Depends on the size of the orchestra. The fortepiano works good with a small size of period instruments, with a large orchestra the modern piano is unbeatable.
I think this is an excellent performance. Colorful and perfectly fits Haydn”s style. The fact that a fortepiano has “less voice potential” compared to a piano is absolutely not evident here.
From Bartje's head notes: "I don't know why Brautigam didn't include Haydn's original (excellent) cadenzas." Nor do I understand why he didn't play continuo in the tuttis. There's some disagreement over whether Haydn used a continuo instrument in performances of his concerted music at Esterhaza, but this concerto was published and there are figured bass notations in the score, and the pianist playing continuo during tuttis was almost the universal norm in the 1780's. Ah, well: Brautigam is Brautigam! Thanks for this video, Bartje.
Some interesting comments to which I add the following thoughts. i) Original cadenzas where provided by the composer are certainly an option; it is their intended extempore improvisatory nature howeve that makes them just that - an option - rather than a pre-prepared compulsory part of the performance which is of course not the purpose of a cadenza. Composers own cadenzas are of course useful for lesser mortals for whom an extempore improvised cadenza during a performance would be a terror too far. ii) The continuo issue during the tutti sections I suggest would have varied in the late 18th century, including in Mozart, and even later, Beethoven; one of the main factors being the size of the string section in any given performance. If there were only a small number of strings, then I think the soloist would contribute, if a larger number, not. iii) I do not think there is much disagreement nowadays over whether or not a keyboard continuo was used by Haydn for his symphonies during his Eszterhaza period (1761-1790) - he did *not* use one. If interested, James Webster’s 2005 study is the most recent work on the topic and is the largely accepted last word: *On the Absence of Keyboard Continuo in Haydn’s Symphonies’. Webster goes through all the reasons why Haydn did not use a keyboard continuo in his symphonies, but the most obvious one is that he was the only keyboard player engaged by the Prince, and we know he played the violin in the symphonies. That said, a significant minority of conductors today do choose to use a keyboard continuo in the earlier symphonies, and in the 18th century, I think the smaller string section point noted above was also applicable to Haydn’s symphonies (and those of others) performed elsewhere around Europe with smaller bands.
Lebhafte und wunderschöne Interpretation dieses fein komponierten Konzerts mit klarem doch warmherzigem Klang des technisch fehlerlosen Solofortepianos sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt elegant. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intelligente und geniale Solist/Dirigent leitet das ausgezeichnete Kammerorchester in verschiedenen Tempi und mit künstlerisch kontrollierter Dynamik. Einfach wunderbar!
Lovely to hear the harpsichord chugging away under the orchestra during the tutti sections, adding its own little shimmer reminiscent of earlier decades! I find it an unusual performance choice to include a continuo harpsichord when a separate keyboard instrument (the fortepiano) is already serving as soloist. I can't think of a single recording in my CD collection that goes that route, though I've heard some renditions of this work with solo harpsichord of course. In any case, I'll always support a little extra harpsichord no matter the circumstances, especially later into the 18th century as it faded from relevance. Even if I'm looking into something like Mozart's violin concerti, I'll always pick the recording with a harpsichord in the orchestra, however faint its sound may be under the growing orchestras of the period.
I am not the channel owner, but I have made some for my own projects. The principle is simple, but the trouble is with precision. You just need to make image files for each system of the score and put them in a video editor along with the audio of the piece. Then all you have to do is make sure that each image is on screen for the right amount of time so it lines up with the music. This is oversimplified but maybe Bartje will have some better tips for you.
I have over 1,100 score-videos on my channel (think I am getting the hang of it).. and it is rather annoying there is zero tutorials to making score-videos on TH-cam, but I am not a great talker, so probably not the person for the job. Needless to say once you get the hang of it, there is no difficulty, just like driving a car or riding a bike.
Für meine musikalische Auffassung viel zu schnell. Dirigent und Solist rauschen im ICE-Tempo von 16 Minuten durch diese wundervolle Komposition, wobei einiges an Tiefe, va. im 2. Satz, leider völlig auf der Strecke bleibt.
Haydn is seen as the 'Nickelback' of composers in the classical music world. Never admit you enjoy him if you don't want to be insulted and ripped apart. Even the rock crowd has a bit of humor towards the noob who likes Nickelback. The classical music world is a lot more ruthless.
As ‘Nickelback’ appears to be an American-English term largely unknown outside that country, it follows that the unfortunate meaning of your comment is representative of the US as well; it’s certainly not a view held in Europe or elsewhere in the civilised world.
Get yourself TH-cam Premium and you won't see an ad ever again, plus you are watching for free. You have no grounds to complain. Without ads this video would be blocked world wide. Get the picture?
@@mhdfrb9971 Not really. Mozart's piano concertos don't owe anything to Haydn's, formally or stylistically. They honestly don't even sound that similar.
One of those misguided 'period performance' approaches that uses virtually no vibratos, so of course the orchestra sounds thin and a bit harsh. The fortepiano, tho', is wonderfully played...
![Wolfgang Amadeus Mozart - Piano Sonata No. 7 in C, K. 309 [Complete] (Piano Solo)](http://i.ytimg.com/vi/7QgT4_e8PTg/mqdefault.jpg)
![Wolfgang Amadeus Mozart - Piano Sonata No. 7 in C, K. 309 [Complete] (Piano Solo)](/img/tr.png)
I remember this piece! One of its performances being interrupted by Nokia ring tune went viral 😄
u mean this th-cam.com/video/TAaU8yPXA1A/w-d-xo.html
Interesting - the fortepiano definitely blends in with the orchestra better than the modern piano.
E grazie al cazzo.
Depends on the size of the orchestra. The fortepiano works good with a small size of period instruments, with a large orchestra the modern piano is unbeatable.
@@LucaFialdini o calmati
@Pablo Varela This is not written for modern piano nor large orchestras. This performance is how it is supposed to be.
@@bartjebartmans Where was played? On a venue for 2000 people or in a small palace room?.
I think this is an excellent performance. Colorful and perfectly fits Haydn”s style. The fact that a fortepiano has “less voice potential” compared to a piano is absolutely not evident here.
The best classical content provider on youtube. Music, background and scores, outstanding. ty
Thank you very much!
You know what I’m gonna learn this it sounds fun
One of my favorite Haydn pieces
From Bartje's head notes: "I don't know why Brautigam didn't include Haydn's original (excellent) cadenzas." Nor do I understand why he didn't play continuo in the tuttis. There's some disagreement over whether Haydn used a continuo instrument in performances of his concerted music at Esterhaza, but this concerto was published and there are figured bass notations in the score, and the pianist playing continuo during tuttis was almost the universal norm in the 1780's. Ah, well: Brautigam is Brautigam!
Thanks for this video, Bartje.
Grazie per aver messo in risalto con questo approfondimento le caratteristiche della partitura!
Some interesting comments to which I add the following thoughts.
i) Original cadenzas where provided by the composer are certainly an option; it is their intended extempore improvisatory nature howeve that makes them just that - an option - rather than a pre-prepared compulsory part of the performance which is of course not the purpose of a cadenza.
Composers own cadenzas are of course useful for lesser mortals for whom an extempore improvised cadenza during a performance would be a terror too far.
ii) The continuo issue during the tutti sections I suggest would have varied in the late 18th century, including in Mozart, and even later, Beethoven; one of the main factors being the size of the string section in any given performance.
If there were only a small number of strings, then I think the soloist would contribute, if a larger number, not.
iii) I do not think there is much disagreement nowadays over whether or not a keyboard continuo was used by Haydn for his symphonies during his Eszterhaza period (1761-1790) - he did *not* use one.
If interested, James Webster’s 2005 study is the most recent work on the topic and is the largely accepted last word:
*On the Absence of Keyboard Continuo in Haydn’s Symphonies’.
Webster goes through all the reasons why Haydn did not use a keyboard continuo in his symphonies, but the most obvious one is that he was the only keyboard player engaged by the Prince, and we know he played the violin in the symphonies.
That said, a significant minority of conductors today do choose to use a keyboard continuo in the earlier symphonies, and in the 18th century, I think the smaller string section point noted above was also applicable to Haydn’s symphonies (and those of others) performed elsewhere around Europe with smaller bands.
Lebhafte und wunderschöne Interpretation dieses fein komponierten Konzerts mit klarem doch warmherzigem Klang des technisch fehlerlosen Solofortepianos sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Der zweite Satz klingt besonders schön und echt elegant. Im Kontrast klingt der dritte Satz echt lebhaft und auch begeisternd. Der intelligente und geniale Solist/Dirigent leitet das ausgezeichnete Kammerorchester in verschiedenen Tempi und mit künstlerisch kontrollierter Dynamik. Einfach wunderbar!
Lovely to hear the harpsichord chugging away under the orchestra during the tutti sections, adding its own little shimmer reminiscent of earlier decades! I find it an unusual performance choice to include a continuo harpsichord when a separate keyboard instrument (the fortepiano) is already serving as soloist. I can't think of a single recording in my CD collection that goes that route, though I've heard some renditions of this work with solo harpsichord of course.
In any case, I'll always support a little extra harpsichord no matter the circumstances, especially later into the 18th century as it faded from relevance. Even if I'm looking into something like Mozart's violin concerti, I'll always pick the recording with a harpsichord in the orchestra, however faint its sound may be under the growing orchestras of the period.
I thought I heard a harpsichord
Part three! So refreshingly innovative! Awesome concerto.
Brilliant and charming!!
8:04 the way he plays repeated 16th notes it so amazing, like the second note is the echo of the first one, so nice!
I underknow Haydn, he has composed so much.
Ah memories. I worked on this as a teen!
Wowww those are some ferocious horns I love them so much!!!!
hidden masterpiece✨
Love the score!
Che meraviglia!
13:04 amazing
Hab es in der Fassung für Cembalo und in der Fassung für Klavier auf CD.
Das sind nicht verschiedene Fassungen, sondern es ist nur auf anderen Instrumenten gespielt.
Original cadenza's or not, I still like Brautigam's playing, (in general as well). And a nice piece btw.
3:27 *nokia ringtone starts playing*
Tks! I’m viola and it’s really hard to find the score!
IMSLP
Carino.
Joseph Bologna teve grande influência de Haydn, quase os confundo se escutar algo sem saber o nome.
Don’t answer.. keep it ringing.
glad there were no Nokias to ruin this!
true
Demasiado veloz! 😮 En esa epoca la musica era mas lenta...😮
Is the first theme also used in some other piece? It sounds extremely familiar to me and I don’t recall ever listening to this (might have though)
Maybe you know it from that famous video where a performance of this gets interrupted by a phone? (th-cam.com/video/TAaU8yPXA1A/w-d-xo.html)
Nokia
Typically Haydn. Straightforward piece. Qualitative depth is lacking.
@@gabrielhenschen9665 LOL that might be it
Perhaps Mozart’s divertimento?
You probably get this question alot, but how do you make these videos? I would like to know as I want to make some myself
I am not the channel owner, but I have made some for my own projects. The principle is simple, but the trouble is with precision. You just need to make image files for each system of the score and put them in a video editor along with the audio of the piece. Then all you have to do is make sure that each image is on screen for the right amount of time so it lines up with the music. This is oversimplified but maybe Bartje will have some better tips for you.
@@jayforsythe410 Cool, it sounds like it would take a while but I will try it anyway
I have over 1,100 score-videos on my channel (think I am getting the hang of it).. and it is rather annoying there is zero tutorials to making score-videos on TH-cam, but I am not a great talker, so probably not the person for the job. Needless to say once you get the hang of it, there is no difficulty, just like driving a car or riding a bike.
Who composed the cadenzas used in this performance?
I think Mozart did
@@loganfruchtman953: I'm quite certain that Mozart didn't write those cadenzas.
The horns are telluric 😆
Baby Einstein: Numbers Nursery be like:
2:55
14:10
Für meine musikalische Auffassung viel zu schnell. Dirigent und Solist rauschen im ICE-Tempo von 16 Minuten durch diese wundervolle Komposition, wobei einiges an Tiefe, va. im 2. Satz, leider völlig auf der Strecke bleibt.
4
Haydn is seen as the 'Nickelback' of composers in the classical music world. Never admit you enjoy him if you don't want to be insulted and ripped apart. Even the rock crowd has a bit of humor towards the noob who likes Nickelback. The classical music world is a lot more ruthless.
As ‘Nickelback’ appears to be an American-English term largely unknown outside that country, it follows that the unfortunate meaning of your comment is representative of the US as well; it’s certainly not a view held in Europe or elsewhere in the civilised world.
I'm afraid you are right.@@elaineblackhurst1509
Ads every 2 minutes, completely unwatchable. Skip.
Get yourself TH-cam Premium and you won't see an ad ever again, plus you are watching for free. You have no grounds to complain. Without ads this video would be blocked world wide. Get the picture?
Reminds me of Mozart 23 for some reason 🤔
Mozart copy Haydn
@@mhdfrb9971 Not really. Mozart's piano concertos don't owe anything to Haydn's, formally or stylistically. They honestly don't even sound that similar.
One of those misguided 'period performance' approaches that uses virtually no vibratos, so of course the orchestra sounds thin and a bit harsh. The fortepiano, tho', is wonderfully played...
3:26 this reminds me of this viedo: th-cam.com/video/TAaU8yPXA1A/w-d-xo.html
3:26