One of: Haydn wrote about 19 symphonies during his ‘sturm und drang’ period (c.1765-1773), most of which are performed regularly around Europe, and sometimes elsewhere. The ‘Farewell’ symphony is one of the single greatest symphonies of the 18th century (James Webster has written a 400 page book on it), and the pantomime of the exiting musicians unfortunately distracts listeners from what is an absolute musical tour-de-force of Beethovenian proportions.
Mozart’s model for his g minor symphony K197 was Haydn’s g minor Symphony 39; as Mozart and Haydn didn’t actually meet for another ten years, the chances of Mozart knowing Haydn 45 on his 1773 trip to Vienna are very slim indeed, and anyway, the impetus came from Haydn 39, not Haydn 45.
The bassoon (fagotto)is playing col basso* throughout until the point you highlighted where Haydn writes out the part separately. * col basso = with the bass.
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この投稿に使われてる演奏は通奏低音入りですね。
この曲の通奏低音入りな演奏ってあまりないので
貴重な音源の提供ありがとうございます
第1楽章 古典派ソナタ形式 嬰へ短調
00:06→提示部第1主題 嬰ヘ短調
00:43→提示部第2主題 ロ短調
01:17→提示部リピート
02:30→展開部
03:06→第3主題? ニ長調→これがこの曲の醍醐味の1つかと思う
03:42→再現部第1主題 嬰へ短調
04:29→再現部第2主題 嬰ヘ短調
04:48→コーダ
第2楽章→退屈で聴くときにはまず飛ばすので省略
テンポ遅い第2楽章って女声ソプラノと同じくらいキライ。
J.ハイドン氏はそういうの少ないから好きなのだが。
第3楽章 メヌエット 嬰へ長調
15:15→主題 嬰へ長調
16:52→トリオ 嬰へ長調→普通は属調転調なんだけど
当時の楽器では難しかったのかな？
18:24→主題 嬰へ長調→トニックに戻ることなくドミナント(7th)で終わるのが
この時代としては新鮮だと思う。
第4楽章 古典派ソナタ形式 嬰へ短調
19:16→提示部第1主題 嬰ヘ短調
19:29→提示部第2主題 イ長調
20:46→展開部
21:19→再現部第1主題 嬰へ短調
21:38→再現部第2主題 嬰へ短調
22:00→コーダ 第5楽章へ・・・。
第5楽章 変奏曲形式 イ長調 嬰へ長調
22:04→第1変奏 フルオケ(あくまで当時の)
23:30→第2変奏 オーボエ ホルン1本抜け 弦5部からも数本抜け
24:35→第3変奏 管楽器全抜け 通奏低音も抜け コントラバスソロがいいですねえ。
25:08→第4変奏 嬰へ長調に転調 弦楽四重奏と同じ構成に 25:34→チェロ抜け
25:56→1,2ヴァイオリンとビオラの3本のみに。26:17→ビオラも抜け
26:45→コーダ
この曲A4=440Hzの現代な通奏低音入りの演奏は初聴きです。
A4=425Hzな古楽器演奏だと聴いたことありますが、どうしても
違和感ありますので。
素人の戯言ということで。
Known as the “gotta go” symphony if you ask me
🤣 you play TOO MUCH...
Vielen Dank fürs Hochladen!
This is probably the most well known of the Sturm Und Drang Haydn Symphonies.
One of: Haydn wrote about 19 symphonies during his ‘sturm und drang’ period (c.1765-1773), most of which are performed regularly around Europe, and sometimes elsewhere.
The ‘Farewell’ symphony is one of the single greatest symphonies of the 18th century (James Webster has written a 400 page book on it), and the pantomime of the exiting musicians unfortunately distracts listeners from what is an absolute musical tour-de-force of Beethovenian proportions.
Seeing the immediate influence on Mozart's 25th symphony that came the next year.
Mozart’s model for his g minor symphony K197 was Haydn’s g minor Symphony 39; as Mozart and Haydn didn’t actually meet for another ten years, the chances of Mozart knowing Haydn 45 on his 1773 trip to Vienna are very slim indeed, and anyway, the impetus came from Haydn 39, not Haydn 45.
This symphony is as exciting as Beethoven 5th
I like this music . Hydon!🤤🤯
I want to write symphonies like Haydn and the likes.
Haydn's minuets so often seem like orchestral versions of scherzos from Beethoven's piano sonatas
26:50 What does the "laus Deo" at the end mean?
0:06
1:00
1:17
2:30
3:06
3:42
4:29
02:12 Mozart's 25th symphony firsts notes ?????
No, it’s just a syncopated rhythm, a very common rhythm during this period.
0:05
22:05
The bassoon never plays until 23:58 and leaves 6 bars later.
The bassoon (fagotto)is playing col basso* throughout until the point you highlighted where Haydn writes out the part separately.
* col basso = with the bass.
11:54
0：06