Haydn - Symphony No. 88 - Leonard Bernstein, Vienna Philharmonic
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- Опубліковано 5 лип 2023
- Franz Joseph Haydn
Symphony No. 88, Hob. 1/88
Leonard Bernstein
Vienna Philharmonic
November 26-27, 1983
Großer Saal of the Wiener Musikverein
I. Adagio - Allegro (00:28)
II. Largo (09:40)
III. Menuetto: Allegretto (16:58)
IV. Finale - Allegro con spirito (21:23)
Encore - Finale with eyes only (25:10)
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Bernstein had a great love for Haydn, which makes this a great performance.
You can really feel him being full of happiness to conduct
To insert a 48 measure canon at the measure in the development section of the last movement was a stroke of genius.
Sir Simon Rattle called Haydn, "A genius hidden in plain view."
Magnificent melodious music-making !! Bravo maestro!!
Did those folks in Vienna get a show like this every week? That shit is crazy!!!!! In the end Bernstein is conducting with his facial expressions! That's not just a maestro, that's a wizard!
what a marvelous simphony, the Partenon of the classic period!
symphony
@@excelsior999 sanquiu
Gran director y gran obra de Haydn . Muchas gracias,
BERNSTEIN THE GREAT !!
une musique d'une grande beauté ,merci
Ma symphonie préférée de Haydn ; jusque là je l'aimais dirigée par Furtwangler, mais de la voir ainsi dirigée à Vienne par Lenny est un spectacle enthousiasmant !
Bernstein was an excellent conductor who was well aware that he was in Show Business (especially when he was On Camera).
This would have pleased Haydn.
Damn that was so good
The four phrased tunes
Haydn conveys on symphonies as thisvone a sense of perfection I hardly find on other pieces, even if I love many other composers, from Bach to
Brahms to Wagner. 13:19
0:30 1:54.
Largo 9:43 14:30
Finale 21:25
❤великолепно❤
Thanks!! Congratulations!!👏👏🌾🏞️🌾.
Merci pour ce icocrty❤❤ ❤❤❤
Lenny and the Vienna Philharmonic at their best
no hands!
HC Robbins Landon said Lenny was the best Haydn conductor.
I'm not a great Bernstein admirer...but I am convinced that late Haydn symphonies need a big band...and some small authentic instrument orchestras really do play too quickly. Bernstein's Paris symphonies still hold their own. And this symphony is among many people's favourites in the whole Haydn catalogue. I still think one can go the other way in terms of speed; the opening is a little too slow for me, as is the largo.
Haydn, Bernstein, la Filarmónica de Viena!. Difícil pedir algo mejor ...
Eso mismo pienso yo
ハイドン【交響曲第88番「V字」】
🥰🌹❤👏❤🌹🥰
Listen to Paul Gilbert version of this on electric guitar. It will knock ur Sox off
Will it knock more socks off than Bernstein, Furtwängler, Walter or Doráti ever did?
Was im Leben…? Warum hat der Konzertmeister jedes Mal eine ROTES Geige!?
How many conductors today kiss their concertmasters after a performance?
Not enough
The 5th movement sounds about the same as the 4th
It's a repetition of the 4th with no conductor. A Bernstein novelty.
Effusive music making; Beethoven grittier in his eight symphony but could bit touch Haydn.
You shouldn't really, it's big band Haydn, you can do this with 25 or so players. A guilty pleasure...
But a pleasure indeed it is in full clothing. When he could, Haydn used as many musicians as he could...
@@bloodgrss
Haydn - Mozart too - used orchestras both large and small; Haydn’s orchestra when appointed to the Eszterhazy family in 1761 numbered about 14, growing to are regular 24 in the 1780’s.
(Additional instruments were always to be found when required - four horns, one or two flutes, trumpets and drums, cor anglais, et cetera).
The ‘Paris’ symphonies in the mid-1780’s (87, 85, 83, 84, 86, and 82) were conceived for and performed by an orchestra of about 60, and those for London in the 1790’s on the first trip of 1791/92 for about 40 players (96, 95, 93, 94, 98, 97), rising to over 60 on the second trip of 1794/95 (99-104).
(The symphonies listed above appear in chronological order, not the Mandyczewski/Hoboken catalogue numbers).
There’s no tight or wrong answer; you pay your money and make your choice, and for every Haydn symphony in my collection, I have period and modern, large-scale and small, harpsichord continuo and none…I would not be without any of them.
You can do both Mozart and Haydn really well both big-scale and small scale, period performance and modern (Beethoven too);
@@elaineblackhurst1509 Yes Elaine, thanks as usual for your erudite post. My collection has a variety too. And, still love the Beecham London set with full forces; his own old and unauthorized antiquated scores, but no one has bested his beautiful phrasing and inherent musicality. As are his wonderful non-period instrument Handel pastiche ballets...
@@bloodgrss
With a set like the ‘London’ symphonies, there is a wide choice of recordings all of which illustrate why you need more than just one approach.
Of the historic sets - or part-sets - I’m normally less keen than I am than with modern recordings; the pre-Robbins Landon corrupted scores are an issue for me (almost everything pre-c.1970), but you’re right about the characterful performances of Beecham.
My preferred historic recordings are by Klemperer with the Philharmonia that I was by lucky enough to pick up new and very cheap in an EMI two-box set some years ago containing symphonies:
88, 92, 95, 98, 100, 101, 102, and 104.
(I had the LP of 92 and 95 pre-cds).
Regardless of its age, it is good to hear Haydn played according to a performance tradition now long lost; I can recommend these Klemperer recordings very highly, and some are available on UA-cam (where unsurprisingly I have left an occasional comment).
An important point worth making regarding period v modern instrument recordings is that the former does not always mean small-scale any more than the latter always means big-scale.
There are of course smaller scale period performances of the complete London symphonies by Kuijken and Bruggen, with Ton Koopman and the Amsterdam Baroque Orchestra’s current series using a string section of 5 4 2 2 1; but contrast this with Marc Minkowski’s enormous Les Musiciens du Louvres who uses strings of 12 9 6 6 3 - the difference is startling (also plus double woodwind).
Likewise on the modern instruments front, there are well-regarded big-scale sets by the likes of Jochum, Davis, and not-quite-so-well-regarded by Karajan, but smaller-scale ones by conductors like Marriner with his ASMF, or Tate with the English Chamber Orchestra.
Along with these different and various approaches, there are also ‘one-offs’ like the well received set by Leslie Jones recorded in the 1960’s with the Little Orchestra of London which utilises a keyboard continuo.
Just for completeness, there is Harnoncourt with the Concertgebouw, Bernstein with the New York Philharmonic, and Szell with the Cleveland, and one or two others.
Of all the sets mentioned above, there are very few I would not listen to with pleasure from time to time, but I should say here that the worst pair of cds in my entire collection in which I can find no redeeming features whatsoever is the 2 cd set of Symphonies 99-104 conducted by Roger Norrington with the London Classical Players (1992/93).
The Norrington performances are unendurable - take my word for it; I have kept the set simply because it is so awful.
@@elaineblackhurst1509 I am sure you are a subscriber, but David Hurwitz's opinions are as erudite as yours. You may not always agree, but his musical knowledge rivals your own. The reason I mention this is your abhorrence of Norrington; I once attended a concert of his doing Schumann's 4th and Berlioz Fantastic Symphony. Perhaps historically informed, but awful, unexciting performances. I send you links; interesting what you think of them, particularly the London Symphony selections...
ua-cam.com/video/l5pBAjcyZOg/v-deo.html
ua-cam.com/video/7Xcg581qlpo/v-deo.html
19:38 це революція в музиці, Гайдн переверши сам себе
Elegant and clipped, exacting classicism over romanticism in the faster movs, in contrast to his Mozart and Karajan’s Haydn, well judged faster tempos breezing forward with conversational interpolations, considerable intensity and overall unity, while avoiding trying too hard. However the slow mov then contrasts too much and the finale slightly is unserious; the overall conception lacks deeper values and interest, staying on the surface and showing ignorance of the music’s nature. It’s VPO-ized with an inevitable range of later Vienese overtones including J.Strauss and Bruckner and insistence on doing things their way, with even the plush and gaudy room they’re in bringing in extra social values; despite its qualities this is in dogged ignorance of HIP that indeed uncovers the real Haydn of unsold objectivity and crystalline poise; he may have lived in Vienna but there’s hijacking here.
No women musicians?
At that point The Vienna Phil was an all boys club.
1983? Wohl noch eine andere Welt. Aber, "miss-feähllt" etwa dadurch an der Musik an sich etwas ? Hadyn ist/bleibt wohl Hadyn ... ob sie sich jetzt irgendwas wünschen oder nicht...
Amazing brainrot, you must have to listen to such a marvelous performance of an amazing piece, for your only concern to be what genitals the musicians have...