Haydn is not my favorite. That would be Mozart or Beethoven. But his music, more than that of any composer, possesses an almost magical quality that evicts sadness, anger or any type of negativity from my mind.
the cafenza he is playing is by himself (sir andras schiff) so you could try searching up candenzas by sir andras schiff and you might be able to find it
Sorry - I was very drunk when I wrote that! What I think I meant was that Haydn suffers from his association with his pupil Beethoven. “Haydn did this or that, but it was Beethoven who really developed and improved on it”.
@@benholmes1608 Not sure he does suffer by association really, Haydn and Beethoven are different, as are Haydn and Mozart. Similarly, if you take a composer like Berlioz with the Symphonie fantastique - written only three years after Beethoven’s death - it is not so much he ‘…developed and improved’ on Beethoven, but that he explored new ideas and new areas, in new ways compared to Beethoven. That is exactly how Beethoven should be seen in relation to Mozart and Haydn; the main problem with taking the linear development theory of music is that every succeeding generation trumps the previous one meaning that the symphonies of Beethoven are ‘…developed and improved’ by Brahms, Mahler, Shostakovich, et al. They are not of course, and neither are those of Mozart and Haydn by Beethoven, both of whom in a number of works went into areas unexplored by him, indeed there are areas where Beethoven signally failed to go beyond his two great predecessors - very few would claim that as an opera, Fidelio ‘…developed and improved’ on Mozart’s later operas, nor his final three symphonies. Beethoven is different, not an improvement and development. Likewise is the case of Haydn: Beethoven’s Mass in C falls short of Haydn’s ‘…inimitable masterpieces’ as Beethoven himself described Haydn’s last six masses, and if we compare Haydn soaring like an eagle in The Creation, Beethoven in Christ on the Mount of Olives walks like a parrot. In other words, in the two cases I cited, it is Beethoven who ‘…suffers from his association’ with Haydn. For the avoidance of doubt, Beethoven is one of the greatest of all composers, and a number of his works - or groups of works - such as the piano sonatas are quite simply unmatched monuments of Western Classical music. Not sure why the irrelevant ‘…pupil Beethoven’ was dropped in; the lessons focused on counterpoint (a form of musical grammar), and ran from on and off for just fourteen months from Beethoven’s arrival in Vienna in November 1792 until Haydn’s departure for his second trip to England in January 1794. The lessons were not a success: Beethoven in relation to them stated clearly that ‘…I learned nothing from Haydn’, and he refused to put ‘Pupil of Haydn’ on the dedication to his counterpoint teacher of the Opus 2 piano sonatas. Hope there is something of interest and some food for thought in this slightly different take on how things are normally presented.
There aren't many people who are true geniuses. But there can be no question that Andras Schiff is a true genius., as well as a consummate artist.
I like this concerto so much, the phrase quality by Haydn is a master work.
Delightful! And I love it when Sir András is so happy while performing. Also, Haydn is a jewel. Thank you!!
The great Schiff! So joyful and touching. Thank you for the possibility to hear and see this live!
aaaaaaa i love sir andras schiff ❤❤❤ and haydn ❤❤❤ and this special concerto ❤❤❤
i remember playing this with an orchestra in spain, i like this piece, the improvisation part is amazing
❤Magnificent! , stunning . Thank you!🎉
Thank you for uploading this! Sir Schiff is one of my favorite pianists, and this is my favorite Haydn Concerto.
Dear Wolf, You are sharing really good things. Thank you very much.
0:00 1st mvt Vivace
9:14 2nd mvt un poco adagio
15:53 3rd mvt Rondo all'ungarese
Wonderful as usual from Sir Andras. There is no better! Also a very interesting concert hall. Sound is fine.
Excellent!
Fantastic!
Can you put the original applaude at the end of the piano concerto?🙏🙏🙏🙏🙏
I love part at the 16:40 !! and make it as loud as possible! 💖💖♥️
BRAVISSIMO!!!
Wow - I've just looked it up: Haydn wrote 13 keyboard concerti - I had no idea 😮
You haven't found the songs yet?
How many Lieder did he leave us?
@@r.i.p.volodya Oh a lot...some in Welsh!
5:12 The cell phone part is here, and... now
Haydn is not my favorite. That would be Mozart or Beethoven. But his music, more than that of any composer, possesses an almost magical quality that evicts sadness, anger or any type of negativity from my mind.
Have u heard about JSBach? 😏😁
I get exactly thaaat ' effect' as well😊. Makes one happy🎉
BRAVO
Marvellous! Thanks a lot.
Does anyone know which cadenza he is playing in the 1. movement and where to find it?
the cafenza he is playing is by himself (sir andras schiff) so you could try searching up candenzas by sir andras schiff and you might be able to find it
Just escaped Rachmaninov 2, back to a bit of joy.
😂
1:23
But for Beethoven, we’d rightly regard Haydn with the esteem we have for Mozart.
Not sure I follow this; what’s your point ?
Sorry - I was very drunk when I wrote that!
What I think I meant was that Haydn suffers from his association with his pupil Beethoven. “Haydn did this or that, but it was Beethoven who really developed and improved on it”.
@@benholmes1608
Not sure he does suffer by association really, Haydn and Beethoven are different, as are Haydn and Mozart.
Similarly, if you take a composer like Berlioz with the Symphonie fantastique - written only three years after Beethoven’s death - it is not so much he ‘…developed and improved’ on Beethoven, but that he explored new ideas and new areas, in new ways compared to Beethoven.
That is exactly how Beethoven should be seen in relation to Mozart and Haydn; the main problem with taking the linear development theory of music is that every succeeding generation trumps the previous one meaning that the symphonies of Beethoven are ‘…developed and improved’ by Brahms, Mahler, Shostakovich, et al.
They are not of course, and neither are those of Mozart and Haydn by Beethoven, both of whom in a number of works went into areas unexplored by him, indeed there are areas where Beethoven signally failed to go beyond his two great predecessors - very few would claim that as an opera, Fidelio ‘…developed and improved’ on Mozart’s later operas, nor his final three symphonies.
Beethoven is different, not an improvement and development.
Likewise is the case of Haydn: Beethoven’s Mass in C falls short of Haydn’s ‘…inimitable masterpieces’ as Beethoven himself described Haydn’s last six masses, and if we compare Haydn soaring like an eagle in The Creation, Beethoven in Christ on the Mount of Olives walks like a parrot.
In other words, in the two cases I cited, it is Beethoven who ‘…suffers from his association’ with Haydn.
For the avoidance of doubt, Beethoven is one of the greatest of all composers, and a number of his works - or groups of works - such as the piano sonatas are quite simply unmatched monuments of Western Classical music.
Not sure why the irrelevant ‘…pupil Beethoven’ was dropped in; the lessons focused on counterpoint (a form of musical grammar), and ran from on and off for just fourteen months from Beethoven’s arrival in Vienna in November 1792 until Haydn’s departure for his second trip to England in January 1794.
The lessons were not a success: Beethoven in relation to them stated clearly that ‘…I learned nothing from Haydn’, and he refused to put ‘Pupil of Haydn’ on the dedication to his counterpoint teacher of the Opus 2 piano sonatas.
Hope there is something of interest and some food for thought in this slightly different take on how things are normally presented.
Bravo,ma Pletnev è un'altra cosa!
cadenza di stampo mozartiano
A me piace più Zacharias
io preferisco palumbo