Haydn is really the father of the symphony. The elegance and harmony of their compositions are amazing. Viva Haydn and his incredible and incomparable music. The symphonies are true musical masterpieces that provides us moments of unforgettable pleasure. The orchestra interpretation and direction are amazing.
@@arcen3169 I'm trying to find the same version he uses in the podcast, but no luck. This is the closest I can find. Any ideas where to find the version he uses?
I've always felt that the Haydn symphonies between the "Paris" and "London" sets deserve a special recognition, Nos. 90-92 in particular make an excellent triptych
@@timroebuck3458 Haydn was ‘Beethoven’s teacher’ sort of…but not really. Haydn taught Beethoven counterpoint (not free composition) - a strict set of rules on musical grammar - for just 14 months from Beethoven’s arrival in Vienna in November 1792 until Haydn’s departure for his second trip to England in January 1794. There are about 245 extant counterpoint exercises completed by Beethoven, many of them not corrected by Haydn who basically was too busy with preparations for the forthcoming trip to England mentioned above (he was working on about three symphonies, and the Opus 71/74 set of string quartets at the time amongst other things). Even though the lessons covered about 14 months as explained, they were very much on-and-off. The lessons were not a success: Beethoven famously commented that he ‘…learned nothing from Haydn’, and refused to add ‘Pupil of Haydn’ to the dedication of the Opus 2 piano sonatas to his supposed ‘teacher’ a couple of years later when they were published in 1796. So it is Beethoven himself who is disputing your point, not really myself. Beethoven did learn a huge amount from Haydn, but not from plodding through endless academic exercises taken from Haydn’s heavily annotated copy of Fux’s Gradus ad Parnassum which was the counterpoint Bible of the age. When Haydn went to England, he arranged for Albrechtsberger to take over the lessons and he too continued to dose Beethoven with Fux. It is similarly very misleading to refer to Salieri as ‘Beethoven’s teacher’ as those lessons too were focussed on only one very specialist niche area - Italian vocal music (ie opera). The things Beethoven learned from Haydn came from studying his composition techniques - motivic development, through-composition, tonal relationships, building large-scale structures from small melodic or rhythmic fragments, structural innovation as found in the Opus 76 quartets (variation and fugue for example), and so on, and they came not from the counterpoint lessons, but from discussing music informally with him, being familiar with a very large corpus of Haydn’s works, copying out works - Beethoven copied out the whole of Haydn’s string quartet Opus 20 No 1, and chunks of Symphony 99 for example, and in other ways. Hope that’s useful to yourself and others; great care needs to be taken with the commonly heard refrain that ‘Haydn was Beethoven’s teacher’, as whilst in some ways he was, in the strict understanding of the word, he wasn’t.
The final movement is like nothing else I’ve heard by Haydn - it’s almost more like Rossini, especially the closing theme of the exposition (eg. 19:42). The whole thing is inspired from start to finish!
I. Adagio and Allegro spiritoso: New dawn...forward moving waves, backward moving waves, ...Hope, dynamic sparks, coming of age, intention and motivation to move to do to create to reach out to a bright future...
Joseph Haydn - Sinfonía en Sol Mayor Nº 92 "Oxford" I. Adagio 0:00 I. Allegro Spiritoso 1:12 II. Adagio 7:27 III. Menuetto. Allegretto 13:36 IV. Presto 18:44
III Menuetto. Folklore dance theme with celeberatory ornamentations.....Clarion call new dawn encore,...fresh air passages in between....forward then stepping backward....life is a dance a hopeful dance....with twirls and turns...look at the dawn
![[High quality] Joseph Haydn - Symphony No. 92, Hob.I:92 "Oxford"/ Karl Böhm & Wiener Philharmoniker](http://i.ytimg.com/vi/vXsYPH3SATc/mqdefault.jpg)
Here paying my respects to Mike Duncan and Revolutions Podcast
Hello, and welcome, to Revolutions, Episode 3.1 The Three Estates.
Haydn is really the father of the symphony. The elegance and harmony of their compositions are amazing. Viva Haydn and his incredible and incomparable music. The symphonies are true musical masterpieces that provides us moments of unforgettable pleasure. The orchestra interpretation and direction are amazing.
I heard this today while driving on I -71. An excellent compilation.
11:04 is the revolutions podcast theme for those of you looking
Wpierw 9:38
9:36 Hello, and welcome to Revolutions.
Certainly is, I'm going through the American Revolution cycle right now.
Thanks! That's actually exactly what I was looking for haha.
Well actually in revolutions the Opening sounds quit3 a bit different though it is the same theme for sure
Yeeeesss!!!
@@arcen3169 I'm trying to find the same version he uses in the podcast, but no luck. This is the closest I can find. Any ideas where to find the version he uses?
Thanks to Mike Duncan this will forever be associated with the French Revolution in particular to me
I've always felt that the Haydn symphonies between the "Paris" and "London" sets deserve a special recognition, Nos. 90-92 in particular make an excellent triptych
I'm listening to Hero of Two worlds and it's weird having chapter titles without this.
Questa sinfonia è magica una delle migliori di Haydn.
I cant even describe or tell a thing about this freakingg epic piece of perfection
That first movement development is Haydn saying, "Don't mess with me or I'll smash all your good dishes!"
Love the comment!
Una hermosa sinfonía. Brillante. Muy buena interpretación
A true masterpiece. Hadyn genius. And we can antecipate Beethoven in some Hadyn's symphonies. This one is an example, by sure.
E. Silva
‘Hadyn’ ?
(Recte: Haydn).
Haydn was Beethoven's teacher, so it stands to reason that his influence can be felt in some of Beethoven's works.
@@timroebuck3458
Haydn was ‘Beethoven’s teacher’ sort of…but not really.
Haydn taught Beethoven counterpoint (not free composition) - a strict set of rules on musical grammar - for just 14 months from Beethoven’s arrival in Vienna in November 1792 until Haydn’s departure for his second trip to England in January 1794.
There are about 245 extant counterpoint exercises completed by Beethoven, many of them not corrected by Haydn who basically was too busy with preparations for the forthcoming trip to England mentioned above (he was working on about three symphonies, and the Opus 71/74 set of string quartets at the time amongst other things).
Even though the lessons covered about 14 months as explained, they were very much on-and-off.
The lessons were not a success: Beethoven famously commented that he ‘…learned nothing from Haydn’, and refused to add ‘Pupil of Haydn’ to the dedication of the Opus 2 piano sonatas to his supposed ‘teacher’ a couple of years later when they were published in 1796.
So it is Beethoven himself who is disputing your point, not really myself.
Beethoven did learn a huge amount from Haydn, but not from plodding through endless academic exercises taken from Haydn’s heavily annotated copy of Fux’s Gradus ad Parnassum which was the counterpoint Bible of the age.
When Haydn went to England, he arranged for Albrechtsberger to take over the lessons and he too continued to dose Beethoven with Fux.
It is similarly very misleading to refer to Salieri as ‘Beethoven’s teacher’ as those lessons too were focussed on only one very specialist niche area - Italian vocal music (ie opera).
The things Beethoven learned from Haydn came from studying his composition techniques - motivic development, through-composition, tonal relationships, building large-scale structures from small melodic or rhythmic fragments, structural innovation as found in the Opus 76 quartets (variation and fugue for example), and so on, and they came not from the counterpoint lessons, but from discussing music informally with him, being familiar with a very large corpus of Haydn’s works, copying out works - Beethoven copied out the whole of Haydn’s string quartet Opus 20 No 1, and chunks of Symphony 99 for example, and in other ways.
Hope that’s useful to yourself and others; great care needs to be taken with the commonly heard refrain that ‘Haydn was Beethoven’s teacher’, as whilst in some ways he was, in the strict understanding of the word, he wasn’t.
So I guess Haydn was only half a teacher, huh? Okay. Gotcha.
Cojonuda sinfonía. Pura alegría. 😊
My favorite Haydn symphony. Simply fabulous! :-)
Thanks a lot! :-)
The final movement is like nothing else I’ve heard by Haydn - it’s almost more like Rossini, especially the closing theme of the exposition (eg. 19:42). The whole thing is inspired from start to finish!
I. Adagio and Allegro spiritoso: New dawn...forward moving waves, backward moving waves, ...Hope, dynamic sparks, coming of age, intention and motivation to move to do to create to reach out to a bright future...
Joseph Haydn - Sinfonía en Sol Mayor Nº 92 "Oxford"
I. Adagio 0:00
I. Allegro Spiritoso 1:12
II. Adagio 7:27
III. Menuetto. Allegretto 13:36
IV. Presto 18:44
Le second mouvement est d'une grande sensibilité.
Mike Duncan sent me
Me too
II.Adagio: 07:27 : Soothing balm day, punctuated by beautiful determined spirited resolute calls to march on....
This is miraculous
3:43 most satisfying bit
III Menuetto. Folklore dance theme with celeberatory ornamentations.....Clarion call new dawn encore,...fresh air passages in between....forward then stepping backward....life is a dance a hopeful dance....with twirls and turns...look at the dawn
Modules brought me peace
18:45
1주제 1:12
Allegro spiritoso
IV. justva cap off tune show casing the wonderful optimistic future to come...Jubilating Heavens and nature
12:54
13:36
18:46