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
@@alessandromarchesini9039 Ipse dixit indeed 👏 You are absolutely correct; a father by definition must be involved at the conception, and Haydn had absolutely nothing to do with that of the symphony.* The best example to counter the absurd paternity allegation is that of Johann Stamitz who died in 1757 having written about 60 modern Classical symphonies; Haydn’s *first* symphony appeared in the same year. Additionally, it is unfair to those true pioneers of the early symphony such as Sammartini, Brioschi, Holzbauer, Fils, Richter, Wagenseil, Monn, et al, besides Stamitz, all of whom are in effect erased from the history of the early symphony in order to accommodate the mindless misinformation of Haydn being the father of the form. No one single person is the father; no such person exists - the symphony emerged from the Italian sinfonia avanti l’opera in the hands of different composers, in different places, in different countries, at different times, from about 1740 (possibly even earlier if you include works for example such as Locatelli’s Introduttioni teatrale (sic) Opus 4 of 1735, and a number of Handel’s sinfonie from some of his theatrical works). * The role of Haydn however in the *development* of the symphony was more important than that of any other single composer in the 18th century.
....absolute masterpiece of music. To underestimate Haydn is a mistake people sometimes make if not listening to their heart and soul. The world of Joseph Hadyn is a universe of deep and sincere emotions formed by extraordinary mastership. A genius comes directly from heaven, is loved by the world and returns afterwards. Haydn is back there. RDS
Some of the 'great' Haydn scholars like H.C. Robbins-Landon have been dismissive of this synphony and its neighbours. They tell us that these works come from Haydn's bad period. I always knew this was nonsense. But, now people like Harnoncourt are showing us that this just another day at the office for Haydn. 'Just' another masterpiece. I detect that more and more musicians are standing up to be counted and pointing out the masters genius. BTW Haydn never had a bad period.
🏆🥇 I have just spent an hour trying to find the episode of C&L un which the Hunt Sym. was featured. Entries on IMDB leave something to be desired. And here, you provide the very thing I wanted to know.
That very episode (I’m watching it now - August 14 2022) just mentioned this composition and that’s what sent me here. Wonderful show, wonderful moment.
The symphonies written by Joseph Haydn most often have a picturesque touch, which makes them quite different from Mozart's or Beethoven's (except perhaps his 6th). But here, all the symphony has more or less such a tone, culminating with the hunt echoes of the finale.Note that the introduction is unusually long for Haydn.
The last movement is taken from an opera overtunre by Haydn. Why would he do this? Was he under such pressure? As I say above HC R-L is distainful about it. As with most things involving Haydn at Esterhazy, I suggest the reason is Prince Nicholas. he probably said his guests liked the overture and wanted to hear it again so Haydn re-worked it into this symphony.
@@bobshifimods7302 Don’t read too much into it; re-cycling works (or part of them, or just ideas) was a common 18th century practice, perhaps best exemplified by Handel where previously known movements reappear in a new context with startling and sometimes shocking regularity - and often not even his own music (the list of borrowings in Handel is a long one, usually from Italy). Such things are rare in Haydn, but if a successful movement was buried in a work unlikely to see the light of day outside the Eszterhaza court, then Haydn would reuse it as here where the overture to La fedeltà premiata becomes the Finale to Symphony 73; the quiet ending gives away the music’s operatic origins as it led originally straight into the opening number Bella Dea, che in ciel risplendi… The best known other such example from Haydn is a contrafactum - the Latin sacred motet Insanae et vanae curae. Originally the chorus Svanisce in un momento - an additional chorus Haydn added for the 1783 revival of his 1775 Italian oratorio Il ritorno di Tobia - the composer re-worked it in 1797/98 as a usable church motet. Haydn was right so to do; the oratorio is almost never heard to day (it was already old-fashioned when another revival flopped in Vienna in 1808), but the motet is very successful, and is used widely both in a sacred or liturgical context, and in the concert hall.
I once read somewhere Haydn intended to imply the fox gets away at the end, but more recently I hear that the finally fades away for a curtain opening as it was originally an opera overture. I still like to think the fox gets away..
I'm not sure Haydn even wrote this with a hunt in mind. It's just that people thought the first movement reminded them of a chase. Hence I suspect that anecdote is apocryphal.
@@bobshifimods7302 The overture to La fedeltà premiata which Haydn re-used as the finale to Symphony 73 (‘The Hunt’, ‘La chasse’, ‘La caccia’ et cetera) *was* directly linked to the hunt through the involvement of Diana - Roman goddess of the hunt - who plays a part in the opera, so with the 6/8 horn dominated fanfares which everyone at the time associated with hunting, Haydn knew exactly what he was doing. There is a hunt scene in Act II in honour of Diana (and other references to her throughout) so the music of the overture foreshadowing this is an clever and innovative move by Haydn. The overture is very effective; Haydn simply re-cycled it because it was to good to lose. The opera made it to Vienna*, and occasionally elsewhere, and therefore had a relatively limited audience, but as part of the symphony, it was published and performed all over Europe. * Mozart heard La fedeltà premiata in a German translation at the Karntnertortheater in Vienna in 1784; Haydn rarely gets any recognition regarding his innovations in opera, but Mozart would have been astonished at the highly complex Act I and Act II finales which were way in advance of those in any contemporary operas.
Tôi thích nhạc giao hưởng này vì nhạc này nó giúp cho thư giãn tâm hồn thư thả lãng mạn để quên đi lỗi buồn của cuộc sống và giúp tôi đánh đàn hay và đánh đúng tiết tấu cao độ nốt.
The fourth movement of this symphony is so awesome that it inspired a Super Sentai/Power Rangers monster! Giganoid #5 in Abaranger (Angor in Dino Thunder) is named The Hunt.
Explore Haydn's opera overtures, they're quite picturesque as well. I found an uncanny similarity (or should I say it was identical) between the final movement (presto) of La Chasse and his La Fedelta Premiata: Sinfonia, Hob.Ia.11.
M. S. No mystery at all; Haydn simply re-used the opera’s very popular and successful overture as the finale to the symphony in order to ensure it had a much wider circulation than it would otherwise have had simply as the overture to La fedeltà premiata. In short, the opera was performed only rarely outside Eszterhaza,* whereas the symphony was published and played all over Europe. The origins as an operatic overture are given away by the quiet ending which originally led straight into the opera’s opening number. The opera overture with its hunting horns inspired music was also directly linked to the opera action - Diana, goddess of hunting - so the symphony being known as ‘The Hunt’/‘La chasse’/‘La caccia’ is also appropriate. Both the overture and the whole symphony are very fine works, as indeed is the opera which contains some very fine music, including two spectacular and very advanced end-of-act finales which Mozart would have noted carefully. * Mozart probably heard it when it was put on in Vienna in 1784, quite a rarity for a Haydn opera.
@@elaineblackhurst1509 Thanks for sharing. I've just been doing a deeper discovery of Haydn over the past few weeks, and I continue to be impressed by the music and history!
How many ads did you intend on interrupting Haydn's beautiful music with? Does Haydn know? I think someone should tell him that someone is making a packet off his music.
Warner Classics International has the copyright, so they're making money off the ads. For the first couple years after I posted this, iirc, it was ad-free. I stopped posting entirely to avoid having my account deleted, so this is the second-best option.
George Spelvin The very early string quartet Opus 1 No 1 is sometimes known as ‘La Chasse’ (‘The Hunt’/ ‘La caccia’), due to the 6/8 pulse of the ‘hunting’ opening movement. No other symphony shares this nickname, it belongs to Symphony 73 alone, and the name likewise originates from the 6/8 rhythm of the finale, though obviously in this case, with the horns making the hunting calls. This movement was in fact originally the overture to Haydn’s opera ‘La fedeltà premiata’ where the hunting theme was directly related to the goddess Diana - there was a clear link with the overture foreshadowing the later action. As the overture was a spectacular success, Haydn astutely recycled the movement to ensure a wider circulation and it was simply re-used, unchanged as the symphony’s finale; its operatic origins explaining the pianissimo ending which originally led straight into the opera’s opening number. It should be mentioned that other composers wrote La chasse-type symphonies with characteristic hunting horn fanfares and symbolism, so Haydn was not alone in this; the symphony in F major known also as ‘La chasse’ of 1773 by the Mannheim composer Carl Stamitz (Kai 34) is another good example of the type.
![[TH] 2024 PMGC League | Survival Stage วันที่ 1 | PUBG MOBILE Global Championship](http://i.ytimg.com/vi/FVFT-PFwU80/mqdefault.jpg)
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
"Haydn is the father of the symphony". Are you sure? Ipse dixit! 😂😂😂
@@alessandromarchesini9039
Ipse dixit indeed 👏
You are absolutely correct; a father by definition must be involved at the conception, and Haydn had absolutely nothing to do with that of the symphony.*
The best example to counter the absurd paternity allegation is that of Johann Stamitz who died in 1757 having written about 60 modern Classical symphonies; Haydn’s *first* symphony appeared in the same year.
Additionally, it is unfair to those true pioneers of the early symphony such as Sammartini, Brioschi, Holzbauer, Fils, Richter, Wagenseil, Monn, et al, besides Stamitz, all of whom are in effect erased from the history of the early symphony in order to accommodate the mindless misinformation of Haydn being the father of the form.
No one single person is the father; no such person exists - the symphony emerged from the Italian sinfonia avanti l’opera in the hands of different composers, in different places, in different countries, at different times, from about 1740 (possibly even earlier if you include works for example such as Locatelli’s Introduttioni teatrale (sic) Opus 4 of 1735, and a number of Handel’s sinfonie from some of his theatrical works).
* The role of Haydn however in the *development* of the symphony was more important than that of any other single composer in the 18th century.
....absolute masterpiece of music. To underestimate Haydn is a mistake people sometimes make if not listening to their heart and soul. The world of Joseph Hadyn is a universe of deep and sincere emotions formed by extraordinary mastership. A genius comes directly from heaven, is loved by the world and returns afterwards. Haydn is back there.
RDS
Some of the 'great' Haydn scholars like H.C. Robbins-Landon have been dismissive of this synphony and its neighbours. They tell us that these works come from Haydn's bad period. I always knew this was nonsense. But, now people like Harnoncourt are showing us that this just another day at the office for Haydn. 'Just' another masterpiece. I detect that more and more musicians are standing up to be counted and pointing out the masters genius. BTW Haydn never had a bad period.
Exactly. There is no bad period with Haydn.
@@mdelaubergine8930 We must recognize however that the Paris and London symphonies appear as denser and more deeply expressive.
@@gerardbegni2806All that means is that Haydn's composition periods can be divided into 'excellent' and 'miraculous'.
I like that portrait of dogs! 🐶
Una strepitosa sinfonia! Haydn e' un genio!
this is great.this is the most beautifull music on the world.
Of course. I can compare the first movement absolutely to nothing.
The first movement is just excellent.
I love this piece. It was mentioned in the "Cagney & Lacey" series 2 episode "Burn out". So great in this context too!
🏆🥇 I have just spent an hour trying to find the episode of C&L un which the Hunt Sym. was featured. Entries on IMDB leave something to be desired. And here, you provide the very thing I wanted to know.
resent when commercial television co-opts good music.
That very episode (I’m watching it now - August 14 2022) just mentioned this composition and that’s what sent me here. Wonderful show, wonderful moment.
... che magnificenza di direzione!
Yes, the last movement is pretty awesome, but the allegro portion of the first movement (1:54) is just as fantastic.
i know it is kinda randomly asking but do anybody know of a good place to stream newly released tv shows online ?
@Zyaire Remington I would suggest Flixzone. You can find it by googling =)
@Xavier Andres definitely, have been watching on flixzone for months myself :)
@Xavier Andres thanks, signed up and it seems like a nice service :D I really appreciate it !
@Zyaire Remington No problem :D
The second and third movements are darn good, too
The symphonies written by Joseph Haydn most often have a picturesque touch, which makes them quite different from Mozart's or Beethoven's (except perhaps his 6th). But here, all the symphony has more or less such a tone, culminating with the hunt echoes of the finale.Note that the introduction is unusually long for Haydn.
The first movement has quite the Empfindsamkeit swagger!
The last movement is the best of any Haydn symphony! And yes, I like to think too that the fox gets away in the end.
I hope with the fox......
How about La Passione (No 49 in F minor) - any of the first three movements ...
gwedi elwch sublime and incredibly delightful
The last movement is taken from an opera overtunre by Haydn. Why would he do this? Was he under such pressure? As I say above HC R-L is distainful about it. As with most things involving Haydn at Esterhazy, I suggest the reason is Prince Nicholas. he probably said his guests liked the overture and wanted to hear it again so Haydn re-worked it into this symphony.
@@bobshifimods7302
Don’t read too much into it; re-cycling works (or part of them, or just ideas) was a common 18th century practice, perhaps best exemplified by Handel where previously known movements reappear in a new context with startling and sometimes shocking regularity - and often not even his own music (the list of borrowings in Handel is a long one, usually from Italy).
Such things are rare in Haydn, but if a successful movement was buried in a work unlikely to see the light of day outside the Eszterhaza court, then Haydn would reuse it as here where the overture to La fedeltà premiata becomes the Finale to Symphony 73; the quiet ending gives away the music’s operatic origins as it led originally straight into the opening number Bella Dea, che in ciel risplendi…
The best known other such example from Haydn is a contrafactum - the Latin sacred motet Insanae et vanae curae.
Originally the chorus Svanisce in un momento - an additional chorus Haydn added for the 1783 revival of his 1775 Italian oratorio Il ritorno di Tobia - the composer re-worked it in 1797/98 as a usable church motet.
Haydn was right so to do; the oratorio is almost never heard to day (it was already old-fashioned when another revival flopped in Vienna in 1808), but the motet is very successful, and is used widely both in a sacred or liturgical context, and in the concert hall.
In Harnoncourt trovo un difetto: la ricerca di un suono eccessivamente aspro!
I once read somewhere Haydn intended to imply the fox gets away at the end, but more recently I hear that the finally fades away for a curtain opening as it was originally an opera overture. I still like to think the fox gets away..
Sublime.
Even if the fox didn't get away, he certainly gave them a run for their money.
I'm not sure Haydn even wrote this with a hunt in mind. It's just that people thought the first movement reminded them of a chase. Hence I suspect that anecdote is apocryphal.
@@bobshifimods7302
The overture to La fedeltà premiata which Haydn re-used as the finale to Symphony 73 (‘The Hunt’, ‘La chasse’, ‘La caccia’ et cetera) *was* directly linked to the hunt through the involvement of Diana - Roman goddess of the hunt - who plays a part in the opera, so with the 6/8 horn dominated fanfares which everyone at the time associated with hunting, Haydn knew exactly what he was doing.
There is a hunt scene in Act II in honour of Diana (and other references to her throughout) so the music of the overture foreshadowing this is an clever and innovative move by Haydn.
The overture is very effective; Haydn simply re-cycled it because it was to good to lose.
The opera made it to Vienna*, and occasionally elsewhere, and therefore had a relatively limited audience, but as part of the symphony, it was published and performed all over Europe.
* Mozart heard La fedeltà premiata in a German translation at the Karntnertortheater in Vienna in 1784; Haydn rarely gets any recognition regarding his innovations in opera, but Mozart would have been astonished at the highly complex Act I and Act II finales which were way in advance of those in any contemporary operas.
the painting and music are exquisitely in synch. thanks to the OP
Fox definitely got away, disappearing into the distance.
Thanks for uploading!
Tôi thích nhạc giao hưởng này vì nhạc này nó giúp cho thư giãn tâm hồn thư thả lãng mạn để quên đi lỗi buồn của cuộc sống và giúp tôi đánh đàn hay và đánh đúng tiết tấu cao độ nốt.
It is fascinating musik and on the cover rapid dogs for hunting.
The fourth movement of this symphony is so awesome that it inspired a Super Sentai/Power Rangers monster! Giganoid #5 in Abaranger (Angor in Dino Thunder) is named The Hunt.
finale in ppp : genius !
Explore Haydn's opera overtures, they're quite picturesque as well.
I found an uncanny similarity (or should I say it was identical) between the final movement (presto) of La Chasse and his La Fedelta Premiata: Sinfonia, Hob.Ia.11.
M. S.
No mystery at all; Haydn simply re-used the opera’s very popular and successful overture as the finale to the symphony in order to ensure it had a much wider circulation than it would otherwise have had simply as the overture to La fedeltà premiata.
In short, the opera was performed only rarely outside Eszterhaza,* whereas the symphony was published and played all over Europe.
The origins as an operatic overture are given away by the quiet ending which originally led straight into the opera’s opening number.
The opera overture with its hunting horns inspired music was also directly linked to the opera action - Diana, goddess of hunting - so the symphony being known as ‘The Hunt’/‘La chasse’/‘La caccia’ is also appropriate.
Both the overture and the whole symphony are very fine works, as indeed is the opera which contains some very fine music, including two spectacular and very advanced end-of-act finales which Mozart would have noted carefully.
* Mozart probably heard it when it was put on in Vienna in 1784, quite a rarity for a Haydn opera.
@@elaineblackhurst1509 Thanks for sharing. I've just been doing a deeper discovery of Haydn over the past few weeks, and I continue to be impressed by the music and history!
Tôi thích nhạc giao hưởng này!
09:16
I can almost hear the dogs barking in the last movement...
THe use of dogs to hunt down prey does not reflect well on humankind as a species.
@@lunchmind
Unfortunately, foxes do not reflect well on the animal world.
@@elaineblackhurst1509how do they not reflect well on the animal world?
How many ads did you intend on interrupting Haydn's beautiful music with? Does Haydn know? I think someone should tell him that someone is making a packet off his music.
Warner Classics International has the copyright, so they're making money off the ads. For the first couple years after I posted this, iirc, it was ad-free. I stopped posting entirely to avoid having my account deleted, so this is the second-best option.
Haydn had a bad period? News to me
Name of the paint ? thenks
Didn't Haydn also write an early symphony entitled "La Chasse"?
George Spelvin
The very early string quartet Opus 1 No 1 is sometimes known as ‘La Chasse’ (‘The Hunt’/ ‘La caccia’), due to the 6/8 pulse of the ‘hunting’ opening movement.
No other symphony shares this nickname, it belongs to Symphony 73 alone, and the name likewise originates from the 6/8 rhythm of the finale, though obviously in this case, with the horns making the hunting calls.
This movement was in fact originally the overture to Haydn’s opera ‘La fedeltà premiata’ where the hunting theme was directly related to the goddess Diana - there was a clear link with the overture foreshadowing the later action.
As the overture was a spectacular success, Haydn astutely recycled the movement to ensure a wider circulation and it was simply re-used, unchanged as the symphony’s finale; its operatic origins explaining the pianissimo ending which originally led straight into the opera’s opening number.
It should be mentioned that other composers wrote La chasse-type symphonies with characteristic hunting horn fanfares and symbolism, so Haydn was not alone in this; the symphony in F major known also as ‘La chasse’ of 1773 by the Mannheim composer Carl Stamitz (Kai 34) is another good example of the type.
Thanks.
Wonderful But that's enough with 50+!! Il stops every minute!