Though not perhaps strictly the second of Haydn's symphonies (a position now accorded to the symphony that bears the number 37 in the standard catalogue of these works), this certainly appears to be among the earliest of the Haydn symphonies, antedating the start of the composer's employment with the Esterházy family (1761) by two or three years. In common with all the other early Haydn symphonies, this work shows no sign of hesitation or 'immaturity'; rather, it is a confident work, with robust orchestration and a sure sense of direction. As with other early Haydn symphonies, the frequent minor-key excursions contribute to emotional depth and show that the composer used minor keys extensively, well before what used to be called his 'Sturm und Drang' years (the late 1760s and early 1770s). Other points of interest in this work include the lack of repeats in any of the movements (a feature mentioned by H. C. Robbins Landon in his 1955 book on the Haydn symphonies), and the fact that the last movement is the first example of a Haydn symphony finale in rondo form (as indicated by Michelle Fillion in a chapter in a book edited by Mary Hunter and Richard Will entitled "Engaging Haydn: Culture, Context, and Criticism"; Cambridge University Press, 2012).
The horn trill in the in last "B" statement. Just wow. Thank you for this wonderful performance. I will return to it often. And this little symphony, this little masterpiece! The second movement is sublime. The last movement right jolly -- but with such breadth and invention! A thousand thanks. Little No. 2 I will hold close to my heart always.
It’s lovely to hear these very early symphonies performed live - they are well worth investigating as they contain interesting pointers to the future. Beautifully played, and a big plus to the conductor for splitting the violins and seating the firsts opposite the seconds: this is the historically correct arrangement and has a real, positive impact on the sound. Bravi tutti.
Thank you so much for these instructive comments! As I watch, I'm trying to figure out these things you mention, and what you say helps me understand what's behind these musical arrangement decisions. Very interesting!
@@bobsalmon121346 Thank you for your kind comment. Almost all the music of Mozart and Haydn - Beethoven too in the next generation - was written specifically anticipating split violins; there are often antiphonal effects (question and answer), or motifs being thrown around the orchestra between the 1st and 2nd violins which are lost completely with all the violins massed to the conductor’s left. The split violins are also absolutely essential in the string quartets of all these composers, and the correct arrangement is becoming much more common today than it was in the past.
I like this performance better than the much praised Antonini versions. Strange that the Japanese musicians have a more balanced feeling for this 100% European music. Less rushed and accented."Strange" is a qualification one is not permitted to use in these woke times. Let's just say remarkable 😀
@@christianwouters6764 I like these performances very much as well, and when you search through the Haydn symphonies on TH-cam, you will come across a number of performances from Hidemi Suzuki and these players - they are all very good indeed. I have added comments to most of them, and for what it is worth, almost without exception praising them very highly. The only thing I would add to your comment is that I think there is room in Haydn (Mozart and Beethoven as well) for a wide variety of approaches: large-scale and small; original instruments and modern; with harpsichord continuo and without; different tempi; et cetera. I would not want to be without any of them, and as an extreme example, I enjoyed Antonini’s recent performances of three late symphonies including Symphony 98, but I enjoy Karajan’s 1982 performance of 98 with the Berlin Philharmonic as well, along with a number of different performance types in-between these two approaches.
Though not perhaps strictly the second of Haydn's symphonies (a position now accorded to the symphony that bears the number 37 in the standard catalogue of these works), this certainly appears to be among the earliest of the Haydn symphonies, antedating the start of the composer's employment with the Esterházy family (1761) by two or three years. In common with all the other early Haydn symphonies, this work shows no sign of hesitation or 'immaturity'; rather, it is a confident work, with robust orchestration and a sure sense of direction. As with other early Haydn symphonies, the frequent minor-key excursions contribute to emotional depth and show that the composer used minor keys extensively, well before what used to be called his 'Sturm und Drang' years (the late 1760s and early 1770s). Other points of interest in this work include the lack of repeats in any of the movements (a feature mentioned by H. C. Robbins Landon in his 1955 book on the Haydn symphonies), and the fact that the last movement is the first example of a Haydn symphony finale in rondo form (as indicated by Michelle Fillion in a chapter in a book edited by Mary Hunter and Richard Will entitled "Engaging Haydn: Culture, Context, and Criticism"; Cambridge University Press, 2012).
The horn trill in the in last "B" statement. Just wow. Thank you for this wonderful performance. I will return to it often. And this little symphony, this little masterpiece! The second movement is sublime. The last movement right jolly -- but with such breadth and invention! A thousand thanks. Little No. 2 I will hold close to my heart always.
What wonderful music, what a fine orchestra and what an exciting conductor. Thanks for the video
Very fine performance! Very enjoyable. Viva Haydn! Thank you for posting!
Excellent! Much thanks for posting.....
It’s lovely to hear these very early symphonies performed live - they are well worth investigating as they contain interesting pointers to the future.
Beautifully played, and a big plus to the conductor for splitting the violins and seating the firsts opposite the seconds: this is the historically correct arrangement and has a real, positive impact on the sound.
Bravi tutti.
Thank you so much for these instructive comments! As I watch, I'm trying to figure out these things you mention, and what you say helps me understand what's behind these musical arrangement decisions. Very interesting!
@@bobsalmon121346
Thank you for your kind comment.
Almost all the music of Mozart and Haydn - Beethoven too in the next generation - was written specifically anticipating split violins; there are often antiphonal effects (question and answer), or motifs being thrown around the orchestra between the 1st and 2nd violins which are lost completely with all the violins massed to the conductor’s left.
The split violins are also absolutely essential in the string quartets of all these composers, and the correct arrangement is becoming much more common today than it was in the past.
@@elaineblackhurst1509 I see. Thanks for the further explanation.
I like this performance better than the much praised Antonini versions. Strange that the Japanese musicians have a more balanced feeling for this 100% European music. Less rushed and accented."Strange" is a qualification one is not permitted to use in these woke times. Let's just say remarkable 😀
@@christianwouters6764
I like these performances very much as well, and when you search through the Haydn symphonies on TH-cam, you will come across a number of performances from Hidemi Suzuki and these players - they are all very good indeed.
I have added comments to most of them, and for what it is worth, almost without exception praising them very highly.
The only thing I would add to your comment is that I think there is room in Haydn (Mozart and Beethoven as well) for a wide variety of approaches: large-scale and small; original instruments and modern; with harpsichord continuo and without; different tempi; et cetera.
I would not want to be without any of them, and as an extreme example, I enjoyed Antonini’s recent performances of three late symphonies including Symphony 98, but I enjoy Karajan’s 1982 performance of 98 with the Berlin Philharmonic as well, along with a number of different performance types in-between these two approaches.
I have to say this is a great symphony! Though, in reality, poor Papa Haydn is all but forgotten. 😕😕
Thank you for sharing this live performance!
Great!
very epic indeed. Studying this in school, and it is as epic as my nan
j'aime haydn
3:14 ending | 9:02 ending
1:43
こんなマイナーな交響曲でもクオリティが高い。