You’re quite correct, but it is clear that Haydn did not particularly trust the abilities of the clarinet players he found in London as the parts are quite conservative.
Interestingly, Haydn used clarinets for the first time in this symphony, and the cellos and double basses were written in separate parts. However, in his next symphony, there is no clarinet again and the double bass and cello are in the same part.
later haydn symphonies are very similar in structure, thematic material and use of instruments to Beethoven's earlier works. And fugatos in the last movement are similar to fugatos in Beethoven's middle work, symphony Eroica - 4th movement
Tempest Sirius Beethoven twice copied out the development section of the first movement of this symphony for study purposes, he was particularly interested in Haydn’s very skilled and modern thematic and motivic development, including the contrapuntal writing. Haydn used fugato passages and contrapuntal work frequently in his symphonies, and elsewhere - it was a key component in his compositional technique of motif and thematic development, so such passages are actually quite commonplace.* Symphonies 3, 13, 40 and 70 all have full-blown fugues as finales. You are quite right to highlight the links between the two composers which you have correctly identified. * Substitute the name Beethoven for Haydn in this sentence, and it remains 100% true; and you have one of the key things Beethoven *did* learn from Haydn.
i fucking love that tooo HAHAHAH i love clarinets and in this movement the times they sound are just so cool, i love minutes 23:52 and 23:56, that sound is just so great
All to fast. Historic informed playing is fine, but the idea that the tempi have always to be so fast is wrong. Also if you listen to Harnoncourt not all is hectically
I feel that they blend more because of the "weaker" strings. I don't have much of a preference. Modern and period performances have their strong and weak qualities.
@@hjo4104 I'm not so sure of that. Remember, this was the only kind of music they played. And haydn and Mozart wrote for they players they had. With beethoven it's a different story.
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Hydn's first symphony with clarinet.
You’re quite correct, but it is clear that Haydn did not particularly trust the abilities of the clarinet players he found in London as the parts are quite conservative.
In addition to Çellos and Contrabass are separated. But in 100. symphony he didn't clarinet again and cello-contrabass are combined
The gratest composer of all times.
Interestingly, Haydn used clarinets for the first time in this symphony, and the cellos and double basses were written in separate parts. However, in his next symphony, there is no clarinet again and the double bass and cello are in the same part.
Introduction - 00:00
Exposition - 02:13
(Ritornello - 04:08)
Development - 06:02
Recapitulation - 07:20
Coda - 08:43
later haydn symphonies are very similar in structure, thematic material and use of instruments to Beethoven's earlier works. And fugatos in the last movement are similar to fugatos in Beethoven's middle work, symphony Eroica - 4th movement
Tempest Sirius
Beethoven twice copied out the development section of the first movement of this symphony for study purposes, he was particularly interested in Haydn’s very skilled and modern thematic and motivic development, including the contrapuntal writing.
Haydn used fugato passages and contrapuntal work frequently in his symphonies, and elsewhere - it was a key component in his compositional technique of motif and thematic development, so such passages are actually quite commonplace.*
Symphonies 3, 13, 40 and 70 all have full-blown fugues as finales.
You are quite right to highlight the links between the two composers which you have correctly identified.
* Substitute the name Beethoven for Haydn in this sentence, and it remains 100% true; and you have one of the key things Beethoven *did* learn from Haydn.
Beethoven was Haydn's disciple.
Excelente el mejor
21:11 Last Movement
Beethoven symphony no.2? Anyone?
YESSS😂
mm. 120 horns?
25:05 clarinets
i fucking love that tooo HAHAHAH i love clarinets and in this movement the times they sound are just so cool, i love minutes 23:52 and 23:56, that sound is just so great
23:21
You like the fugato?
@@Piflaser it's excellent
@@hjo4104 As the whole symphony! Nr 88 and 99 are the best in my ears.
@@Piflaser I love nr 88! Idk why but it just stands out more than the rest!
All to fast. Historic informed playing is fine, but the idea that the tempi have always to be so fast is wrong. Also if you listen to Harnoncourt not all is hectically
This is fucking D major
IKR 😂
18th century tuning
@@a1s2d3f4g5q1w2e3right cuz i tried to play along with it but it wasnt lining up 💀
Period performances sound awful; as usual, the strings sound weak and flat. Out of here.
Ok lol, then why bother with the obnoxiously passive aggressive comment?
That performances still sound cleaner and better than those which composers heard 250 years ago...
I feel that they blend more because of the "weaker" strings. I don't have much of a preference. Modern and period performances have their strong and weak qualities.
@@hjo4104 I'm not so sure of that. Remember, this was the only kind of music they played. And haydn and Mozart wrote for they players they had. With beethoven it's a different story.
@@iiiiiiiiiiiiiiiivyHush queen. You're overreacting. Lo!
16:57