@@Kijnn Oh definitely, still super impressed that he did the whole Mexican revolution while living and working in France. Hope he comes back to podcasting soon 😔
I love G Major pieces and this is one of the best in my opinion. Haydn conducted this symphony in 1791 when he received his honorary doctorate from Oxford, a degree which he attributes to opening the greatest houses to him and allowing him to gain the acquaintance of the first men in the land. It is the musical expression of his gratitude for the honor, kind and gentle.
The composer’s name is Haydn. The honorary D. Mus, from Oxford meant a lot to Dr Haydn, but it did not open any doors for him because they were already wide open. Haydn’s two visits to England in 1791/92, and 1794/95 - where he was feted to an unprecedented degree - led to him being completely exhausted by the demanding schedule of both composition, performances, and an endless round of visits - including well away from London. In terms of ‘…the first men of the land’, in England - unlike much of Europe - the monarchy, aristocracy and church were almost completely irrelevant in terms of music; with the exception of George III (who invited him to move permanently into Windsor Castle) and the Royal family whom he met several times, Haydn’s visits to English people and places were decidedly un-aristocratic and consisted of rather more interesting people such as the astronomer Herschel, the surgeon Hunter, and visits to places like Portsmouth to be shown over some ships of the Royal Navy - and thousands of French prisoners. The ‘Oxford’ symphony (1789) was not written for the ceremony in July 1791, it was one he had in his bag that had actually been written two years earlier; you’re right however that it is a wonderful work, one of his finest symphonies, and an appropriate choice for the occasion.
@@elaineblackhurst1509 of course his name was Haydn, that's even the title of this upload. The o was a cell phones autocorrect and something most people understand and overlook, but thanks, I fixed it. I said he conducted it in '91 not that it was written then, silly. I guess you missed that part, no matter, it's ok. But yes it did open a lot of doors for him. as he, himself said in correspondence with friends. Read a bit more and get a broader understanding than just one or two accounts. He himself said it opened doors for him, I didn't just make that up. Have a great day and keep listening and keep reading. God Bless.
@@BlackhatAudio "Read a bit more and get a broader understanding than just one or two accounts." I have read Elaine's musicological comments on many postings over the years and have found them to be both erudite and correct -- and, in contrast to your patronizing defensiveness, hardly in need of getting a "broader understanding."
Primer movimiento Introducción que precede a la forma sonata: Sol mayor, hasta comp. 29 (finaliza en un acorde de sexta aumentada, versión alemana). 1:33 Exposición: Tema 1, comp. 21-40. Transición (que modula a la dominante), comp. 41. Tema 2: dominante (Re mayor). Tema conclusivo: comps. 72 Desarrollo: desde comp. 83. Recapitulación: comp. 125. Transición: com. 145. Tema 2 (en la tónica): comps. 166. Tema conclusivo: comps. 191. Coda: desde 200. Nota: en este movimiento hay materiales -a, b, c, d, eque es necesario identificar dentro de la exposición para luego comprender su rol en el desarrollo y la recapitulación. En algunos casos, estos materiales pueden aparecer modificados (invertidos, por ejemplo), tratados en secuencia, o superpuestos (tema 2, por ejemplo, aparece acompañado por el material a del tema 1). a: comps. 21-24. b: 25-32. c: a33-40. d: 61-71. e: 72-82. Segundo movimiento Forma general: ABA'. Para cada una de esas partes seguir el fraseo, según el siguiente detalle (no es necesario usar apóstrofos, en ese caso sólo ten en cuenta que las las frases presentan variaciones): A: a (1-8), a (9-16), b (17-22), a' (23-28), b (29-34), a' (35-39). B: c (40-47), c (48-55), d (56-65), c (66). A' (es A pero abreviado): a (72), b (80), a' (86). Coda (o epílogo, en términos de Palisca y Burkholder): 96-fine. La sección B es un claro ejemplo de uso del modo menor para generar contraste. En este caso, los rasgos generales de esa sección concuerdan con el Sturm und Drang (dinámicas altas, modo menor [tonalidad paralela], tutti, etc.). Tercer movimiento Minué (con su correspondiente trio): Forma general A (minué) B (trio; otro minué) A (minué). Tanto minué como trío están en forma binaria circular. A la vez que su combinación en la macro forma ABA también es circular. Minué. Primera sección: a (con frases de 6 compases); segunda sección: b (comp. 3) y a (comp. 33). Trio. Primera sección: a (comp. 51); segunda sección: b (comp. 67), segunda sección: comp. 87. Cuarto movimiento Tema 1: Primero en cuerdas y luego se suma la flauta. Transición (a la dominante): comp. 32. Tema 2 (en la dominante): comp. 79. Tema conclusivo: comp. 98. Desarrollo. Hay secciones que claramente se basan en el tema 1 (desde el comienzo del desarrollo, comp. a114), el tema 2 (desde 178) y de nuevo el tema 1 (comp. a206) Recapitulación (no "reexposición"): desde a222, con tema 1. Transición (no modula): comp. 237. Tema 2: comp. 268 (en la tónica). Tema conclusivo: comp. 287. Coda: desde a297. Nota que, en este movimiento, tema 1 y tema 2 están muy relacionados, por ejemplo en su ritmo.
Thank you so much for this recording and your informative notes. Antal Dorati, one of the truly outstanding conductors, presents this work in the 18th century spirit of innovation and liveliness which it deserves.
Dorati è nello spirito Haydniano: eleganza,compostezza, entusiasmo contenuto, lasciar “ cantare” l’orchestra. L’asprezza di certi famosi direttori non si addice ad Haydn.
Played second horn on this in a semi-pro group in college. Fun part in the 4th movement. This was almost 20 years ago and all I remember was that in my fatigue at the end of the piece, I came in early and played during the quarter rest in the third to last bar of the piece. The conductor was a huge dick and gave me the dirtiest look ever...but the principal horn hated him so he laughed hysterically for about five minutes after the last downbeat. Good times.
It is so sad when lazy commentators choose to go public with such unmitigated rubbish without the slightest sense of embarrassment or shame; I suggest you remove this blatant disinformation. Haydn *did* go to Oxford to receive the rarely awarded* honorary Oxford D. Mus on 8 July 1791; he arrived late on 6 July so missed the first planned concert, but conducted his Symphony 92 (‘Oxford’) at the second on 7 July. The honour - one of many of different sorts that Haydn received from all over Europe - was something of which he was immensely proud. Haydn *did* go to England twice, each trip lasting about eighteen months from roughly January to August thus covering the 1791 and 1792 London seasons on the first trip, and the 1794 and 1795 seasons on the second trip. * Neither Handel, nor JC Bach or CF Abel for example ever received one.
If you have absolutely no idea about what you are speaking, it is better to stay off the keyboard thereby readers may only suspect you to be foolish rather than post absurdities like this and confirm the point. Haydn collected his honorary doctorate from Oxford in person on 8 July 1791.
עכשיו חבר טוב שלי הלך לשמוע את זה בקונצרט. לדעתי זה לא הוגן (המחיר) כי אין תפאורה או תאורה מעניינת כמו נניח במופע רוק, ופשוט יותר כיף לשמוע בבית או מחוצה לו באוזניות. גם בלי הכאב הזה של מחיאות הכפיים כל סיום קטע שלא לדבר על ההתעסקות בלמצוא חניה 😂.
Here from Mike Duncan’s "Revolutions" podcast, which uses the Adagio’s middle D minor theme as its opening music. What a great symphony!
11:43 POV you're about to hear a smart man mispronounce names.
@@palmershort lmao
@@palmershort And sometimes excusing for mispronounciation, but then proceeding to perfectly pronounce them.
@@Kijnn Oh definitely, still super impressed that he did the whole Mexican revolution while living and working in France. Hope he comes back to podcasting soon 😔
11:43
Yeah thats it...
For the revolution!
My man
I see you're a man of culture as well, viva la revolution!
ayyy revolutions podcast intro
I love G Major pieces and this is one of the best in my opinion.
Haydn conducted this symphony in 1791 when he received his honorary doctorate from Oxford, a degree which he attributes to opening the greatest houses to him and allowing him to gain the acquaintance of the first men in the land.
It is the musical expression of his gratitude for the honor, kind and gentle.
The composer’s name is Haydn.
The honorary D. Mus, from Oxford meant a lot to Dr Haydn, but it did not open any doors for him because they were already wide open.
Haydn’s two visits to England in 1791/92, and 1794/95 - where he was feted to an unprecedented degree - led to him being completely exhausted by the demanding schedule of both composition, performances, and an endless round of visits - including well away from London.
In terms of ‘…the first men of the land’, in England - unlike much of Europe - the monarchy, aristocracy and church were almost completely irrelevant in terms of music; with the exception of George III (who invited him to move permanently into Windsor Castle) and the Royal family whom he met several times, Haydn’s visits to English people and places were decidedly un-aristocratic and consisted of rather more interesting people such as the astronomer Herschel, the surgeon Hunter, and visits to places like Portsmouth to be shown over some ships of the Royal Navy - and thousands of French prisoners.
The ‘Oxford’ symphony (1789) was not written for the ceremony in July 1791, it was one he had in his bag that had actually been written two years earlier; you’re right however that it is a wonderful work, one of his finest symphonies, and an appropriate choice for the occasion.
@@elaineblackhurst1509 of course his name was Haydn, that's even the title of this upload. The o was a cell phones autocorrect and something most people understand and overlook, but thanks, I fixed it. I said he conducted it in '91 not that it was written then, silly. I guess you missed that part, no matter, it's ok. But yes it did open a lot of doors for him. as he, himself said in correspondence with friends. Read a bit more and get a broader understanding than just one or two accounts. He himself said it opened doors for him, I didn't just make that up.
Have a great day and keep listening and keep reading.
God Bless.
@@BlackhatAudio "Read a bit more and get a broader understanding than just one or two accounts." I have read Elaine's musicological comments on many postings over the years and have found them to be both erudite and correct -- and, in contrast to your patronizing defensiveness, hardly in need of getting a "broader understanding."
@@davidwahrheit6143 I have, thanks
Primer movimiento
Introducción que precede a la forma sonata: Sol mayor,
hasta comp. 29 (finaliza en un acorde de sexta
aumentada, versión alemana).
1:33 Exposición: Tema 1, comp. 21-40. Transición (que
modula a la dominante), comp. 41. Tema 2: dominante
(Re mayor). Tema conclusivo: comps. 72
Desarrollo: desde comp. 83.
Recapitulación: comp. 125. Transición: com. 145. Tema
2 (en la tónica): comps. 166. Tema conclusivo: comps.
191.
Coda: desde 200.
Nota: en este movimiento hay materiales -a, b, c, d,
eque es necesario identificar dentro de la exposición para
luego comprender su rol en el desarrollo y la
recapitulación.
En algunos casos, estos materiales pueden aparecer
modificados (invertidos, por ejemplo), tratados en
secuencia, o superpuestos (tema 2, por ejemplo, aparece
acompañado por el material a del tema 1).
a: comps. 21-24. b: 25-32. c: a33-40. d: 61-71. e: 72-82.
Segundo movimiento
Forma general: ABA'.
Para cada una de esas partes seguir el fraseo, según el
siguiente detalle (no es necesario usar apóstrofos, en
ese caso sólo ten en cuenta que las las frases presentan
variaciones):
A: a (1-8), a (9-16), b (17-22), a' (23-28), b (29-34), a'
(35-39).
B: c (40-47), c (48-55), d (56-65), c (66).
A' (es A pero abreviado): a (72), b (80), a' (86). Coda (o
epílogo, en términos de Palisca y Burkholder): 96-fine.
La sección B es un claro ejemplo de uso del modo menor
para generar contraste. En este caso, los rasgos
generales de esa sección concuerdan con el Sturm und
Drang (dinámicas altas, modo menor [tonalidad paralela],
tutti, etc.).
Tercer movimiento
Minué (con su correspondiente trio): Forma general A
(minué) B (trio; otro minué) A (minué).
Tanto minué
como trío están en forma binaria circular. A la vez que su
combinación en la macro forma ABA también es circular.
Minué. Primera sección: a (con frases de 6 compases);
segunda sección: b (comp. 3) y a (comp. 33).
Trio. Primera sección: a (comp. 51); segunda sección: b
(comp. 67), segunda sección: comp. 87.
Cuarto movimiento
Tema 1: Primero en cuerdas y luego se suma la flauta.
Transición (a la dominante): comp. 32. Tema 2 (en la
dominante): comp. 79. Tema conclusivo: comp. 98.
Desarrollo. Hay secciones que claramente se basan en el
tema 1 (desde el comienzo del desarrollo, comp. a114),
el tema 2 (desde 178) y de nuevo el tema 1 (comp. a206)
Recapitulación (no "reexposición"): desde a222, con
tema 1. Transición (no modula): comp. 237. Tema 2:
comp. 268 (en la tónica). Tema conclusivo: comp. 287.
Coda: desde a297.
Nota que, en este movimiento, tema 1 y tema 2 están
muy relacionados, por ejemplo en su ritmo.
The opening was so original for the time. Bravo, Haydn!
The opening melts my heart from its sweetness…
Thank you so much for this recording and your informative notes. Antal Dorati, one of the truly outstanding conductors, presents this work in the 18th century spirit of innovation and liveliness which it deserves.
Colors of Periods/Eras
Early:
Medieval: Tan
Renaissance: Brown
Common Practice:
Baroque: Red
Classical: Blue
Romantic: Pink
El genio, el musico, el hombre que logro lo supremo.
Shapes for the animated graphical score
Woodwinds:
Flute - ellipse
2 Oboes - inverted ellipse
2 Bassoons - inverted ellipse
Brass:
2 Horns - octagon
2 Trumpets - octagon
Percussion:
Timpani - rectangle
Strings - rhombus
Haydn é maravilhoso! Obrigado por postar
This is truly a masterpiece
Master master master master absolute wunderschön wunder wunder Wunder MASTERWORK!!
Cool!
Dorati è nello spirito Haydniano: eleganza,compostezza, entusiasmo contenuto, lasciar “ cantare” l’orchestra.
L’asprezza di certi famosi direttori non si addice ad Haydn.
Thank you also for providing the score which is very helpful.
Esta sinfonía, como las mujeres guapas de verdad, cada día que pasa está más bonita.
sublime.
Belíssima obra!
1:33
Wunderbar!
하이든 - 교향곡 [92번] [옥스포드]
1971년 7월 옥스퍼드 대학에서 이곡을 지휘
This symphony is nice
Thanks! Check out the other Haydn symphonies on my channel!
그렇네
@@mateuspereira9288 모차르트가 하이든 영향을 많이 받긴 했어요
well said
Traditionally, English schoolchildren are taught not to use the word ‘nice’ as an adjective.
1:32, spiritoso
Grubb cool grandpa 🏴❤️
Underappreciated compared to his other symphonies. A wonderful and original work somewhat unlike his others.
Not a viewpoint I’ve ever come across before; the ‘Oxford’ symphony is pretty much universally rated as one of Haydn’s finest symphonies.
1:33 allegro spiritoso
1악장의 첫 번째 주제: 1:34
11:43
Edit: if you know, you know.
Thank you. It was stuck in my head.
I know.
8:06 for music history
5:54
15:20
1789 año de la Revolución Francesa
20:51 por favor escuchad a Haydn
Played second horn on this in a semi-pro group in college. Fun part in the 4th movement. This was almost 20 years ago and all I remember was that in my fatigue at the end of the piece, I came in early and played during the quarter rest in the third to last bar of the piece. The conductor was a huge dick and gave me the dirtiest look ever...but the principal horn hated him so he laughed hysterically for about five minutes after the last downbeat. Good times.
Excelente
13:30 - you hear the birds singing here ❤
92 or 9?
92.
Congaudentes celebremus. Ludus haydnensis.
🎓✌🏽
1:28 10:16
21:08 25:50
When you look at the score you can think, Well it's easy to compose sth like this...well, try it , it is VERY difficult !
Haydn was offered honorary doctorate degree from Oxford, but declined because he did not bother to travel to England.
It is so sad when lazy commentators choose to go public with such unmitigated rubbish without the slightest sense of embarrassment or shame; I suggest you remove this blatant disinformation.
Haydn *did* go to Oxford to receive the rarely awarded* honorary Oxford D. Mus on 8 July 1791; he arrived late on 6 July so missed the first planned concert, but conducted his Symphony 92 (‘Oxford’) at the second on 7 July.
The honour - one of many of different sorts that Haydn received from all over Europe - was something of which he was immensely proud.
Haydn *did* go to England twice, each trip lasting about eighteen months from roughly January to August thus covering the 1791 and 1792 London seasons on the first trip, and the 1794 and 1795 seasons on the second trip.
* Neither Handel, nor JC Bach or CF Abel for example ever received one.
If you have absolutely no idea about what you are speaking, it is better to stay off the keyboard thereby readers may only suspect you to be foolish rather than post absurdities like this and confirm the point.
Haydn collected his honorary doctorate from Oxford in person on 8 July 1791.
Obrigado.
Bellissima ed entusiasmante!!!!!!
עכשיו חבר טוב שלי הלך לשמוע את זה בקונצרט. לדעתי זה לא הוגן (המחיר) כי אין תפאורה או תאורה מעניינת כמו נניח במופע רוק, ופשוט יותר כיף לשמוע בבית או מחוצה לו באוזניות. גם בלי הכאב הזה של מחיאות הכפיים כל סיום קטע שלא לדבר על ההתעסקות בלמצוא חניה 😂.
🦫❤️❤️
Haydn is classical music..
13:55
2:23
1:33
1:33
2:44
1:30
1:32
1:30
1:33