Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
Most Haydn symphonies are great including this one. Not sure about the Hogwood approach here though. OIt sounds better in Dorati's slightly slower version.
Genial with a lot of creativity, especially the 4-th movement! The andante tempo is very unusual in the last movements, although there is a powerful presto in the end. Like a confirmacy as "I am a 4-th movement by the way. "😀
Today I listened to this magnificent symphony for the first time, and it was well worth the effort! It's not as brilliant and spectacular as some of the contemporaneous nicknamed symphonies like the "Fire" or "La Chasse," but what it lacks in pizazz it more that makes up for in lyricism and dignified demeanor.
HC Robbins Landon argued that this symphony is a precursor to the 'Horn Signal'. It's hard to argue with that after hearing both, but he didn't like this one. I think he was crazy, it's amazing like most Haydn works.
George Law Just to be accurate, there are *four* 4-horn symphonies, though they are used differently from the very badly mis-numbered 72 (1763), and the more accurate 31 (1765), where in both cases they have virtuoso solo horn parts, fanfares, and a number of common features, most obviously the final movement set of variations showcasing most members of the orchestra. 72 is in effect a trial run for 31, or if you like, they are sisters. Haydn’s symphonies with 4 horns are: Symphony 13 (1763)) Symphony 72 (1763) Symphony 31(1765) Symphony 39 (1767)
The lips of that horn player in the first movement must have needed to be a lot more more rubbery to execute the trills more neatly. He struggles to fit in all the notes, and probably wished he had a lot more milliseconds to execute them.
Ariston 83 Symphony 72 is badly misnumbered: written in 1763 it is in effect the practice run with four solo horn parts, opening and closing fanfares and a final variation movement, for the better known Symphony 31 (‘Hornsignal’) written in 1765. You’re quite right about the double horn concerto second movement of Symphony 51 (c.1771 - 73) being extremely challenging, but Symphony 31 is overall a greater work than Symphony 72, though technically, much of the soloistic horn music Haydn was writing at the time was extremely challenging. The slightly later Divertimenti a otto voci* (1775) also contain some fiendishly difficult horn parts. * Unfortunately the correct name is now often reduced to a mere footnote; these magnificent works are now better known - due to the publisher Henle Verlag’s unilateral and un-international decision to Germanify and re-name Haydn’s original title - as the Baryton Octets.
In the finale there is solo passage for double bass as in 31 (Horn Signal). My 2nd favorite composer, next Bach. Remember that G# was H in Germany, I can categorize the 3 B"s as Bach, Haydn and Beethoven.
Written in 1763, the badly misnumbered Symphony 72 is in fact a practice run for the better-known and I think superior Symphony 31 (‘Hornsignal’) written two years later which also utilises four obbligato horns, and has a final movement set of variations similar to here showcasing just about every instrument of the larger than usual orchestra.
Your comments of Haydn symphony really helped me to understand and better appreciate his symphonies and the Haydn the innovator. I'm believe that Haydn and Beethoven had the final word on western music before the impressionists.
From what I've gathered over a few years, J.Haydn is a very intellectual composer, who keeps his intelligence on the front, but obviously he also can move profoundly with emotion. Mozart is a more sensuous composer with an immediate effect. Same for Beethoven but he builds upto the sensation, he cannot approach Mozart in this.His effect in Symphonies is visceral. What he did was study his two predecessors hard and combine them into a new narrative form of music with big ups and downs. His best moments are from Mozart. I love the slow movements of Mozart but not Haydn. I love fast movements of Haydn. I also despise modern Romantics who ignorantly say that Classical composers didn't have emotions in their work. They just don't understand the language. Currently I am beginning to understand a bit in even Mozart's early major key piano sonatas. It's glorious, and wonder why others don't share my view. One interesting thing I notice in Beethoven's eroica that he has used Sturm and Drang elements. Basically, he has taken their best parts, expanded them, and used them to a more visible effect.
1763 -1765 circa Alla grazia sostanziosa ma un poco insincera della sinfonia precedente (n.31) si contrappone la disadorna semplicità di questa sinfonia della Caccia. Le analogie formali tra le due opere sono talmente evidenti (lo stesso strumentale con quattro corni e un flauto, lo stesso carattere concertante e infine lo stesso tipo di finale) da rendere inspiegabile un posto così avanzato nella lista di Mandyczewski. A parere di Robbins Landon essa sarebbe stata composta prima della sinfonia n.31, di cui costituirebbe quasi uno studio preliminare. Ma rivela bellezze sconosciute al "Segnale di corno" e merita almeno altrettanta attenzione. LDC
Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo
Thus did the Horn live in glory and respect for ages.
But then came Sousa.
What a great symphony!!!
Most Haydn symphonies are great including this one. Not sure about the Hogwood approach here though. OIt sounds better in Dorati's slightly slower version.
and what a great 4th mov
Genial with a lot of creativity, especially the 4-th movement! The andante tempo is very unusual in the last movements, although there is a powerful presto in the end. Like a confirmacy as "I am a 4-th movement by the way. "😀
The second movement is amazing!
Today I listened to this magnificent symphony for the first time, and it was well worth the effort! It's not as brilliant and spectacular as some of the contemporaneous nicknamed symphonies like the "Fire" or "La Chasse," but what it lacks in pizazz it more that makes up for in lyricism and dignified demeanor.
One of two symphonies by Haydn using four horns (the other being No. 31).
Thank you for that information. I know that Mozart used four horns in his Symphony 25 in G Minor.
HC Robbins Landon argued that this symphony is a precursor to the 'Horn Signal'. It's hard to argue with that after hearing both, but he didn't like this one. I think he was crazy, it's amazing like most Haydn works.
George Law
Just to be accurate, there are *four* 4-horn symphonies, though they are used differently from the very badly mis-numbered 72 (1763), and the more accurate 31 (1765), where in both cases they have virtuoso solo horn parts, fanfares, and a number of common features, most obviously the final movement set of variations showcasing most members of the orchestra.
72 is in effect a trial run for 31, or if you like, they are sisters.
Haydn’s symphonies with 4 horns are:
Symphony 13 (1763))
Symphony 72 (1763)
Symphony 31(1765)
Symphony 39 (1767)
N 13 y 39 also use four horns
Fantastisch!!!
The lips of that horn player in the first movement must have needed to be a lot more more rubbery to execute the trills more neatly. He struggles to fit in all the notes, and probably wished he had a lot more milliseconds to execute them.
Thanks for uploading!
Great horn parts! (though quasi impossible to play without gobbling)
Absolutely! Only symphony no. 51 is even harder to play
Ariston 83
Symphony 72 is badly misnumbered: written in 1763 it is in effect the practice run with four solo horn parts, opening and closing fanfares and a final variation movement, for the better known Symphony 31 (‘Hornsignal’) written in 1765.
You’re quite right about the double horn concerto second movement of Symphony 51 (c.1771 - 73) being extremely challenging, but Symphony 31 is overall a greater work than Symphony 72, though technically, much of the soloistic horn music Haydn was writing at the time was extremely challenging.
The slightly later Divertimenti a otto voci* (1775) also contain some fiendishly difficult horn parts.
* Unfortunately the correct name is now often reduced to a mere footnote; these magnificent works are now better known - due to the publisher Henle Verlag’s unilateral and un-international decision to Germanify and re-name Haydn’s original title - as the Baryton Octets.
In the finale there is solo passage for double bass as in 31 (Horn Signal). My 2nd favorite composer, next Bach.
Remember that G# was H in Germany, I can categorize the 3 B"s as Bach, Haydn and Beethoven.
B flat=B B natural = H
All of this symphony is good but the opening movement with the horns is truly remarkable and catchy beyond reason.
Written in 1763, the badly misnumbered Symphony 72 is in fact a practice run for the better-known and I think superior Symphony 31 (‘Hornsignal’) written two years later which also utilises four obbligato horns, and has a final movement set of variations similar to here showcasing just about every instrument of the larger than usual orchestra.
Your comments of Haydn symphony really helped me to understand and better appreciate his symphonies and the Haydn the innovator. I'm believe that Haydn and Beethoven had the final word on western music before the impressionists.
@@omegads3862
Thank you for your kind comment, it is much appreciated.
From what I've gathered over a few years, J.Haydn is a very intellectual composer, who keeps his intelligence on the front, but obviously he also can move profoundly with emotion. Mozart is a more sensuous composer with an immediate effect. Same for Beethoven but he builds upto the sensation, he cannot approach Mozart in this.His effect in Symphonies is visceral. What he did was study his two predecessors hard and combine them into a new narrative form of music with big ups and downs. His best moments are from Mozart. I love the slow movements of Mozart but not Haydn. I love fast movements of Haydn. I also despise modern Romantics who ignorantly say that Classical composers didn't have emotions in their work. They just don't understand the language. Currently I am beginning to understand a bit in even Mozart's early major key piano sonatas. It's glorious, and wonder why others don't share my view. One interesting thing I notice in Beethoven's eroica that he has used Sturm and Drang elements. Basically, he has taken their best parts, expanded them, and used them to a more visible effect.
dat sound... 00:24 :-)
1763 -1765 circa Alla grazia sostanziosa ma un poco insincera della sinfonia precedente (n.31) si contrappone la disadorna semplicità di questa sinfonia della Caccia. Le analogie formali tra le due opere sono talmente evidenti (lo stesso strumentale con quattro corni e un flauto, lo stesso carattere concertante e infine lo stesso tipo di finale) da rendere inspiegabile un posto così avanzato nella lista di Mandyczewski. A parere di Robbins Landon essa sarebbe stata composta prima della sinfonia n.31, di cui costituirebbe quasi uno studio preliminare. Ma rivela bellezze sconosciute al "Segnale di corno" e merita almeno altrettanta attenzione. LDC
🤩😍😘