Viena siempre a la altura de las mejores orquestas sinfónicas del mundo. BRAVO!!
No one get Haydn right like the great Bernstein… the second movement conducting divine… timing accents everything is perfect
Only the "Menuetto" is far too slow, since it's indicated "Allegro molto"...
Comments like this are not really helpful; lots of conductors get Haydn right, and generally speaking, with clean scores, and much a better understanding of 18th century performing practice, performances today are uniformly good whether using period instruments or modern.
Bernstein *is* good; but so are lots of others.
@@elaineblackhurst1509 Ah hum.....Szell....an esteemed, vibrant, and studied performer of Haydn and Mozaart even with his large Cleaveland. But, as mentioned above, there are many more who are highly trained and skilled, especially in this day and age. Poke around. You'll find them.
PS Although not contemporary, you might give Dorati, Marriner, Davis, or Brüggen a try. Phew, there are so many out there. :)
I checked Bernstein's tempo in this performance with a metronome. The quarter note is equal to 144. That is 'molto allegro'. @@borisbrinkmann
@@muslit
In the English-speaking world beyond the US, a ‘quarter note’ is a crotchet; the German originated mathematical system is not understood at all, ditto in countries like Italy and France where similarly, it is not used.
Quality recording for 1985.🧐
There are recordings from the 50s that sound pristine
I truly love this symphony!
me too
My cats love Franz Joseph Haydn's orchestral and instrumental music and often listen to his works. A short while ago, they were exposed to the great experience of Haydn's “Surprise Symphony,” in which they presented a collective astonishment at the second movement's fortissimo strike. They now perform a synchronized vertical jumping at the same fortissimo, having acclimated to the musical stratagem. But, it appears that they have adopted this behavior as a ceremonial act of engagement with this symphony.
I. Adagio cantabile - Vivace assai - 00:29
Vivace assai. - 01:51
A - 02:15
B - 02:41
C - 03:16
II. Andante - 09:37
III. Menuetto - Trio - 16:19
IV. Finale: Allegro molto - 21:50
Q - 24:43
9:24 I love how that riff changes just a little bit from before so that you can tell it's entering the triumphant finale
Some nice moves Maestro!
Sublime!!!💓🌹
Mil gracias !!!
Cuando niño, interpreté en acoirdeon una transdcripción de algunos compases del 2do. movim,iento.
Creo que toda esta sinfonía es fácil de reckordar por sus melodías tan "amigables", aunque hay otras
de mayor complejidad.
c'est "une bonne surprise" j'aime beaucoup
moi aussi.
Lenny with VPO. what could go wrong? VPO haven ever forgotten Haydn, unlike some, part of their heritage. Bless!
This video was edited by someone who understands music!
Che meraviglia! Orchestre e direttori di oggi possono solo sognare simili interpretazioni!
9:39
I love this symphony and this orchestrate not to mention along with the conductor are the players of choice. But one needs to sit back and reflect at what an incredible composition the Andante is. Sheer genius.
0:38 the beginning
ハイドン【交響曲第94番「驚愕」】
15:00
15:03
Surprise symphony? Where is the surprise? OH! I just read, that the surprise was a startling loud chord i 2nd movement.
You can be cynical but you forget Haydn didn't name these symphonies, the public did. They left the Haydn factory with a works number.
@@ZJStrudwick Haha! Good one
@@ZJStrudwick That was the intention. I read that the crinolined ladies at performances would slumber. This was Haydn's answer. Suspect he would have been a great guy to share a pint with.
@@malcolmabram2957Hi
When asked about it he said it was to show he was better than his student and that he could make a splash at his London premier. But his intention wasn't to wake people up.
@@petercrosland5502
They didn’t actually have a ‘…works number’; Haydn normally referred to them by key signature in his correspondence which is how we know the correct order of the six ‘Paris’ symphonies for example; sometimes they were identified by him writing out an incipit.
In his totally unscrupulous dealings with publishers across Europe (something which Beethoven unequivocally admired in Haydn), if he had a set of three to sell, he would deliberately list them by key in a different order to each to try to deceive the buyers into thinking they had exclusive rights to different sets (which they almost invariably did not).
The only two references to numbers Haydn ever used were in identifying to his early biographers Griesinger and Dies that Symphony 1 was his first, and referring to Symphony 104 (1795) on the title page of the manuscript (in English) as:
‘The 12th which I have composed in England’.
🇰🇷🇰🇷🇰🇷👍🙂😊😇🙏🙏🙏
This part is so special, not sure how to describe it: ua-cam.com/video/b9Umjnwvn4g/v-deo.html
15:05
9:37
11:23