What he says is so true. The syntax of music itself at the molecular level up through larger scale form has Haydn's musical DNA all over it. It's not just Germanic music either, it's Western art music. I hear the influence of Haydn in American pop songs, particularly with phrase construction.
IMO, Paavo is one of the very best conductors of this time. Now, to the point: A deeper analysis reveals that Beethoven's symphonic style and approach are largely more derived from the innovations of Joseph Haydn, particularly exemplified in Haydn's Symphony No. 104, than from Wolfgang Amadeus Mozart's Symphonies Nos. 39-41. Haydn's Influence: The Architect of Modern Symphonism I view Haydn's Symphony No. 104, the last of his "London Symphonies," as the pinnacle of his symphonic work, showcasing advanced thematic development and orchestration. This symphony, along with his other late works, laid the groundwork for what would become the Romantic symphony. Haydn's focus on thematic exploration and the dramatic use of the orchestra set a template that Beethoven followed and expanded upon. Unlike Mozart, whose symphonies often contained operatic elements due to his strong roots in vocal music, Haydn's approach was more instrumentally focused, seeking to push the limits of orchestral expression. Beethoven's Path: Building on Haydn's Foundations Beethoven, not primarily an operatic composer himself, naturally gravitated towards Haydn's approach, in my view. His symphonies are characterized by a robust use of thematic development, innovative orchestration, and a dynamic exploration of form - aspects that are derived from Haydn's late symphonic style. While Beethoven was influenced by the chromaticism and harmonic language of the late Mozart, the structural and thematic aspects of his work are more aligned with Haydn's principles, as I see it. ***The Mozartian Symphony: A Distinct Branch*** Contrary to most beliefs, I find that the symphonic proposition put forth by Mozart, particularly in his last three symphonies (Nos. 39-41), did not find a direct continuation in Beethoven's work. Mozart's approach can be seen as a synthesis of various musical elements rather than a revolution in symphonic form(an original synthesis of Johann Sebastian Bach's fuge/counterpoint, the operatic elements inherent in his own work, and the sonata form as developed by Haydn). His contribution to the symphony lies more in the refinement and integration of these elements rather than in a radical transformation of the form. The Legacy of Haydn continued into Weber and Wagner The influence of Haydn's thematic symphonism extended beyond Beethoven, composers like Carl Maria von Weber and Richard Wagner, also drew from the symphonic school pioneered by Haydn. Their works, while distinct in their own right, continue the exploration of thematic development and orchestral innovation initiated by Haydn.
You are right, I didn't get it all but gather he started in wrong place and should have started with Haydn, strangely Alfred Brendel said just the same.
![[ ออกกอง ] วัยหนุ่ม 2544 โลกหลังลูกกรง..ทัวร์กองถ่ายหนังใน "คุกของจริง" | JUSTดูIT.](http://i.ytimg.com/vi/vB--aOkZCpw/mqdefault.jpg)
What he says is so true. The syntax of music itself at the molecular level up through larger scale form has Haydn's musical DNA all over it. It's not just Germanic music either, it's Western art music. I hear the influence of Haydn in American pop songs, particularly with phrase construction.
IMO, Paavo is one of the very best conductors of this time. Now, to the point:
A deeper analysis reveals that Beethoven's symphonic style and approach are largely more derived from the innovations of Joseph Haydn, particularly exemplified in Haydn's Symphony No. 104, than from Wolfgang Amadeus Mozart's Symphonies Nos. 39-41.
Haydn's Influence: The Architect of Modern Symphonism
I view Haydn's Symphony No. 104, the last of his "London Symphonies," as the pinnacle of his symphonic work, showcasing advanced thematic development and orchestration. This symphony, along with his other late works, laid the groundwork for what would become the Romantic symphony. Haydn's focus on thematic exploration and the dramatic use of the orchestra set a template that Beethoven followed and expanded upon. Unlike Mozart, whose symphonies often contained operatic elements due to his strong roots in vocal music, Haydn's approach was more instrumentally focused, seeking to push the limits of orchestral expression.
Beethoven's Path: Building on Haydn's Foundations
Beethoven, not primarily an operatic composer himself, naturally gravitated towards Haydn's approach, in my view. His symphonies are characterized by a robust use of thematic development, innovative orchestration, and a dynamic exploration of form - aspects that are derived from Haydn's late symphonic style. While Beethoven was influenced by the chromaticism and harmonic language of the late Mozart, the structural and thematic aspects of his work are more aligned with Haydn's principles, as I see it.
***The Mozartian Symphony: A Distinct Branch***
Contrary to most beliefs, I find that the symphonic proposition put forth by Mozart, particularly in his last three symphonies (Nos. 39-41), did not find a direct continuation in Beethoven's work. Mozart's approach can be seen as a synthesis of various musical elements rather than a revolution in symphonic form(an original synthesis of Johann Sebastian Bach's fuge/counterpoint, the operatic elements inherent in his own work, and the sonata form as developed by Haydn). His contribution to the symphony lies more in the refinement and integration of these elements rather than in a radical transformation of the form.
The Legacy of Haydn continued into Weber and Wagner
The influence of Haydn's thematic symphonism extended beyond Beethoven, composers like Carl Maria von Weber and Richard Wagner, also drew from the symphonic school pioneered by Haydn. Their works, while distinct in their own right, continue the exploration of thematic development and orchestral innovation initiated by Haydn.
Nice but audio quality is horrible
You are right, I didn't get it all but gather he started in wrong place and should have started with Haydn, strangely Alfred Brendel said just the same.