Album available // Haydn: The Paris Symphonies Nos.82-87 Kurt Sanderling 🎧 Qobuz cutt.ly/AeJoSpzN Tidal cutt.ly/teJoSH5G 🎧 Apple Music cutt.ly/reJoDw66 Deezer cutt.ly/OeJoDIng 🎧 Amazon Music cutt.ly/SeJoD7QP Spotify cutt.ly/LeJoFhyk 🎧 TH-cam Music cutt.ly/UeJoFINS 🔊 Download high-fidelity classical music: classicalmusicreference.com/ Franz Joseph Haydn (1732-1809) - The ‘’Paris’’ Symphonies 82-87. Symphony No.82 in C ‘’L’Ours’’ Click to activate the English subtitles for the *presentation* (00:00-02:30) I.Vivace assai (00:00) II.Allegretto (08:03) III.Menuetto (16:57) IV.Finale - Vivace (21:59) Symphony No.83 in G minor ‘’La Poule’’ Click to activate the English subtitles for the *presentation* (27:42-28:35) I.Allegro spiritoso (27:42) II.Andante (35:39) III.Menuet (43:08) IV.Finale - Vivace (47:38) Symphony No.84 in E-Flat Click to activate the English subtitles for the *presentation* (52:05-52:35) I.Largo - Allegro (52:05) II.Andante (1:01:24) III.Menuet - Allegretto (1:09:10) IV.Finale - Vivace (1:12:45) Symphony No.85 in B-Flat ‘’La Reine’’ Click to activate the English subtitles for the *presentation* (1:18:47-1:19:29) I.Adagio - Vivace (1:18:47) II.Romance - Allegretto (1:27:06) III.Menuet - Allegretto (1:34:40) IV.Finale - Presto (1:39:48) Symphony No.86 in D Click to activate the English subtitles for the *presentation* (1:43:12-1:43:55) I.Adagio - Allegro spiritoso (1:43:12) II.Capriccio - Largo (1:52:08) III.Menuet - Allegro (1:58:10) IV.Finale - Allegro con spirito (2:04:06) Symphony No.87 in A Click to activate the English subtitles for the *presentation* (2:10:39-2:12:20) I.Vivace (2:10:39) II.Adagio (2:18:19) III.Menuet (2:25:04) IV.Finale - Vivace (2:30:01) Berliner Sinfonie-Orchester Kurt Sanderling Recorded in 1971 New mastering in 2018 by AB for CMRR 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2 En 1784, la société parisienne Le Concert de la Loge Olympique commanda à Franz Joseph Haydn six grandes symphonies qui, trois ans plus tard, furent créées à Paris et sont connues sous le titre de «Symphonies parisiennes» (No.82-87). La commande de Paris exigeait des symphonies susceptibles d'être jouées dans de grandes salles de concert: s'il n'avait écrit jusqu'ici que pour son orchestre de chambre, comptant de 22 à 24 musiciens, aux fins de (divertissement de la cour», il lui fallait à présent répondre à une tout autre demande. Tant à Londres qu'à Paris, les concerts publics étaient bien plus répandus qu'à Vienne par exemple. En France, une riche vie culturelle annonçait les bouleversements politiques et sociaux qui allaient intervenir, quelques années plus tard seulement, lors de la Révolution. L'aristocratie et le clergé s'accrochaient à leurs possessions et à leurs privilèges tandis que la grande majorité de population ne cessait de s'appauvrir. Toutefois, le Tiers État représentait la force vive du pays: la bourgeoisie et les banquiers, commerçants, industriels, avocats et médecins etc. qui la composaient détenaient en France le pouvoir économique et réclamaient à présent l'égalité sociale et surtout ta participation au gouvernement du pays. C'est aussi la bourgeoisie qui dominait l'intelligence et les arts, regroupée au sein de cercles de lecture et de loges maçonniques et c'est elle aussi qui, pour l'essentiel, commandait des oeuvres aux artistes et faisait appel aux interprètes. Haydn composa ses symphonies pour un orchestre comprenant 40 violons, 10 contrebasses et les vents par deux. Un telle distribution lui permettait de jouer sur les nuances de timbres, sur l'autonomie des différentes familles d'instruments et sur les contrastes dynamiques. Toutes les six Symphonies parisiennes comptent quatre mouvements, le troisième mouvement étant toujours un menuet avec trio. Haydn fixe la distribution de base de l'orchestre à une flûte, 2 hautbois, 2 bassons, 2 cors et les cordes et l'accroît si besoin est. Dans la **Symphonie no 82** en ut majeur, il ajoute par exemple des timbales. Dans les premier, troisième et quatrième mouvements, le compositeur laisse toute liberté d'utiliser des trompettes à la place des cors; il n'y a que dans le deuxième mouvement ou il prescrit expressément des cors. Le premier mouvement Vivace assai présente un caractère très héroïque, les contrastes dynamiques frappant d'emblée. Le second mouvement repose sur une forme typique pour Haydn: la double variation. Le changement de tonalité (fa majeur, fa mineur) qui fait chatoyer les timbres des thèmes à variations plutôt simples et enjoués, ne manque pas de charme. Au Menuet solennel succède le dernier mouvement dont le thème a valu, en raison de son caractère, à cette symphonie le sous-titre «L'Ours». Au-dessus d'une quinte vide ressemblant à un point d'orgue retentit une mélodie dansante. Cet effet sonore évoqua pour le public parisien l'image d'un ours qui danse. La **Symphonie no 83** en sol mineur ne conserve sa tonalité mineure que dans le premier mouvement: le menuet et le finale sont en sol majeur. Le titre «La Poule» attaché à cette oeuvre se réfère, une fois encore, au caractère d'un thème: le thème secondaire du premier mouvement est caractérisé par des figures d'appoggiatures aux violons, au dessus desquelles, le hautbois solo d'abord, puis, dans le développement, la flûte solo joue des répétitions pointées de notes. Cette impression sonore fut associée par le public parisien à des poules qui caquètent. Cette symphonie est la seule des symphonies parisiennes dont le premier mouvement oppose, dans la tradition classique du mouvement sonate, deux thèmes contrastants qui sont ensuite travaillés. Dans le second mouvement (Andante) les contrastes dynamiques sont portés à leur paroxysme lorsqu'un épisode aux cordes tendre et paisible comportant des passages tutti passe au forte. La **Symphonie no 84** en ml bémol majeur est l'une des trois Symphonies parisiennes qui commencent par une introduction lente. Un Largo solennel de vingt mesures ouvre, avec de grands contrastes forte piano ce mouvement où, par la suite, un thème unique est travaillé au fil d'un développement riche en prolongements harmoniques. Le paisible second mouvement (Andante) au rythme pastoral à 6/8, qui déploie une grande richesse de timbres grâce à un changement de tonalité (si bémol majeur / si bémol mineur), est suivi d'un Menuet aux accents de Iändler. La **Symphonie no 85** en si bémol majeur reçut pour sous-titre «La Reine», figurant déjà sur la version imprimée publiée en 1788 par l'éditeur parisien Imbault. Cet ajout ne se réfère pas au caractère de la musique, mais au fait que la reine MarieAntoinette aimait beaucoup cette œuvre. L'introduction majestueuse, voire pompeuse, de Il mesures forme un vif contraste avec le Vivace dansant qui suit et se déploie à partir d'une thème d'une grande simplicité, Le second mouvement (Romance) reste simple sur le plan thématique: il utilise la mélodie de la romance française (La jeune et gentille Lisette». Au Trio aux accents de Iändler succède un sobre finale de forme rondo. La **Symphonie no 86** en ré majeur est celle qui requiert la distribution la plus importante: trompettes et timbales sont ajoutés à l'effectif orchestral sans que toutefois, comme dans la Symphonie no 82, les trompettes viennent y remplacer les cors. Dès l'introduction solennelle (Adagio), Haydn joue de toute la puissance de ce grand orchestre, Le second mouvement reprend les thèmes et motifs du premier, adopte toutefois une forme tout à fait originale. L'intitulé Capriccio (synonyme d'idée inattendue, de fantaisie), peu usité pour les mouvements de symphonies permet à Haydn de traiter le matériau musical en toute liberté. La **Symphonie no 87** se distingue aussi par un deuxième mouvement (Adagio) de forme très originale. Dans aucune des autres symphonies, les vents ne jouent un rôle soliste aussi marqué. La flûte et le hautbois surtout alternent leurs soli jusqu'à ce que le développement débouche, vers la fin de l'Adagio sur une pure composition pour instruments à vents. Dans le trio du Menuet, le hautbois assume aussi la fonction d'instrument soliste, ici, la distribution classique du trio est cependant, comme dans les trios des autres symphonies, prise en compte. La numérotation officielle des Symphonies parisiennes (no 82 à 87) reprise ici, ne doit toutefois pas faire oublier qu'elle ne correspond pas à la chronologie réelle des oeuvres. A l'aide des autographes, il est possible d'établir que les no 83 et 87 furent composées en 1785, les no 82, 84 et 86 en 1786. Dans une lettre datée du 2 août 1787, Haydn indique à son éditeur Artaria l'ordre suivant: 87, 85, 83, 86, 82. Le fait que la «Loge Olympique» parisienne détienne les droits afférents à ces symphonies n'empêcha pas Haydn de les proposer à son éditeur viennois aux fins de publication. Ce dernier reçut pour cela une autorisation spéciale de Paris et la première édition put être ainsi publiée chez Artaria dès fin 1787. Quoiqu'il eût composé ces symphonies à la demande de la Loge parisienne, Haydn les dédia au roi de Prusse, Frédéric Guillaume Il. Le monarque possédait des copies de ces oeuvres et envoya à Haydn un anneau précieux en guise de reconnaissance. Le compositeur se résolut alors, a posteriori, à cette dédicace. Les Symphonies parisiennes sont considérées, dans l'œuvre de Haydn, comme l'apogée de son art symphonique. Le public parisien en fut visiblement conscient, il les accueillit, en effet, par des ovations. Franz Joseph Haydn PLAYLIST (reference recordings) : bit.ly/3uxI4Q3
I have lost count of the times when Haydn and other brilliant composers like him have saved my emotional life. Their lives must have been very very hard in ways I cannot possibly imagine and yet they came up with astounding music like this. They not only had the God given talent. But they really really worked at it. Thank God for Haydn!
He is truly a fantastic composer. His Symphonies are out of this world. When you're alone just pour yourself a glass of merlo put on Haydn Symphonies and close your eyes and your in Heaven.
Kurt Sanderling is more often than not overlooked. Yet he is one of the giants of the 20th century conducting. While big names jostled for attention and big money, he stood on the side ... and gave us a remarkable recoded legacy of superb repertoire. His understanding and his ability to evoke empathy, and then even more from the orchestra, is his testament and our gain. Thank you for the upload which we can share and enjoy at home.
I'm not sure that "he stood on the side" is an accurate representation of what happened to him. He was kicked out of the Deutsche Oper Berlin because he was Jewish, and spent the next 20-25 years in the Soviet Union. He returned to East Germany in 1960 and conducted the Berlin Symphony Orchestra (the East German one) till 1977. Most people in the West didn't have a chance to hear him until he started working with the Philharmonia Orchestra in the 1970's. He has three sons (by two different wives) who are conductors too: Thomas Sanderling, Stefan Sanderling, and Michael Sanderling.
@@GoldinDr He was a superb conductor who never received the international recognition he deserved because of the Cold War politics of Post-World War II era. And this is the world the never-militarily served foreign policy dilettantes from the Center for New American Security advising Biden want to take the world back to. No more walls!
When I listen to Haydn, I feel at peace. I feel happy. I feel protected, as if all of my problems disappeared the time of a symphony.. He's absolutely incredible and I'm genuinely sad that he's less famous than Mozart or Beethoven (many other composers deserve to be recognized as their worth, but I feel like Haydn's name is really unknown by so many)
@@DressedForDrowning I like Mozart's music a lot! But as an hypersensible and autistic person, I feel like his music can be overwhelming and I can't focus on something else while hearing it, even when I try to As opposition, Haydn's music calms my anxiety and helps me with sensory issues I don't know if this is what you mean by sophisticated, but thus is how I feel it (perdon my poor english, by the way)
Hello ! Mr J. Haydn is not less famous than Mozart or anyone else. He is Haydn, Mozart used to call Him papa Haydn, same for many others. Haydn is a pioneer, many owe Him a lot. Haydn is the Great Composer and Maestro for everyone. But, we should be able to appreciate Him.
@@stephanebelizaire3627 I know! I'm talking about our actual time. At least in my country everybody knows Mozart's name but "Haydn's?? Never heard of..."
When I heard this work 42 years, ago as played by Antal Dorati, it was in the wee small hours of the morning in the Harmattan season in Nigeria and I felt I was in Paradise, because the music captured my mental picture of what to expect there. Thank Goodness I am still here reliving it. Thanks for this download. May you be rewarded with a place in Paradise.
Back again for more sublime music from the great original master of the symphony! With Paris conquered, we move on to London! Too bad he never came to New York, Philadelphia or Boston! Cheers, dear CM!
I often wonder about people who listen to recorded classical music, and comment on “flaws”, as if they were musical experts. The music is intended to be listened to, and enjoyed, the way the composer meant it when he wrote it. There is no such thing as a bad performance; just lousy listeners.
Nonsense. There are plenty of bad performances. This is why critical listening is so important. You clearly lack skill and experience listening to music. That's fine. But please don't make blanket statements as if your belief is some universal truth. If all performances were equally good, then nine of them would be any good at all.
I have enjoyed immensely Haydn's Complete Paris Symphonies. One can hear the finesse, the dynamics, the beautiful lyrical melody, the vibrant intensity. An overwhelming cascade of clarity. Brilliant musicianship from the orchestra and splendours Paris Symphonies.
I've got close to ten versions and I'm still thinking on whyat you say. I like Kuijken's, but these per formances are lucid even if the tempi are sometimes odd.
Präzise und zugleich lebhafte Interpretation dieser fein komponierten Sinfonien mit gut harmonisierten und perfekt synchronisierten Töne aller Instrumente. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im angemessenen Tempo mit effektiv kontrollierter Dynamik. Einfach wunderschön!
Haydn never disappoints! No matter what form his music takes, I always find something splendid in it. His symphonies are among my favorites. Thanks so much for posting these.
I've heard a few of his works on the radio over the years, and they sounded similar to his brother's work; not an untalented man, but he either didn't have the opportunities of F.J, or lacked his determination.
Trotz des ungewöhnlich schmerzhaften Familienlebens blieb Joseph Haydn mit seiner Seele und seinem Geist bis zum Ende seines Lebens in diesen Symphonien und anderen Werken stezt der Sieger!!! Haydn immer war ein Ritter!!! Tepper Michael.
Many people even fans of classical music are not really aware that the major composers composed a lot of chamber music and smaller pieces for unusual instruments which are quite creative and interesting. Particularly smaller pieces by Beethoven and Haydn are really worth finding.
It is a shamee that so many people who believe they are classical music buffs aren't familiar with the 'lesser known', 'small peices', the 'minor works' of the great composers. The solo piano works of Dvorack and Schubert, the chamber music of Beethoven are so rich. Search them out, you'll be glad you did.
Its early hours of the morning ,can't sleep so it gives me time to listen to such great music from these great composers ,different artist of yesterday ,just great music ,thank you all
These are truly great works. The more I listen to them, including the London Symphonies, the more I'm convinced they are as great or even exceed the greatness of the symphonies of Mozart.
Despite the unusually painful family life, Joseph Haydn, with his soul and spirit until the end of his life in these symphonies and other works, remained internally always the Winner !!! Tepper Michael.
@@ganymeade5151 Only if we accept the simplistic caricature of the composer propagated largely by persons whose knowledge of the composer makes a shopping list look like a learned tome.
In 1784 the Paris-based concert enterprise, the ‘Concert de la Loge Olympique, commissioned six large-scale symphonies from Franz Joseph Haydn. First performed in the French capital three years later, they soon became know as his Paris Symphonies. The Paris commission called for symphonies for large concert halls, thereby confronting Haydn with an entirely new problem : whereas his earlier symphonies had all been scored for his own chamber orchestra of between twenty-two and twenty-four musicians and intended to entertain the court, he how had to adapt his style to a whole new type of concert. Public concerts were far more common in Paris and London than they were in, say, Vienna. Haydn now had to write for an orchestra of forty violins, ten double basses and double wind, an array of forces that allowed him to achieve a more subtly differentiated handling of timbre, greater autonomy in his use of the individual instrumental groupings and more pointed dynamic contrats. The Paris Symphonies are generally and rightly regarded as one of the high points in Haydn’s output as a symphonic composer, a view that contemporary audiences clearly shared : all six works were greeted with loup applause when premièred in Paris. Activate subtitles for a presentation of each symphony. 🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr 🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
don't forget it was Chevalier Saint-Georges who was the concertmaster for the premier of the Paris Symphonies, one of the first Black composers to rise to fame. He should be recognized as one of the reasons for that loud applause in Paris!
Thank you for that information. Listening to these masterpieces, I'd never have thought that Haydn had any difficulties composing for larger orchestral forces than what he usually had at the Esterhazy estate he spent the bulk of his long career working in.
i think the andante of symph 83 is one of haydn's greatest movements. A wonderful fusion of the rhetorical sturm und drang / CPE Bach style with the more italiante style of Mozart's andantes...
Fantásticas versiones del inmortal Haydn. El Minuetto de la sinfonía nº 86 (1:58:10) me parece de las piezas más geniales de la Historia de la Música. Gracias por darnos la oportunidad de oír estas maravillosas sinfonías.
A few years ago I heard this remark by a Radio3 (UK) announcer 'It's amazing how far Haydn had already gone to the world of Beethoven in these symphonies.'
Haydn related to Leopold Mozart " Your son is the greatest living composer known to me" Lofty praise from one of the Master composers of his day. Great "Classic music"
shnimmuc Haydn never changed his opinion about Mozart. After hearing the performances of Handel in London, he was hugely impressed, particularly with the choruses. This though rather begs the question why the performances of Handel put on from the early 1780’s at the National Library in Vienna by Baron van Swieten - attended by both Mozart and sometimes by Haydn - at which Handel, along with Bach, were the main featured composers, seem to have had relatively little impact - Mozart had re-orchestrated and arranged a number of Handel’s oratorios, including Messiah. Haydn was very familiar with Handel, pre-London; but all the impact came whilst in that city. Speaking to his biographer Carpani in ‘Le Haydine’ (published in 1812 three years after the composer’s death), Haydn did say of Handel: ‘Quest’ è il padre di tutti’ (‘He is the father of us all’). Yet another ‘papà/‘father’ reference from the period to go with the Mozart ones.
Haydn was paid 25 Louis d`or for each symphony. One Louis d`or is 7.85 grams of gold x 25 = 19.63 grams of gold. Today worth 19.63x 60 Euro = 11 800 Euro for each symphony. In total for those 6 symphonies he made equal 70 000 Euro. And even more than that.
In addition to the 25 Louis d’or for each symphony, Haydn received a further 5 louis d’or for the publication rights, so your figures need revising upwards. Incidentally, for further context, the fee Haydn received for the symphonies (which were commissioned either at the end of 1784 or the start of 1785) was five times greater than that Mozart himself reported that he was paid in 1778 for his ‘Paris’ symphony.
It should be noted that Mozart, a deeply convinced mason, pushed his father and Haydn to join masonry. Haydn was not an active mason. Nevertheless, he was known as such in the masonic world, in particular by the 'Loge Olympique' in Paris. Just as Mozart did, he used crypted masonic symbols in some of these symphonies. So, they form a complex and non uniform set. Such an opportunity to increase his fame in Paris and in the masonic world led him to very careful and ample architectures : the challenge was no more to enjoy Prinz Esterhazy's evenings !!! Many thanks indeed for having posted this integral, which shows how Haydn faced the challenge: listening to only one Symphony is of course a geat musical moment, but does not allow us to fully understand Haydn's overall response to his "brothers".
By the Grace of our mutual Gods and Ancestors, whichever culture we have come from, Thank you very much for providing all the good medicines and remedies that we the people will ever need in this troubling time. Thank you for enriching our bodies,minds,spirits and souls. Thank you Merci Grazie Gracias Obrigado Danke Spasiba 고맙습니다
L 'Andante de la Symphonie n°84 est beau à pleurer, surtout lorsque l'on songe à ce qui arrivera en France quelques années plus tard... La Révolution Française de 1789 et les milliers de personnes décapitées annonçant la fin de l'Ancien Régime qui malgré ses défauts avait un côté brillant... Ces Symphonies Parisiennes sont le dernier vestige d'un monde disparu...
For someone who was so prolific, it was inevitable that he would use some ideas again but this sequence is particularly striking: 1:20:35 The stormy opening of the "Farewell" is immediately called to mind: th-cam.com/video/KXctarOxRz8/w-d-xo.html There's something similar in the prelude to Beethoven's 2nd Symphony when we get a sudden presentiment of the mighty 9th
I LOVE Haydn, especially his underrated/under-performed chamber works, as well as, many of his symphonies. However, many (NOT ALL) of the movements from his 'Paris' Symphonies feel tired, repetitious and occasionally even trite. All that said, they are important works and I appreciate your posting them.
@@SC-stonerconstruction I KNOW it's an oxymoron. And nice job of namecalling, Mr Prententious. You and President Pinocchio should get together, since you're both 'high' on yourselves (at least you have an excuse) and are both on a fifth grade level when it comes to namecalling people who make valid points about you. Finally, as far as ouwitting others - which you seem so proud of, but I'm sure ignorant about its truthfullness - remember this: Never let a battle of the wits become a battle of the nitwits. That said, I'm finished wasting time on you. Send all the replies you like, I'm sure you will, but I won't be reading them.
Bien que Kurt Sanderling ne soit pas mon chef préféré, il est incontestable que certains de ces enregistrements sont des références, comme par exemple la neuvième de Beethoven ou ses Tchaïkovski. Kurt Sanderling donne aux symphonies parisiennes un relief particulier, celui là même que seul Herbert von Karajan et Léonard Bernstein ont pu leur offrir. Cependant Sanderling se montre plus tranchant que ces deux derniers. Une mention aux versions barroqueuses de Frans Bruggen et Sigiswald Kuijken. Merci d'avoir mis en ligne ces versions, c'est toujours un plaisir d'écouter vos vidéos bien montés ( et vos éditions japonaises 😉 ) !
Fernando Villegas Almost certainly not. If you’re thinking of the famous four note *do-re-fa-mi* motif then just for starters try these: Mozart Symphony 1 (second movement Andante) Mozart Symphony 33 (first movement) Mozart Symphony 41 (Finale) Mozart Mass K192 Haydn Symphony 3 (Finale - slight variant) Haydn Symphony 11 (second movement) Haydn Symphony 13 (Finale) Haydn Symphony 25 (third movement) Et cetera. No ‘inspiration’, just an 18th century musical commonplace motif, probably originating from centuries earlier (Lucis Creator).
Album available // Haydn: The Paris Symphonies Nos.82-87 Kurt Sanderling
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🔊 Download high-fidelity classical music: classicalmusicreference.com/
Franz Joseph Haydn (1732-1809) - The ‘’Paris’’ Symphonies 82-87.
Symphony No.82 in C ‘’L’Ours’’
Click to activate the English subtitles for the *presentation* (00:00-02:30)
I.Vivace assai (00:00) II.Allegretto (08:03)
III.Menuetto (16:57) IV.Finale - Vivace (21:59)
Symphony No.83 in G minor ‘’La Poule’’
Click to activate the English subtitles for the *presentation* (27:42-28:35)
I.Allegro spiritoso (27:42) II.Andante (35:39)
III.Menuet (43:08) IV.Finale - Vivace (47:38)
Symphony No.84 in E-Flat
Click to activate the English subtitles for the *presentation* (52:05-52:35)
I.Largo - Allegro (52:05) II.Andante (1:01:24)
III.Menuet - Allegretto (1:09:10) IV.Finale - Vivace (1:12:45)
Symphony No.85 in B-Flat ‘’La Reine’’
Click to activate the English subtitles for the *presentation* (1:18:47-1:19:29)
I.Adagio - Vivace (1:18:47) II.Romance - Allegretto (1:27:06)
III.Menuet - Allegretto (1:34:40) IV.Finale - Presto (1:39:48)
Symphony No.86 in D
Click to activate the English subtitles for the *presentation* (1:43:12-1:43:55)
I.Adagio - Allegro spiritoso (1:43:12) II.Capriccio - Largo (1:52:08)
III.Menuet - Allegro (1:58:10) IV.Finale - Allegro con spirito (2:04:06)
Symphony No.87 in A
Click to activate the English subtitles for the *presentation* (2:10:39-2:12:20)
I.Vivace (2:10:39) II.Adagio (2:18:19)
III.Menuet (2:25:04) IV.Finale - Vivace (2:30:01)
Berliner Sinfonie-Orchester
Kurt Sanderling
Recorded in 1971
New mastering in 2018 by AB for CMRR
🔊 FOLLOW US on SPOTIFY (Profil: CMRR) : spoti.fi/3016eVr
🔊 Download CMRR's recordings in High fidelity audio (QOBUZ) : bit.ly/2M1Eop2
En 1784, la société parisienne Le Concert de la Loge Olympique commanda à Franz Joseph Haydn six grandes symphonies qui, trois ans plus tard, furent créées à Paris et sont connues sous le titre de «Symphonies parisiennes» (No.82-87). La commande de Paris exigeait des symphonies susceptibles d'être jouées dans de grandes salles de concert: s'il n'avait écrit jusqu'ici que pour son orchestre de chambre, comptant de 22 à 24 musiciens, aux fins de (divertissement de la cour», il lui fallait à présent répondre à une tout autre demande. Tant à Londres qu'à Paris, les concerts publics étaient bien plus répandus qu'à Vienne par exemple. En France, une riche vie culturelle annonçait les bouleversements politiques et sociaux qui allaient intervenir, quelques années plus tard seulement, lors de la Révolution. L'aristocratie et le clergé s'accrochaient à leurs possessions et à leurs privilèges tandis que la grande majorité de population ne cessait de s'appauvrir.
Toutefois, le Tiers État représentait la force vive du pays: la bourgeoisie et les banquiers, commerçants, industriels, avocats et médecins etc. qui la composaient détenaient en France le pouvoir économique et réclamaient à présent l'égalité sociale et surtout ta participation au gouvernement du pays. C'est aussi la bourgeoisie qui dominait l'intelligence et les arts, regroupée au sein de cercles de lecture et de loges maçonniques et c'est elle aussi qui, pour l'essentiel, commandait des oeuvres aux artistes et faisait appel aux interprètes.
Haydn composa ses symphonies pour un orchestre comprenant 40 violons, 10 contrebasses et les vents par deux. Un telle distribution lui permettait de jouer sur les nuances de timbres, sur l'autonomie des différentes familles d'instruments et sur les contrastes dynamiques. Toutes les six Symphonies parisiennes comptent quatre mouvements, le troisième mouvement étant toujours un menuet avec trio. Haydn fixe la distribution de base de l'orchestre à une flûte, 2 hautbois, 2 bassons, 2 cors et les cordes et l'accroît si besoin est.
Dans la **Symphonie no 82** en ut majeur, il ajoute par exemple des timbales. Dans les premier, troisième et quatrième mouvements, le compositeur laisse toute liberté d'utiliser des trompettes à la place des cors; il n'y a que dans le deuxième mouvement ou il prescrit expressément des cors. Le premier mouvement Vivace assai présente un caractère très héroïque, les contrastes dynamiques frappant d'emblée. Le second mouvement repose sur une forme typique pour Haydn: la double variation. Le changement de tonalité (fa majeur, fa mineur) qui fait chatoyer les timbres des thèmes à variations plutôt simples et enjoués, ne manque pas de charme. Au Menuet solennel succède le dernier mouvement dont le thème a valu, en raison de son caractère, à cette symphonie le sous-titre «L'Ours». Au-dessus d'une quinte vide ressemblant à un point d'orgue retentit une mélodie dansante. Cet effet sonore évoqua pour le public parisien l'image d'un ours qui danse.
La **Symphonie no 83** en sol mineur ne conserve sa tonalité mineure que dans le premier mouvement: le menuet et le finale sont en sol majeur. Le titre «La Poule» attaché à cette oeuvre se réfère, une fois encore, au caractère d'un thème: le thème secondaire du premier mouvement est caractérisé par des figures d'appoggiatures aux violons, au dessus desquelles, le hautbois solo d'abord, puis, dans le développement, la flûte solo joue des répétitions pointées de notes. Cette impression sonore fut associée par le public parisien à des poules qui caquètent. Cette symphonie est la seule des symphonies parisiennes dont le premier mouvement oppose, dans la tradition classique du mouvement sonate, deux thèmes contrastants qui sont ensuite travaillés. Dans le second mouvement (Andante) les contrastes dynamiques sont portés à leur paroxysme lorsqu'un épisode aux cordes tendre et paisible comportant des passages tutti passe au forte.
La **Symphonie no 84** en ml bémol majeur est l'une des trois Symphonies parisiennes qui commencent par une introduction lente. Un Largo solennel de vingt mesures ouvre, avec de grands contrastes forte piano ce mouvement où, par la suite, un thème unique est travaillé au fil d'un développement riche en prolongements harmoniques. Le paisible second mouvement (Andante) au rythme pastoral à 6/8, qui déploie une grande richesse de timbres grâce à un changement de tonalité (si bémol majeur / si bémol mineur), est suivi d'un Menuet aux accents de Iändler.
La **Symphonie no 85** en si bémol majeur reçut pour sous-titre «La Reine», figurant déjà sur la version imprimée publiée en 1788 par l'éditeur parisien Imbault. Cet ajout ne se réfère pas au caractère de la musique, mais au fait que la reine MarieAntoinette aimait beaucoup cette œuvre. L'introduction majestueuse, voire pompeuse, de Il mesures forme un vif contraste avec le Vivace dansant qui suit et se déploie à partir d'une thème d'une grande simplicité, Le second mouvement (Romance) reste simple sur le plan thématique: il utilise la mélodie de la romance française (La jeune et gentille Lisette». Au Trio aux accents de Iändler succède un sobre finale de forme rondo.
La **Symphonie no 86** en ré majeur est celle qui requiert la distribution la plus importante: trompettes et timbales sont ajoutés à l'effectif orchestral sans que toutefois, comme dans la Symphonie no 82, les trompettes viennent y remplacer les cors. Dès l'introduction solennelle (Adagio), Haydn joue de toute la puissance de ce grand orchestre, Le second mouvement reprend les thèmes et motifs du premier, adopte toutefois une forme tout à fait originale. L'intitulé Capriccio (synonyme d'idée inattendue, de fantaisie), peu usité pour les mouvements de symphonies permet à Haydn de traiter le matériau musical en toute liberté.
La **Symphonie no 87** se distingue aussi par un deuxième mouvement (Adagio) de forme très originale. Dans aucune des autres symphonies, les vents ne jouent un rôle soliste aussi marqué. La flûte et le hautbois surtout alternent leurs soli jusqu'à ce que le développement débouche, vers la fin de l'Adagio sur une pure composition pour instruments à vents. Dans le trio du Menuet, le hautbois assume aussi la fonction d'instrument soliste, ici, la distribution classique du trio est cependant, comme dans les trios des autres symphonies, prise en compte. La numérotation officielle des Symphonies parisiennes (no 82 à 87) reprise ici, ne doit toutefois pas faire oublier qu'elle ne correspond pas à la chronologie réelle des oeuvres. A l'aide des autographes, il est possible d'établir que les no 83 et 87 furent composées en 1785, les no 82, 84 et 86 en 1786. Dans une lettre datée du 2 août 1787, Haydn indique à son éditeur Artaria l'ordre suivant: 87, 85, 83, 86, 82.
Le fait que la «Loge Olympique» parisienne détienne les droits afférents à ces symphonies n'empêcha pas Haydn de les proposer à son éditeur viennois aux fins de publication. Ce dernier reçut pour cela une autorisation spéciale de Paris et la première édition put être ainsi publiée chez Artaria dès fin 1787. Quoiqu'il eût composé ces symphonies à la demande de la Loge parisienne, Haydn les dédia au roi de Prusse, Frédéric Guillaume Il. Le monarque possédait des copies de ces oeuvres et envoya à Haydn un anneau précieux en guise de reconnaissance. Le compositeur se résolut alors, a posteriori, à cette dédicace. Les Symphonies parisiennes sont considérées, dans l'œuvre de Haydn, comme l'apogée de son art symphonique. Le public parisien en fut visiblement conscient, il les accueillit, en effet, par des ovations.
Franz Joseph Haydn PLAYLIST (reference recordings) : bit.ly/3uxI4Q3
Каждая.музыка.имеет.свою.орбиту.а.у.гайдна.есть.композиции.серьезные.доводящие.до.хохота
Без.россии.мир.нам.не.нужен
Classical Music/ /Reference Recording s
.,.
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I have lost count of the times when Haydn and other brilliant composers like him have saved my emotional life. Their lives must have been very very hard in ways I cannot possibly imagine and yet they came up with astounding music like this. They not only had the God given talent. But they really really worked at it. Thank God for Haydn!
God ?
🤌💎Ohhh YESSS😎👏👏💯💯⚡🎯
To me, his music represents human warmth, humor and sanity.
He is truly a fantastic composer.
His Symphonies are out of this world.
When you're alone just pour yourself
a glass of merlo put on Haydn Symphonies and close your eyes
and your in Heaven.
I feel you
Doing what you write right now.
It works perfect with tea too ;)
A single malt for the Sturm and Drang ones...
thanks I just spilled wine over my shirt
Kurt Sanderling is more often than not overlooked. Yet he is one of the giants of the 20th century conducting. While big names jostled for attention and big money, he stood on the side ... and gave us a remarkable recoded legacy of superb repertoire. His understanding and his ability to evoke empathy, and then even more from the orchestra, is his testament and our gain. Thank you for the upload which we can share and enjoy at home.
I'm not sure that "he stood on the side" is an accurate representation of what happened to him. He was kicked out of the Deutsche Oper Berlin because he was Jewish, and spent the next 20-25 years in the Soviet Union. He returned to East Germany in 1960 and conducted the Berlin Symphony Orchestra (the East German one) till 1977. Most people in the West didn't have a chance to hear him until he started working with the Philharmonia Orchestra in the 1970's.
He has three sons (by two different wives) who are conductors too: Thomas Sanderling, Stefan Sanderling, and Michael Sanderling.
@@GoldinDr He was a superb conductor who never received the international recognition he deserved because of the Cold War politics of Post-World War II era. And this is the world the never-militarily served foreign policy dilettantes from the Center for New American Security advising Biden want to take the world back to. No more walls!
Joseph Haydin , the Symphonies .....l, Ours , la Poule , la Reine are wonderful ..... ....beautiful ❤
La musique de haydn est d'une élégance remarquable aussi bien à écouter qu'à jouer. Je ne m'en lasse jamais.
When I listen to Haydn, I feel at peace. I feel happy. I feel protected, as if all of my problems disappeared the time of a symphony..
He's absolutely incredible and I'm genuinely sad that he's less famous than Mozart or Beethoven (many other composers deserve to be recognized as their worth, but I feel like Haydn's name is really unknown by so many)
Don't worry. I'll get the word out.
Maybe it's because his music is a bit more sophisticated as Mozart's ...
@@DressedForDrowning I like Mozart's music a lot! But as an hypersensible and autistic person, I feel like his music can be overwhelming and I can't focus on something else while hearing it, even when I try to
As opposition, Haydn's music calms my anxiety and helps me with sensory issues
I don't know if this is what you mean by sophisticated, but thus is how I feel it
(perdon my poor english, by the way)
Hello ! Mr J. Haydn is not less famous than Mozart or anyone else. He is Haydn, Mozart used to call Him papa Haydn, same for many others. Haydn is a pioneer, many owe Him a lot. Haydn is the Great Composer and Maestro for everyone. But, we should be able to appreciate Him.
@@stephanebelizaire3627 I know! I'm talking about our actual time. At least in my country everybody knows Mozart's name but "Haydn's?? Never heard of..."
When I heard this work 42 years, ago as played by Antal Dorati, it was in the wee small hours of the morning in the Harmattan season in Nigeria and I felt I was in Paradise, because the music captured my mental picture of what to expect there. Thank Goodness I am still here reliving it. Thanks for this download. May you be rewarded with a place in Paradise.
A BIG THANKS for this beautiful comment :-)
42 years ago?! And in Nigeria! Amazing story... just goes to show the gift of music is timeless and universal :)
42 years ago???? But how old are you? you look much younger. And what's the Harmattan season?
Back again for more sublime music from the great original master of the symphony! With Paris conquered, we move on to London! Too bad he never came to New York, Philadelphia or Boston! Cheers, dear CM!
Thanks for your comments, have a good trip !
I often wonder about people who listen to recorded classical music, and comment on “flaws”, as if they were musical experts. The music is intended to be listened to, and enjoyed, the way the composer meant it when he wrote it. There is no such thing as a bad performance; just lousy listeners.
Well said. People can be so pretentious.
@@MOGGS1942
Pretentious, moi ?
@@elaineblackhurst1509not lost on me, Sybil!😂
Nonsense. There are plenty of bad performances. This is why critical listening is so important. You clearly lack skill and experience listening to music. That's fine. But please don't make blanket statements as if your belief is some universal truth. If all performances were equally good, then nine of them would be any good at all.
How do you know they aren’t experts
Maestro Kurt Sanderling und seine Musiker spielen großartig!!! Tepper Michael.
I have enjoyed immensely Haydn's Complete Paris Symphonies. One can hear the finesse, the dynamics, the beautiful lyrical melody, the vibrant intensity. An overwhelming cascade of clarity. Brilliant musicianship from the orchestra and splendours Paris Symphonies.
Helena, you welcome :)
Succinctly put!
Great music, conducted by the husband of a great bassist and bass teacher, the one and only dear Barbara Sanderling!
Nothing special but I have to say it. It is really the best performance of these marvellous symphonies that I have ever heard.
I've got close to ten versions and I'm still thinking on whyat you say. I like Kuijken's, but these per formances are lucid even if the tempi are sometimes odd.
Präzise und zugleich lebhafte Interpretation dieser fein komponierten Sinfonien mit gut harmonisierten und perfekt synchronisierten Töne aller Instrumente. Der intelligente Maestro dirigiert das ausgezeichnete Orchester im angemessenen Tempo mit effektiv kontrollierter Dynamik. Einfach wunderschön!
Haydn never disappoints! No matter what form his music takes, I always find something splendid in it. His symphonies are among my favorites. Thanks so much for posting these.
You will discover other diamonds in our Playlist :-)
th-cam.com/play/PL3UZpQL9LIxO-kfxI5EgerTMB-ijyPbCL.html
Have you tried MICHAEL Haydn? The sibling also wrote some wonderful pieces.
I've heard a few of his works on the radio over the years, and they sounded similar to his brother's work; not an untalented man, but he either didn't have the opportunities of F.J, or lacked his determination.
Trotz des ungewöhnlich schmerzhaften Familienlebens blieb Joseph Haydn mit seiner Seele und seinem Geist bis zum Ende seines Lebens in diesen Symphonien und anderen Werken stezt der Sieger!!! Haydn immer war ein Ritter!!! Tepper Michael.
agu.. contschita wurst auch ritter :) tax now, and go to arbeiten am Werke. Los.
Un sommet d'art musical et de justesse d'interprétation. Un grand merci pour ce trésor !
Спасибо большое. Запись такой хороший, 50 лет назад. Чувствуешь себя прямо в зале перед оркестром.
Whenever anybody asks me why I like classical music I tell them I like the way it sounds
Many people even fans of classical music are not really aware that the major composers composed a lot of chamber music and smaller pieces for unusual instruments which are quite creative and interesting. Particularly smaller pieces by Beethoven and Haydn are really worth finding.
I find it as simple and troth full as you please to describe it.
"If it sounds good, it is good" -- Count Basie
Steven Thyng
The English conductor Sir Thomas Beecham once remarked that:
‘The English may not like music, but they love the noise it makes’.
It is a shamee that so many people who believe they are classical music buffs aren't familiar with the 'lesser known', 'small peices', the 'minor works' of the great composers. The solo piano works of Dvorack and Schubert, the chamber music of Beethoven are so rich. Search them out, you'll be glad you did.
Haydn’s music has a healing effect, and a panacea for the soul
I wear well no matter how much I listen to Haydn’s music
Its early hours of the morning ,can't sleep so it gives me time to listen to such great music from these great composers ,different artist of yesterday ,just great music ,thank you all
:-)
These are truly great works. The more I listen to them, including the London Symphonies, the more I'm convinced they are as great or even exceed the greatness of the symphonies of Mozart.
Yes, God bless Haydn. We should have a plan for preserving his works through the coming dark age.
They exceed Mozart by some measure. It's all in the form and construction, but if it's catchy tunes you want then Mozart's your man.
Indeed. Mozart is sublime but If you need a symphonist to save your life, Haydn is your man.
Yes and after Haydn saves your life...Beethoven gives you the courage to move forward again
Beethoven just wrote 9 masterpieces, Haydn has atleast 30, speaking of Symphonies.
Excelente, magistral "Symphony No. 82 in C "L'Ours" y magnífica interpretación de Kurt Sanderling.
아름다운 연주곡 잘 들었습니다~감사합니다~🎵🎻🎻🌿🍀☘🌹🌹☘🍀🌿❤❤
I could listen to this all day everyday. Thank you for the upload.
Despite the unusually painful family life, Joseph Haydn, with his soul and spirit until the end of his life in these symphonies and other works, remained internally always the Winner !!! Tepper Michael.
Amazing. Haydn is an example to admire and imitate.
@@ganymeade5151
Only if we accept the simplistic caricature of the composer propagated largely by persons whose knowledge of the composer makes a shopping list look like a learned tome.
Some of the sweetest music ever composed.
In 1784 the Paris-based concert enterprise, the ‘Concert de la Loge Olympique, commissioned six large-scale symphonies from Franz Joseph Haydn. First performed in the French capital three years later, they soon became know as his Paris Symphonies. The Paris commission called for symphonies for large concert halls, thereby confronting Haydn with an entirely new problem : whereas his earlier symphonies had all been scored for his own chamber orchestra of between twenty-two and twenty-four musicians and intended to entertain the court, he how had to adapt his style to a whole new type of concert. Public concerts were far more common in Paris and London than they were in, say, Vienna. Haydn now had to write for an orchestra of forty violins, ten double basses and double wind, an array of forces that allowed him to achieve a more subtly differentiated handling of timbre, greater autonomy in his use of the individual instrumental groupings and more pointed dynamic contrats. The Paris Symphonies are generally and rightly regarded as one of the high points in Haydn’s output as a symphonic composer, a view that contemporary audiences clearly shared : all six works were greeted with loup applause when premièred in Paris. Activate subtitles for a presentation of each symphony.
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Haydn like, resemble me grate Grande Motsart. He's music. Because of they a Rats.Yeah! Why'll not? Coo-coo! How do you do? Here Tiger-62! Hi broheems!
Just curious you didn't mention violas and cellos. Do you know the numbers for them ?
The parisiens must have been gob-smacked!
don't forget it was Chevalier Saint-Georges who was the concertmaster for the premier of the Paris Symphonies, one of the first Black composers to rise to fame. He should be recognized as one of the reasons for that loud applause in Paris!
Thank you for that information. Listening to these masterpieces, I'd never have thought that Haydn had any difficulties composing for larger orchestral forces than what he usually had at the Esterhazy estate he spent the bulk of his long career working in.
There is hardly a more energizing opening in any music than in Bear Symphony, and these recordings are my favourites of this group of works.
Thank you for the good selection and superb sound quality.
엄정환 j(9
Un pur bonheur. Musicalité et élégance. Sublimes accords.
Thank you for so many generous shares of such beautiful music.
Deo gratias! This is my daily cure to all modern noise in todays society!
....and today's society itself!😛
i think the andante of symph 83 is one of haydn's greatest movements. A wonderful fusion of the rhetorical sturm und drang / CPE Bach style with the more italiante style of Mozart's andantes...
Now I understand from where Mozart took inspiration, thanks
Veramente una sinfonia incomparabile!Sono estasiata nell’ascolto di tale perfezione!
The best composer ever. The start point for others that came after.
Amazing Haydn music The Complete Paris Symphonies 82-87 by L'Ours, La Poule, La Reine, and Kurt Sanderling.
Very good music, very good recording. Surely masterpieces of the classical area, and this upload is a gem.
Wow! Nice performances !
Maravilloso !!!
I hate those who hate Haydn. Haydn at his best!!!
The Finest.
Absolutely 💯%!
grand scale hadyn by sanderling, who gave us some of the most emotionally devastating renditions of shostakovich and sibelius. kudos
Fantásticas versiones del inmortal Haydn. El Minuetto de la sinfonía nº 86 (1:58:10) me parece de las piezas más geniales de la Historia de la Música. Gracias por darnos la oportunidad de oír estas maravillosas sinfonías.
Gracias por tu comentario, saludos :)
Hola.. Maravilloso concierto. Felicidades por subirlo a la Red.
La encontré sin proponérmelo
y me quedé con ella ..la guardo en mi archivo. Es hermosa obra. Respeto para ese compositor maestro
Clássical Músic
Usted como siempre compartiendo lo mejor de la buena música gracias
The first movement of No. 82 seems to anticipate Beethoven's "Eroica". Same tempo, and a similar dynamic structure. Haydn was a great innovator.
A few years ago I heard this remark by a Radio3 (UK) announcer 'It's amazing how far Haydn had already gone to the world of Beethoven in these symphonies.'
Now that you mention it, I hear it.
Splendid !
BRILLIANT! WITH COMPLIMENTS.
Haydn related to Leopold Mozart " Your son is the greatest living composer known to me" Lofty praise from one of the Master composers of his day. Great "Classic music"
He changed his opinion later after hearing Handel in London.
shnimmuc
Haydn never changed his opinion about Mozart.
After hearing the performances of Handel in London, he was hugely impressed, particularly with the choruses.
This though rather begs the question why the performances of Handel put on from the early 1780’s at the National Library in Vienna by Baron van Swieten - attended by both Mozart and sometimes by Haydn - at which Handel, along with Bach, were the main featured composers, seem to have had relatively little impact - Mozart had re-orchestrated and arranged a number of Handel’s oratorios, including Messiah.
Haydn was very familiar with Handel, pre-London; but all the impact came whilst in that city.
Speaking to his biographer Carpani in ‘Le Haydine’ (published in 1812 three years after the composer’s death), Haydn did say of Handel:
‘Quest’ è il padre di tutti’ (‘He is the father of us all’).
Yet another ‘papà/‘father’ reference from the period to go with the Mozart ones.
Haydn was paid 25 Louis d`or for each symphony. One Louis d`or is 7.85 grams of gold x 25 = 19.63 grams of gold. Today worth 19.63x 60 Euro = 11 800 Euro for each symphony. In total for those 6 symphonies he made equal 70 000 Euro. And even more than that.
In addition to the 25 Louis d’or for each symphony, Haydn received a further 5 louis d’or for the publication rights, so your figures need revising upwards.
Incidentally, for further context, the fee Haydn received for the symphonies (which were commissioned either at the end of 1784 or the start of 1785) was five times greater than that Mozart himself reported that he was paid in 1778 for his ‘Paris’ symphony.
Благодарю за возможность наслаждаться Гениальной музыкой ВЕЛИКИХ
incomparable, bella música grande Haydn.
Haydn que nous aimons,haute admiration
Maravilloso....es un privilegio escuchar esta musica....simplemente hermosa
It should be noted that Mozart, a deeply convinced mason, pushed his father and Haydn to join masonry. Haydn was not an active mason. Nevertheless, he was known as such in the masonic world, in particular by the 'Loge Olympique' in Paris. Just as Mozart did, he used crypted masonic symbols in some of these symphonies. So, they form a complex and non uniform set. Such an opportunity to increase his fame in Paris and in the masonic world led him to very careful and ample architectures : the challenge was no more to enjoy Prinz Esterhazy's evenings !!! Many thanks indeed for having posted this integral, which shows how Haydn faced the challenge: listening to only one Symphony is of course a geat musical moment, but does not allow us to fully understand Haydn's overall response to his "brothers".
haydn siempre ha sido uno de mis músicos favoritos. Su música inspira y alivia el espiritu.
is very , very , very beautiful ❤
how anything so pretty can have such incredible gravity
Una Gran coleccion de melodias, Reconfortan el espiritu. Felicidades por su trabajo.
By the Grace of our mutual Gods and Ancestors, whichever culture we have come from, Thank you very much for providing all the good medicines and remedies that we the people will ever need in this troubling time. Thank you for enriching our bodies,minds,spirits and souls.
Thank you
Merci
Grazie
Gracias
Obrigado
Danke
Spasiba
고맙습니다
Thanks Binyguy :-) we really appreciate it :-)
very nicely expresed ty
Beautiful...Many thanks!
L 'Andante de la Symphonie n°84 est beau à pleurer, surtout lorsque l'on songe à ce qui arrivera en France quelques années plus tard... La Révolution Française de 1789 et les milliers de personnes décapitées annonçant la fin de l'Ancien Régime qui malgré ses défauts avait un côté brillant... Ces Symphonies Parisiennes sont le dernier vestige d'un monde disparu...
Sviatoslav Richter said about Kurt Sanderling: "He and Mravinsky were great conductors and musicans".
Very Good !
Very relaxed!! Thanks so much ~~🍃🍃
Thank you.
Merci beaucoup
What impeccable drive in the first symphony! Nothing less than Beethoven's third
Una música fantástica! Haydn es alegría para el espíritu
La Musique que j'aime ! Merci
"Heavenly Father I pray You keep the person reading this alive, safe, healthy & financially blessed them Lord .Amen🙏🏽💕🙏💗💕
Música melodiosa e contrastante, somente um homem prodigioso e inteligente a poderia idealizar, assim com tanta e imensa beleza. À sua eterna Paz.
Este concierto me gusta especialmente,gracias por compartirlo.
I love your background images
For someone who was so prolific, it was inevitable that he would use some ideas again but this sequence is particularly striking:
1:20:35
The stormy opening of the "Farewell" is immediately called to mind:
th-cam.com/video/KXctarOxRz8/w-d-xo.html
There's something similar in the prelude to Beethoven's 2nd Symphony when we get a sudden presentiment of the mighty 9th
Extraordinary !!! Perfect !!! Thanks for uploading
:-)
I LOVE Haydn, especially his underrated/under-performed chamber works, as well as, many of his symphonies. However, many (NOT ALL) of the movements from his 'Paris' Symphonies feel tired, repetitious and occasionally even trite. All that said, they are important works and I appreciate your posting them.
pretentious
@@SC-stonerconstruction Coming from a person pretentiously self-designated as 'RighteousStoner', that comment is hilarious.
@@bobbyorick2573 thats the whole point..its an oxymoron moron
i still have yet to be outwitted
@@SC-stonerconstruction I KNOW it's an oxymoron. And nice job of namecalling, Mr Prententious. You and President Pinocchio should get together, since you're both 'high' on yourselves (at least you have an excuse) and are both on a fifth grade level when it comes to namecalling people who make valid points about you. Finally, as far as ouwitting others - which you seem so proud of, but I'm sure ignorant about its truthfullness - remember this: Never let a battle of the wits become a battle of the nitwits. That said, I'm finished wasting time on you. Send all the replies you like, I'm sure you will, but I won't be reading them.
Truly great music of Hayden a master
Bien que Kurt Sanderling ne soit pas mon chef préféré, il est incontestable que certains de ces enregistrements sont des références, comme par exemple la neuvième de Beethoven ou ses Tchaïkovski.
Kurt Sanderling donne aux symphonies parisiennes un relief particulier, celui là même que seul Herbert von Karajan et Léonard Bernstein ont pu leur offrir. Cependant Sanderling se montre plus tranchant que ces deux derniers. Une mention aux versions barroqueuses de Frans Bruggen et Sigiswald Kuijken. Merci d'avoir mis en ligne ces versions, c'est toujours un plaisir d'écouter vos vidéos bien montés ( et vos éditions japonaises 😉 ) !
Merci, dans votre selection, nous avons toujours aimé la version de Bernstein qui dirige le New York Philharmonic :-)
Dans les versions barroqueuses il ne faut pas oublier Hogwood, Pinnock et Harnoncourt ( chez Teldec seulement ).
BEAUTIFUL
Beautiful works
Спасибо!
What an exquisite music! Voila!
amazing painting
Thank you! It is so nice!
Thanks for uploading!
Great choice!
Haydn is great musician, too.
The greatest in my opinion.
This is so awesome. Thanks a lot!
I have the feeling that Mozart got inspiration for his Jupiter symphony with the 4 notes that are the key in the first Mov of la Poule...
All 6 of Mozart's last symphonies are in the same keys as these 6. if they are " better " or not you decide.
@@petercrosland5502 They are all equally great.
Fernando Villegas
Almost certainly not.
If you’re thinking of the famous four note *do-re-fa-mi* motif then just for starters try these:
Mozart Symphony 1 (second movement Andante)
Mozart Symphony 33 (first movement)
Mozart Symphony 41 (Finale)
Mozart Mass K192
Haydn Symphony 3 (Finale - slight variant)
Haydn Symphony 11 (second movement)
Haydn Symphony 13 (Finale)
Haydn Symphony 25 (third movement)
Et cetera.
No ‘inspiration’, just an 18th century musical commonplace motif, probably originating from centuries earlier (Lucis Creator).
@@elaineblackhurst1509 Thanks for the info, I did not know. BTW, a lovely sequence....probably the reason to become a commodity.
Can you believe I missed attending the symphony that year?
very good ~~~!!!
Maravilloso, felicitaciones por su trabajo!
i just can say > i love it! :-) peace and love world!
Svarbiausiai geras įrašas.kokybiskas.
thank you, great!
Immortal 'Papa' Haydn!!!
The composer was never made Pope.
Is excellent ❤