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.
Mozart hat offensichtlich die Partitur dieser Symphonie angehört und studiert und den letzten Satz davon, den er wahrscheinlich interessanter fand, kopiert und in den entsprechenden letzten Satz seiner 41. Symphonie verwandelt! Er hat Haydns Ideen nicht nur ausgeliehen, sondern nachgeahmt, kopiert und nach seiner gewohnten und etablierten Taktik versöhnt !!! Hahaha !. Ich liebe den großartigen Haydn!
It’s almost certain Mozart did not know Haydn’s Symphony 13; check out my replies to Chrystel Marchand or Andrew Pfeiffer elsewhere in this thread to see why. In short, *do-re-fa-mi* (or slight variant) was an 18th century commonplace idea used several times by both Mozart and Haydn (and others).
Chrystel Marchand I don't know what language you're speaking, but I came to the comments to remark how the Allegro Molto of this symphony definitely had to influence Mozart in the Jupiter symphony. Pretty sure you said the same thing, lol.
@Thomas Boushier Boi. Listen to Michael Haydn's Symphony No. 28 in C major last movement and tell me you cannot hear both the first and last movement of Mozart's 41.
(1763) Se la sinfonia precedente poteva sembrare una battuta d'arresto, una riedizione, modificata e stilizzata, delle migliori opere dell'esordio, la sinfonia n.13 si impone per la forza d'urto di una pagina proiettata verso il futuro. Il linguaggio denuncia i vistosi progressi realizzati nel campo strumentale durante la composizione del ciclo del Giorno. I corni vengono portati a quattro, ricompare in cima ai fiati il flauto, il clavicembalo tende a staccarsi dalla funzione obbligata di basso continuo per acquistare una certa autonomia come una dell voci superiori, inoltre, sull'autografo, segnata da una mano sconosciuta, figura anche la parte dei timpani. Non è escluso che questa aggiunta sia stata approvata da Haydn , per cui la sua adozione può essere difesa con argomenti validi. LDC
Andrew Pfeiffer Cantus firmus *do-re-fa-mi* (or slight variant): Mozart Symphony 1 (1764!) Andante, Symphony 33 first movement, Symphony 41 finale, Mass K192. Haydn Symphony 3 Finale, Symphony 11 second movement, Symphony 13 Finale, Symphony 25 third movement. Et cetera. An eighteenth century musical commonplace, and almost certainly based on something much earlier.
@@MrFiddler66 I am interested in seeing this "historical evidence" if I may, inspired is no the same as copied, everyone was inspired by one another back then.
@@simonmomalee8303 Dear Simon, there is this book wrote by 2 musicologists unfortunately don't know if exist a english translation. There you can find a lot of historical evidence. books.google.it/books/about/Mozart_La_caduta_degli_dei.html?id=z57SjwEACAAJ&source=kp_cover&redir_esc=y
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.
Amazing cello solo throughout the second movement, and flute or piccolo in the menuetto that follows!
2nd movement (quiet violin)
4:55 begins
4th movement
18:22 begins
Amazing symphony, especially the second movement!
First movement really grabs your attention, though...
Hello sa mga kaklase kodyan!!!!! gudlak labyo ol!!
Mozart hat offensichtlich die Partitur dieser Symphonie angehört und studiert und den letzten Satz davon, den er wahrscheinlich interessanter fand, kopiert und in den entsprechenden letzten Satz seiner 41. Symphonie verwandelt! Er hat Haydns Ideen nicht nur ausgeliehen, sondern nachgeahmt, kopiert und nach seiner gewohnten und etablierten Taktik versöhnt !!! Hahaha !. Ich liebe den großartigen Haydn!
It’s almost certain Mozart did not know Haydn’s Symphony 13; check out my replies to Chrystel Marchand or Andrew Pfeiffer elsewhere in this thread to see why.
In short, *do-re-fa-mi* (or slight variant) was an 18th century commonplace idea used several times by both Mozart and Haydn (and others).
Listen to the baseline at 18:20. I believe Mozart "borrowed" that in his 41st as well.
Edit: :50 on th-cam.com/video/SiX3z_fOR5k/w-d-xo.html
I noticed the same thing while listening - hey that's the fugue from the last movement of M's Jupiter!
@@sarajotoku1461It's a plainchant that both those good Catholic boys used a lot
Même cantus firmus dans le finale de la symphonie 13, que la symphonie Jupiter de Mozart!
Chrystel Marchand I don't know what language you're speaking, but I came to the comments to remark how the Allegro Molto of this symphony definitely had to influence Mozart in the Jupiter symphony. Pretty sure you said the same thing, lol.
Chrystel Marchand
Cantus firmus *do-re-fa-mi* (or slight variant).
Mozart
Symphony 1 (1764!) Andante,
Symphony 33 first/premier movement,
Symphony 41 Finale,
Mass K192.
Haydn
Symphony 3 Finale,
Symphony 11 second/deuxieme movement,
Symphony 13 Finale,
Symphony 25 third/troisieme movement.
Et cetera.
doctordank You might be interested in my comment above.
@Thomas Boushier Boi. Listen to Michael Haydn's Symphony No. 28 in C major last movement and tell me you cannot hear both the first and last movement of Mozart's 41.
(1763) Se la sinfonia precedente poteva sembrare una battuta d'arresto, una riedizione, modificata e stilizzata, delle migliori opere dell'esordio, la sinfonia n.13 si impone per la forza d'urto di una pagina proiettata verso il futuro. Il linguaggio denuncia i vistosi progressi realizzati nel campo strumentale durante la composizione del ciclo del Giorno. I corni vengono portati a quattro, ricompare in cima ai fiati il flauto, il clavicembalo tende a staccarsi dalla funzione obbligata di basso continuo per acquistare una certa autonomia come una dell voci superiori, inoltre, sull'autografo, segnata da una mano sconosciuta, figura anche la parte dei timpani. Non è escluso che questa aggiunta sia stata approvata da Haydn , per cui la sua adozione può essere difesa con argomenti validi. LDC
ハイドンの交響曲は数が多すぎて聴き切れていませんが（弦楽四重奏曲も同様）、大変魅力ある曲に出会う度に「大した作曲家」だと認識を新たにします。またやはり古楽器演奏がベストですね。
ハイドン氏の交響曲は最初から最後まで全部聴きました。そうするのに3か月かかりましたが、私はすべてを楽しんでいて、今ではもう一度やり直しています.
Mozart Jupiter theme in the finale
Andrew Pfeiffer
Cantus firmus *do-re-fa-mi* (or slight variant):
Mozart
Symphony 1 (1764!) Andante,
Symphony 33 first movement,
Symphony 41 finale,
Mass K192.
Haydn
Symphony 3 Finale,
Symphony 11 second movement,
Symphony 13 Finale,
Symphony 25 third movement.
Et cetera.
An eighteenth century musical commonplace, and almost certainly based on something much earlier.
GRANDE Maestro Hogwood... Cosa ne dice della sinfonia 41 di Mozart?
18:20 where have I heard that before?!?! Interesting!!!
Yes the finale of Mozart Symphony No. 41
Mozart was a scammer, stolen, copied or falsified much of his music
. Historical evidence exists. I'm sorry for all those who believe him a genius
@@MrFiddler66 I am interested in seeing this "historical evidence" if I may, inspired is no the same as copied, everyone was inspired by one another back then.
@@simonmomalee8303 Dear Simon, there is this book wrote by 2 musicologists unfortunately don't know if exist a english translation. There you can find a lot of historical evidence.
books.google.it/books/about/Mozart_La_caduta_degli_dei.html?id=z57SjwEACAAJ&source=kp_cover&redir_esc=y
@@MrFiddler66 thanks.
i'm curious to delve into that.
21:40