Joseph Haydn Symphony nº 66 Hob. I:67 in F major
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- Опубліковано 1 жов 2012
- Gewandhausorchester Leipzing,
Herbert Blomstedt, conductor.
This is one of Haydn's better-known symphonies from this period, owing to its lively opening movement, various special effects (to be described below) and formally unique finale. The whiff of the stage seems palpable, although there is no concrete evidence for such a connection.
The opening movement exhibits the unusual tempo/metre combination of Presto 6/8, which one would ordinarily expect in a finale, although the sprightly triadic main theme develops an unexpected degree of sentiment before it cadences. The vigorous exposition makes room for a true 'second theme' in the dominant. Later, however, the prevailing simplicity of texture is violated by a canonic episode in the development, although the latter section, unusually, both begins and ends in a relaxed manner.
The slow movement, with that of No.68, belongs to a distinct subtype characteristic of this period: Adagios in sonata form, with muted violins, based on short, aphoristic phrases that tend to dissolve into delicate filigree work, but in mood hovering ambiguously between comedy and sentiment. They are in no sense 'popular'. Here, this stylistic mixture is most prominent in the development; its central section is an extraordinary 'still' filigree passage, actually an extended canon for the two violin parts, enclosed on either side by the most expressive passages of the movement. But Haydn's final word is strictly comic: the tender opening phrase is repeated in its entirety col legno.
The short, boisterous minuet 'sets up' the remarkable trio. The latter is scored for the two principal violins, solo and muted; the first warbles a possibly 'ethnic' tune in the heights, while the second plays a bordun bass and also accompanies the first in double stops: the two players thus comprise a 'trio' not merely formally, but in the literal sense of comprising three musical parts. But the joke goes further: since the movement is in F, the second must tune his G string down a whole tone in order to perform the bordun.
The finale continues the reversal of movement types by being alla breve with the tempo mark Allegro di molto, characteristics 'proper' to an opening movement. It exhibits the poorly named 'da capo-overture' form ('reprise-overture' form seems more appropriate): a full exposition ending in the dominant and full recapitulation, with however a contrasting middle section in a different tempo in place of the development. The Allegro may seem conventional, although its very proper 'second theme' is unusual for Haydn. At the conclusion of the exposition he abruptly shifts to Adagio e cantabile and 3/8, for another trio of soloists now, however, a 'true' trio, comprising the two principal violins and principal cello. They execute a complete two-part theme in the tonic, with repeats; the full band joins in for the final strain, with magical effect. A complete second theme follows in the subdominant, featuring the winds; its opening motif is identical to that of the Missa Sancti Nicolai of 1772, albeit in a different key. Eventually the music winds round to the home dominant, whereupon, as if nothing unusual had happened, the Allegro di molto resumes with a complete recapitulation until, as the final buffo stroke, a simple three-note motif dies away over a rustling ostinato in the violins.
Musical analysis (in spanish):
clasiforonuevo.superforos.com/...
Музыка Гайдна почти всегда узнаваема и весьма приятна для слуха и что удивительно не надоедает. Что-то есть в ней сказочное. Оркестр и дирижер идеально подходят к исполнению этого произведения.Слушаю его, и наслаждаюсь звучанием. Спасибо. Привет из Киева.
Сьогодні, 1 листопада 2022 року, я читаю цей ваш коментар, який ви написали два роки тому. Враховуючи жахливу ситуацію жорстокої війни, розв’язаної цим злочинцем Путіним, я сподіваюся, що ви почуваєтесь добре. Знайте, що з нашого боку у вас є і завжди буде максимальна солідарність. Нехай музика торкнеться сердець кожного, навіть тих, хто розв'язав цю безглузду війну.
Very artistic and happy mood !!!⚘
Formidable performance !!!
Hasn't anyone noticed the error in the title? It's Symphony No. 67 being played, and it's an excellent performance indeed.
unoaked
It’s not an error in the title; it is a very misguided, muddled and un-international attempt to re-number the symphonies ‘chronologically’ instead of using the universally used Hoboken catalogue numbers.
The re-numbering is utterly futile as it is impossible to date correctly all 104 (+), symphonies, so even a revised ‘chronological’ list will include a number of works that can only be dated approximately and appear in the complete edition as ‘c.1761’, or ‘1767 or 1768’, and so forth.
That said, the more accurate chronological lists suggested by Larsen, HC Robbins Landon, Sonja Gerlach, et al, are essential for studying the development of the symphony, and for scholars; they do *not* however replace Hoboken as a universal reference point.
Any attempt at a chronological list, whilst being more accurate than the Hoboken list - which adopted the numbers unaltered from Mandyczewski who in 1907 created the currently well-known and commonly used numbers - can never be definitive as too many works cannot be dated definitively.
Additionally, on Haydn’s extant manuscripts, he usually just wrote the year - not the month; the obvious problem being that if he wrote more than one in a year, then those dated for example 1765 (Symphonies 28, 29, 30, and 31), or 1772 (Symphonies 45, 46, and 47), still cannot be correctly ordered.
In short: stick to Mandyczewski/Hoboken numbers; anything else, as in this case is simply confusing and serves no useful purpose; scholars and anyone else interested can find quasi-chronological best scholarly guess lists easily enough by simply searching *haydn symphonies chronology.*
@@elaineblackhurst1509What you say seems right to me. Seems that some scholars need something to get paid for, such as what you show.
Like a little ray of hope, so it is.
Years ago I taped this from radio on reel to reel in a version from the much despised and sorely missed BBC regional orchestras. I thought it a marvelous work. Then I bought Dorati's much praised recording and found it hard driven, trivial and rather wearing. So what a joy to find this with its natural pacing of the opening movement, clean playing and appropriate sense of joy, elegance and well-being. The second movement is bathed in a lovely Italianate light which Mozart surely learned from for Cosi Fan Tutte
RELAXING MASTERPIECE.THANKS
Sto ascoltando questo tripudio di suoni,dolcissimi,festosi.moderni e mi meraviglio delle poche visualizzazioni.Come mai? Eppure io credo che al momento della composizione il buon Joseph Haydn era felice di comunicare la sua felicità a sé e ai posteri.E io ne godo con gratitudine il messaggio,tenendomi la convinzione che forse come sempre capita,sono più apprezzati i comunicatori di angoscia e di tristezza,perché gli uomini per lo più non sanno cosa sia la felicità.
Carmelo Bonifacio Malandrino Hai pienamente ragione, C'e' gioia, difatti come Haydn stesso asseriva, scriveva per ispirazione divina. Ha comunque composto anche composizioni struggenti tra cui la sinfonia n.49 ispirata alla Passione. È sicuramente troppo sottovalutato rispetto a grandi nomi come Bach, Mozart, Beethoven. Bisognerebbe ascoltarlo più volte fino a comprendere LA CHIAVE di lettura, ed una volta compresa non lo molli più!
It is so wonderfully invigorating and encouraging to finally hear a performance of this work with both finesse and depth, particularly one in which the conductor observes the native character of the minuet, eschewing the trendy 'tempo di scherzo' favored by all too many of those benighted hot-shot conductors currently making the rounds.
A perfect little masterpiece, ain't it? Just exquisite!
Simply superb.
Wonderful !!!!!
Great performance !!!!!
Super divino isso que e música clássica antiga faz pena maioria não dar devido valor deus nomeou certas pessoas que nasceram com um dom divino para boa música clássica que encanta faz falta neste mundo de agora deus abençoe vocês sempre amem
Haydn wrote so much! Most of the 104 symphonies are at least worth listening to. Many are truly great.
En largo desarrollo del primer movimiento, el violento pasaje canónico con tresillos en modo menor haciendo terceras descendentes es absolutamente prebeethoveniano. Brillante.
El segundo movimiento es de una lograda melancolía.
Una hermosa sinfonía y excelente interpretación. Me encanta Haydn
Haydn ofereceu ao século XVIII as formas Sinfonia e Quarteto de Cordas clássico inteiramente dominadas. Essa Sinfonia é um belo exemplo disso, temos a arte do quarteto de cordas em forma sinfônica, dando coerência à estrutura da sinfonia e os sopros (palhetas em especial) completando os apartes, trazendo novas cores instrumentais e clareando o contraste textural.
HERMOSOS SONIDOS QUE BELLAS MELODIAS................
The first movement is awesome
It is really awesome... despite the wrong pace of the performance. A PRESTO performed like an ALLEGRO.
BRAVO. BRAVO REALLY played like the masters you are
-- Vibrante symphonie. --
Interpretacio'n delicada,diria "da camera",excelente!!.-
Sehr schone Musik danke Ihnen
Si l eleganza austriaca esiste grazia geniale
perdón por la broma.- debido al largo de sus dedos el maestro Blomstedt, no necesita batuta
Sinfonia splendida nel 4 tempo si sente il sapore del 700
...das erste mal dass ich was gesehen hab das im ZDF lief das kein Müll war o0
20.35 Finale
Ww