L'errore del Mandyczeski, che ha attribuito a questa e alla sinfonia seguente un numero troppo elevato rispetto alla reale collocazione cronologica (entrambe dovrebbero arretrare di una dozzina di posizioni), può essere giustificato, nel caso in esame, dalla straordinaria vivacità di una musica che, pur ricalcando schemi scontati e usando materiale non nuovo, è quasi a livello dei capolavori della maturità. Haydn rinuncia qui a qualsiasi tentativo di caratterizzazione, limitandosi a una concezione dell'arte come puro divertimento. LDC
I have been a big fan of Haydn since about 1960 when I first discovered his "Surprise" symphony at the age of 11. But THIS symphony has always struck me as his least interesting - a bland innocuous divertimento with few of Haydn's usual "surprises". Still, the first movement's elegance conceals quirky hesitations and misdirections which become more interesting on repeated hearings, the minuet is perky enough and the finale more Haydnesque than I had remembered. All in all, Hogwood finds an energy and purpose that elude Dorati so perhaps I should blame him rather than Haydn! If this is his least interesting
Melvyn Elphee Symphony 58 is one of the quite badly misnumbered symphonies and dates earlier (c.1767) than its number would suggest; chronologically,it is probably the 42nd symphony. Symphony 58 was entered into Haydn’s Entwurf-Katalog - the hand written catalogue of his music that he began in c.1765 - astonishingly next to Symphony 49 (La Passione) with which it shares virtually no common characteristics. Symphony 58 is clearly not a work of comparable intensity, though as ever with Haydn, is composed to the highest professional standards. Haydn’s symphonies are extremely varied: 49 has clear religious undertones, 58 is a chamber symphony par excellence, and does not. There is very little sturm und drang about 58, and much that is galant and slightly old-fashioned - the strings only second movement for example, with lots of almost Baroque style two part texture emphasizing the rather chamber music feel of the work. The Minuet (‘alla zoppa’) is perhaps a bit more out of the ordinary, a limping ‘un poco allegretto’ with oddly balanced phrases, and a trio of the sort only Haydn was writing at the time, a sort of gypsy interlude. The finale also has some unusual harmonic and chromatic twists. Symphony 58 is a beautiful, but relatively straightforward symphony that contains its own moments of Haydnesque eccentricity and individuality. It demonstrates the composer’s total command of the form, and shows that Haydn was writing very different types of works in close proximity to each other.
meant to finish> If this is his least interesting symphony, what a VERY interesting symphonist he is. Which he is.
17:25 - Presto
"Like" on 28 August 2017
L'errore del Mandyczeski, che ha attribuito a questa e alla sinfonia seguente un numero troppo elevato rispetto alla reale collocazione cronologica (entrambe dovrebbero arretrare di una dozzina di posizioni), può essere giustificato, nel caso in esame, dalla straordinaria vivacità di una musica che, pur ricalcando schemi scontati e usando materiale non nuovo, è quasi a livello dei capolavori della maturità. Haydn rinuncia qui a qualsiasi tentativo di caratterizzazione, limitandosi a una concezione dell'arte come puro divertimento. LDC
Sei corretto, in ordine cronologico, la Sinfonia 58 (1767) è probabilmente il numero 42.
Какая разница под каким номером писать шедевры!
@@ПавелТомилов-л1л please can write in english cant traslate your comment. Thank you
I have been a big fan of Haydn since about 1960 when I first discovered his "Surprise" symphony at the age of 11. But THIS symphony has always struck me as his least interesting - a bland innocuous divertimento with few of Haydn's usual "surprises". Still, the first movement's elegance conceals quirky hesitations and misdirections which become more interesting on repeated hearings, the minuet is perky enough and the finale more Haydnesque than I had remembered. All in all, Hogwood finds an energy and purpose that elude Dorati so perhaps I should blame him rather than Haydn! If this is his least interesting
Melvyn Elphee
Symphony 58 is one of the quite badly misnumbered symphonies and dates earlier (c.1767) than its number would suggest; chronologically,it is probably the 42nd symphony.
Symphony 58 was entered into Haydn’s Entwurf-Katalog - the hand written catalogue of his music that he began in c.1765 - astonishingly next to Symphony 49 (La Passione) with which it shares virtually no common characteristics.
Symphony 58 is clearly not a work of comparable intensity, though as ever with Haydn, is composed to the highest professional standards.
Haydn’s symphonies are extremely varied: 49 has clear religious undertones, 58 is a chamber symphony par excellence, and does not.
There is very little sturm und drang about 58, and much that is galant and slightly old-fashioned - the strings only second movement for example, with lots of almost Baroque style two part texture emphasizing the rather chamber music feel of the work.
The Minuet (‘alla zoppa’) is perhaps a bit more out of the ordinary, a limping ‘un poco allegretto’ with oddly balanced phrases, and a trio of the sort only Haydn was writing at the time, a sort of gypsy interlude.
The finale also has some unusual harmonic and chromatic twists.
Symphony 58 is a beautiful, but relatively straightforward symphony that contains its own moments of Haydnesque eccentricity and individuality.
It demonstrates the composer’s total command of the form, and shows that Haydn was writing very different types of works in close proximity to each other.