During a 60+ year exploration of the Haydn symphonies, this work and others from the late 1770s/early 1780s were the last ones with which I came properly to grips - a situation that may have reflected H. C. Robbins Landon's rather cool assessment (in his 1955 book on the Haydn symphonies) of the works that fall chronologically between what used to be called the 'Sturm und Drang' symphonies (from the late 1760s and early 1770s) and the 'Paris' symphonies (from 1785/6). An effective refutation of Landon's undervaluing was provided by James Webster in a chapter published in 'Haydn Studies', edited by W. Dean Sutcliffe (Cambridge University Press, 1998), and is now solidly affirmed by the superb performance of this masterpiece, which prompted the present comments. Among points of especial interest in this symphony, one can cite the unusually delayed false recapitulation in the first movement, the plunge into a remote key at the start of the development section of the finale (D flat major), and unconventional harmonies, especially in the two outer movements.
Bravo Maestro Suzuki, bravi tutti! (Also the sound engineer. And the venue was nice and simple and pleasing...) I find it fascinating how classical orchestral playing has evolved over my lifetime. I played viola in Szymon Goldberg's Netherlands Chamber Orchestra in the 1970s. Orchestral musicians were much more stiff and formal then. I enjoyed this performance very very much, thank you!
As a footnote to my earlier comment, to conclude that the false recapitulation in the first movement is "unusually delayed" would have required a statistical survey of Haydn symphony first movements, to document the relative proportions of the development sections elapsing before the start of a false recapitulation (for those movements with this feature). Not having done this, all that can be stated is that there is a false recapitulation here, without making claims about whether or not it is 'delayed'.
During a 60+ year exploration of the Haydn symphonies, this work and others from the late 1770s/early 1780s were the last ones with which I came properly to grips - a situation that may have reflected H. C. Robbins Landon's rather cool assessment (in his 1955 book on the Haydn symphonies) of the works that fall chronologically between what used to be called the 'Sturm und Drang' symphonies (from the late 1760s and early 1770s) and the 'Paris' symphonies (from 1785/6). An effective refutation of Landon's undervaluing was provided by James Webster in a chapter published in 'Haydn Studies', edited by W. Dean Sutcliffe (Cambridge University Press, 1998), and is now solidly affirmed by the superb performance of this masterpiece, which prompted the present comments. Among points of especial interest in this symphony, one can cite the unusually delayed false recapitulation in the first movement, the plunge into a remote key at the start of the development section of the finale (D flat major), and unconventional harmonies, especially in the two outer movements.
Was für ein allerliebster Variationensatz ist der zweite Satz! ❤❤❤❤❤
Bravo Maestro Suzuki, bravi tutti! (Also the sound engineer. And the venue was nice and simple and pleasing...) I find it fascinating how classical orchestral playing has evolved over my lifetime. I played viola in Szymon Goldberg's Netherlands Chamber Orchestra in the 1970s. Orchestral musicians were much more stiff and formal then. I enjoyed this performance very very much, thank you!
Chapeau!!! Deutsche antiphonische Orchesteraufstellung, bei der die zweiten Violinen rechts vom Dirigenten sitzen. ❤❤❤
A very well disciplined orchestra serving Haydn
excellently. Bravo!
Der letzte Satz ist auch besonders. Einige Male klingt es nach Ende, aber dann geht es doch weiter. Haydn ist immer für eine Überraschung gut.
As a footnote to my earlier comment, to conclude that the false recapitulation in the first movement is "unusually delayed" would have required a statistical survey of Haydn symphony first movements, to document the relative proportions of the development sections elapsing before the start of a false recapitulation (for those movements with this feature). Not having done this, all that can be stated is that there is a false recapitulation here, without making claims about whether or not it is 'delayed'.
Very nice performance! Well recorded. Thank you for posting. (Late) Middle period Haydn, 1780. Good stuff.
Spectacular performance!
THIS IS REALLY NICE. BRAVO. BRAVO
Even today this is pushing harmonic boundaries.
Классно! Почувствовал эпоху Гайдна'Браво!
... nel gran numero di sinfonie di Haydn, questa, ahimé, è un po' trascurata: eppure ascoltandola ... è eccellente. Ottima quest'esecuzione. Bravi!
That can apply to every Haydn symphony..I have said that myself numerous times. What a remarkable genius!
Really an excellent performance!
Schade, dass die Kamera nicht auch auf die Bläsersolisten ausgerichtet ist. Man sieht hauptsächlich die Totale und ein paar Streicher näher.