The triptych that are Symphonies 6-8 are symphonies with numerous solo opportunities built into the regular forms; a sinfonia concertante is an entirely different beast. That said, you’re quite right with the rest of your comment, these are very fine works, and as such have become the earliest regularly performed works in the entire symphonic repertoire.
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.
Memories as I listen: when I was singing in a music festival in Eisenstadt nearly 30 years ago, we rehearsed in Schloss Eszterhazy and performed in the former banqueting hall, now used for concerts. Tour guides used this recording (1st mvt) to show off the stunning acoustics of the room to visitors. Legend has it Haydn himself had a hand in tweaking them, though it may not be so. At any rate, it's named after him.
A really interesting comment, thank you. Regarding the superb acoustic, I suspect that Haydn did have something to do with the alterations which is I think, the current thinking; it is simply too good not to have had a serious musical input to the plans. The evidence I would offer for this is the almost unique sound of the opening of Symphony 13 of 1763 scored for flute, 2 oboes, bassoon, 4 horns and strings. The large massed, sustained wind chords would have resonated magnificently in the hall you describe, and were written I think, specifically to sonic test the acoustic. Indeed, the whole piece with its solo cello concerto slow movement, sturdy minuet with elaborate flute figures dancing pirouettes in the trio, and concluding fugue as a finale, is a wide ranging acoustic test from beginning to end - Symphony 13 is not a ‘normal’ symphony!
Quando estou trabalhando no consultório, só escuto as sinfonias de Haydn e quando estou operando, na sala cirúrgica, a minha instrumentadora põe as sinfonias de Haydn. Elas harmonizam o ambiente e as pessoas presentes. Ele é um dos maiores autores, ao lado de Bach, Beethoven e Mozart.
Mozart avait six ans lorsque Haydn, lui âgé de 30 ans, composa cette belle symphonie. La même année, en 1762, Gluck écrivit la version originale (en italien) de son Orphée: deux bonnes raisons de dater de cette année-là les débuts du "classicisme viennois".
Haydn wrote the three symphonies ‘Le Matin’, ‘Le Midi’, and ‘Le Soir’ in 1761; the composer was therefore 29 years old. The original Italian Orfeo was indeed written in 1762 for Vienna; the French revision - Orphee - for the Paris Opera, came much later in 1774. It’s impossible to give a precise starting date for the Classical period: Sammartini, Monn, Fils, Wagenseil, Richter, Holzbauer, Johann Stamitz, and others were composing music in the new style from the 1740’s, whilst Baroque composers like Telemann and Rameau were composing well into the 1760’s, and Handel died in 1759 ie two years *after* Haydn’s first symphony (Symphony 1).
" Il mattino" (1761) Molte considerazioni e ragioni di varia natura fanno ritenere che Haydn abbia composto questa sinfonia e le due seguenti subito dopo l'entrata in servizio presso il principe Esterhazy per dargli una dimostrazione delle proprie capacità e nello stesso tempo offrire all'orchestra di valenti musicisti, che indubbiamente si aspettavano molto da lui, l'occasione di brillare. Il numero degli esecutori è quasi raddoppiato , i fiati acquistano importanza e sovente sono impegnati come solisti, mentre il violino, il violoncello e il contrabbasso in alcuni movimenti si distaccano dal "ripieno", costituendo voci indipendenti. Sinfonie concertanti dunque, ma non nel senso di certami tra strumenti isolati e "tutti", in una contrapposizione ordinata di volumi e timbri, bensì nel significato pre-romantico di stilizzati paesaggi sonori dove l'arabesco del violino e il "tutto tondo" del fagottosono elementi, abilmente giustapposti e amalgamati di un insieme. LDC
Андрей Попов Шестая симфония Ре мажор Йозефа Гайдна и последующие 7-я и 8-я составляют трёхчастный программный цикл, как вы знаете. Простые люди любят программность, им так легче запоминать, а потому эти три симфонии относятся к числу популярных и часто исполняемых. Программа, в общем, простая и, в то же время, дающая пищу для фантазии. 6-я симфония носит подзаголовок «Утро» (Le Matin), соответственно, 7-я - «День» (Le Midi), а 8-я «Вечер» (Le Soir). Всте три написаны весной 1761 года. Эти симфонии также открывают новый период в жизни Гайдна. Его взяли на хорошую работу, на которой он прослужит весьма значительное время. Гайдн стал придворным капельмейстером князей Эстерхази. Эти три симфонии - первые опусы на новой службе. Первая часть Шестой начинается с медленного вступления. Это впервые в симфониях Гайдна, прежде он так не делал. Впрочем, у Гайдна всё время что-нибудь да впервые. Например, в Шестой симфонии он впервые вводит в состав флейту. Судя по всему, в оркестре князя был хороший флейтист. Новый инструмент пришёлся удивительно кстати! Флейта - тембр утренний, свежий, что так соответствует духу и программе симфонии. Кроме того, тут появляется, наконец, облигатный фагот, у которого довольно сложная и развитая сольная партия в третьей части. Вторая часть, по-моему, какая-то космическая, неземная музыка. Здесь Гайдн дал посолировать концертмейстеру первых скрипок. Заметно, что наш маэстро хотел угодить не только работодателю, но и своим коллегам, замечательным музыкантам княжеского оркестра. И сделал он это так ловко, так виртуозно, что ощущаешь полнейший восторг от партитуры. А какой тут замечательный финал! В общем, слушайте сами.
Charly Daniels Well spotted to both of you. As so often with Haydn in relation to Beethoven, he got there first; the solo horn playing the opening flute theme at the very end of the first movement development to usher in the recapitulation, was an idea Beethoven took up big time in the Eroica symphony.
Unfortunately, there is an incomplete videoadress for this beautyful music (download impossible). But thank you anyway for putting out these Symphonies.
The "surprise" is that I really enjoyed this. As Victor Borge used to say, "The Liszt is Haydn in the Bach". And Mozart sold his chickens because they kept saying, "Bach, Bach, Bach".
This is a painting of a planned addition (never completed) to the palace of Haydn's patrons the Eszterházys - painted in 1812 by Albert Christoph Dies, also a famous early biographer of Haydn. I think it's at the Liechtenstein Museum in Vienna.
Razor sharp strings, that's good. Interaction between horns and flutes are a little off, horns being louder then the flutes. I hear the difference when the horns hand off the melody to the flutes, there is a volume difference. Tempo good. My only issue is that there is absolutely no bottom end. What can you expect when there are just one viola, one cello and ond contra bass. Rediculous.
More like a sinfonia concertante. Very beautiful music. I bet the orchestra liked it, especially the woodwind. Lots of lovely solos.
The triptych that are Symphonies 6-8 are symphonies with numerous solo opportunities built into the regular forms; a sinfonia concertante is an entirely different beast.
That said, you’re quite right with the rest of your comment, these are very fine works, and as such have become the earliest regularly performed works in the entire symphonic repertoire.
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.
Because of this song and other Haynd is one of my favorite composers. Its music makes any activiyt enjoyable. Such an incredible mood changer!!
Definitely one of the best performances I have ever heard. Radiates the joviality and humour of the Master that you may confabulate... Perfect sounds.
Gorgeous second movement with solo violin and cello in parts
Memories as I listen: when I was singing in a music festival in Eisenstadt nearly 30 years ago, we rehearsed in Schloss Eszterhazy and performed in the former banqueting hall, now used for concerts. Tour guides used this recording (1st mvt) to show off the stunning acoustics of the room to visitors. Legend has it Haydn himself had a hand in tweaking them, though it may not be so. At any rate, it's named after him.
A really interesting comment, thank you.
Regarding the superb acoustic, I suspect that Haydn did have something to do with the alterations which is I think, the current thinking; it is simply too good not to have had a serious musical input to the plans.
The evidence I would offer for this is the almost unique sound of the opening of Symphony 13 of 1763 scored for flute, 2 oboes, bassoon, 4 horns and strings.
The large massed, sustained wind chords would have resonated magnificently in the hall you describe, and were written I think, specifically to sonic test the acoustic.
Indeed, the whole piece with its solo cello concerto slow movement, sturdy minuet with elaborate flute figures dancing pirouettes in the trio, and concluding fugue as a finale, is a wide ranging acoustic test from beginning to end - Symphony 13 is not a ‘normal’ symphony!
Quando estou trabalhando no consultório, só escuto as sinfonias de Haydn e quando estou operando, na sala cirúrgica, a minha instrumentadora põe as sinfonias de Haydn. Elas harmonizam o ambiente e as pessoas presentes. Ele é um dos maiores autores, ao lado de Bach, Beethoven e Mozart.
Mozart avait six ans lorsque Haydn, lui âgé de 30 ans, composa cette belle symphonie. La même année, en 1762, Gluck écrivit la version originale (en italien) de son Orphée: deux bonnes raisons de dater de cette année-là les débuts du "classicisme viennois".
Haydn wrote the three symphonies ‘Le Matin’, ‘Le Midi’, and ‘Le Soir’ in 1761; the composer was therefore 29 years old.
The original Italian Orfeo was indeed written in 1762 for Vienna; the French revision - Orphee - for the Paris Opera, came much later in 1774.
It’s impossible to give a precise starting date for the Classical period: Sammartini, Monn, Fils, Wagenseil, Richter, Holzbauer, Johann Stamitz, and others were composing music in the new style from the 1740’s, whilst Baroque composers like Telemann and Rameau were composing well into the 1760’s, and Handel died in 1759 ie two years *after* Haydn’s first symphony (Symphony 1).
Beautiful performance 🎉
" Il mattino" (1761) Molte considerazioni e ragioni di varia natura fanno ritenere che Haydn abbia composto questa sinfonia e le due seguenti subito dopo l'entrata in servizio presso il principe Esterhazy per dargli una dimostrazione delle proprie capacità e nello stesso tempo offrire all'orchestra di valenti musicisti, che indubbiamente si aspettavano molto da lui, l'occasione di brillare. Il numero degli esecutori è quasi raddoppiato , i fiati acquistano importanza e sovente sono impegnati come solisti, mentre il violino, il violoncello e il contrabbasso in alcuni movimenti si distaccano dal "ripieno", costituendo voci indipendenti. Sinfonie concertanti dunque, ma non nel senso di certami tra strumenti isolati e "tutti", in una contrapposizione ordinata di volumi e timbri, bensì nel significato pre-romantico di stilizzati paesaggi sonori dove l'arabesco del violino e il "tutto tondo" del fagottosono elementi, abilmente giustapposti e amalgamati di un insieme. LDC
Kto z 2020 roku? Ja muszę cierpieć w domu. Życzę zdrówkaaaa...
Андрей Попов
Шестая симфония Ре мажор Йозефа Гайдна и последующие 7-я и 8-я составляют трёхчастный программный цикл, как вы знаете. Простые люди любят программность, им так легче запоминать, а потому эти три симфонии относятся к числу популярных и часто исполняемых.
Программа, в общем, простая и, в то же время, дающая пищу для фантазии. 6-я симфония носит подзаголовок «Утро» (Le Matin), соответственно, 7-я - «День» (Le Midi), а 8-я «Вечер» (Le Soir). Всте три написаны весной 1761 года.
Эти симфонии также открывают новый период в жизни Гайдна. Его взяли на хорошую работу, на которой он прослужит весьма значительное время. Гайдн стал придворным капельмейстером князей Эстерхази. Эти три симфонии - первые опусы на новой службе.
Первая часть Шестой начинается с медленного вступления. Это впервые в симфониях Гайдна, прежде он так не делал. Впрочем, у Гайдна всё время что-нибудь да впервые. Например, в Шестой симфонии он впервые вводит в состав флейту. Судя по всему, в оркестре князя был хороший флейтист. Новый инструмент пришёлся удивительно кстати! Флейта - тембр утренний, свежий, что так соответствует духу и программе симфонии. Кроме того, тут появляется, наконец, облигатный фагот, у которого довольно сложная и развитая сольная партия в третьей части.
Вторая часть, по-моему, какая-то космическая, неземная музыка. Здесь Гайдн дал посолировать концертмейстеру первых скрипок. Заметно, что наш маэстро хотел угодить не только работодателю, но и своим коллегам, замечательным музыкантам княжеского оркестра. И сделал он это так ловко, так виртуозно, что ощущаешь полнейший восторг от партитуры.
А какой тут замечательный финал!
В общем, слушайте сами.
Спасибо ❤
Música divina!
Maestro del clasicismo.
3:26 Beethoven eroica horn entry right there
Gabriel Fromyhr I thought the same 🤓
Charly Daniels
Well spotted to both of you.
As so often with Haydn in relation to Beethoven, he got there first; the solo horn playing the opening flute theme at the very end of the first movement development to usher in the recapitulation, was an idea Beethoven took up big time in the Eroica symphony.
Beethoven sucks
Wonderful! Does anybody know the name of the painting in the background of the video? It's so nice!!
Albert Christoph Dies - Projektierte Gartenfassade des Schlosses Esterházy
@@Sir_Mikhail thank you
Unfortunately, there is an incomplete videoadress for this beautyful music (download impossible).
But thank you anyway for putting out these Symphonies.
Didier, download it on "Listen to TH-cam - it works ok.
Acabo de descargarlo sin problemas!
Ludwig really must have liked the first forty seconds.
The "surprise" is that I really enjoyed this. As Victor Borge used to say, "The Liszt is Haydn in the Bach". And Mozart sold his chickens because they kept saying, "Bach, Bach, Bach".
13:52 - 14:20
16:14 😍😱
I would like to know the details of the painting , also .
This is a painting of a planned addition (never completed) to the palace of Haydn's patrons the Eszterházys - painted in 1812 by Albert Christoph Dies, also a famous early biographer of Haydn. I think it's at the Liechtenstein Museum in Vienna.
I like 4:46
21:20
16:15
What is the low solo instrument in the Trio ??
It's a cello.
a double bass
bassoon accompanied by double bass
Bassoon accompanied by cello
I think a bass accompanied by a double cello.
kpex
Razor sharp strings, that's good. Interaction between horns and flutes are a little off, horns being louder then the flutes. I hear the difference when the horns hand off the melody to the flutes, there is a volume difference. Tempo good. My only issue is that there is absolutely no bottom end. What can you expect when there are just one viola, one cello and ond contra bass. Rediculous.