Maestro Orozco-Estrada always does the miracle. He is one of the finest and most elegant conductors in the world. I got in ecstasy when I saw him live with this same orchestra playing the dance suite from "Der Rosenkavalier" by Richard Strauss. But now I can see that he has that same elegant and precise touch with Haydn as well. The light speed, the fiery thing and the perfect execution by the horns in the last movement make an amazingly well-rounded and perfect Haydn. Listening and watching him conducting is always an absolute delight.
I. Satz: 00:28 (Presto) II. Satz: 04:54 (Andante o più tosto Allegretto) III. Satz: 11:15 (Menuetto 11:15 - Trio 12:33 - Menuetto 13:47) IV. Satz: 14:38 (Allegro assai) Applaus: 17:11
Maestro Orozco-Estrada demonstra uma flexibilidade sonora incrível, bem com a HR. Estão tocando com sonoridade original!!! Realmente, não se pode perder esse jovem maestro de vista!!! Surpreendente!! BRAVO!!!
This symphony abounds in original turns of phrase and rhythmic quirks (but what Haydn symphony doesn't?), and Maestro Orozco-Estrada looks as if he really enjoyed conducting it. His light, elegant (and dare I say, "fiery"?) touch with the score, and his enthusiasm, add to the enjoyment. The 'trio' of the 'menuetto' is my favorite section of the work - Haydn at his most imaginative. And did I detect a splash of Handel's "Water Music" in the finale - Haydn's way of extinguishing the fire?
The chances of Haydn knowing the Water Music - or anything else by Handel - as early as 1768 when he wrote Symphony 59 are next to zero; it’s a neat speculation though.
@@hjo4104 Haydn started to get to know Handel in the 1780’s through some of the Sunday morning sessions of ‘old’ music put on by Baron van Swieten in Vienna; these were the musical concerts that Mozart also attended (rather more than Haydn who was often away at Eszterhaza) and for whom he did his Handel re-orchestrations for example. The Handel bombshell really hit Haydn in England between 1791 and 1795 where he heard lots of big-scale Handel performances and was pretty much overwhelmed by the impact. Haydn before this may have known a few keyboard works, but it is very unlikely he would have come across any Handel occasional pieces like the Water Music - or Fireworks Music - as the chances of a performance in Vienna were pretty much zero. The Handel ‘Complete Edition’ did not appear until the second half of the 19th century in Germany (Chrysander), though there was an earlier incomplete Arnold edition in England published between 1787 and 1797, but this again is far too early in relation to Haydn’s Symphony 59. Handel was massive in England, almost cult status from the Royal family down to the most ordinary people at the Vauxhall Gardens - and everybody in-between; in contrast, he was barely known in Vienna, and relegated to non-mainstream sessions (as mentioned above) put on by van Swieten. My point was that Haydn *did* know a lot of music by Handel, but *not* as early as 1768 when Symphony 59 was written, and of course, stylistically, at this point, there is absolutely nothing of Handel in Haydn’s music itself which again is evidence of what I am saying.
Medical Museum I don’t think it is, and all this stuff about Haydn being funny is repeated ad nauseam without much evidence - as shown by the reply to your original question. It’s better to think of Haydn’s treatment and development of motifs and ideas as ‘ingeniously playful’ sometimes; this rather better explains what is going on. Also, there is some influence of opera buffa evident in Haydn from the mid-1770’s - it’s in Mozart too (finale of Haffner symphony) - which is a better diagnosis of the point than ‘humour’ or ‘funny’ et cetera. Some of the playfulness can be witty, but again ‘humour’ which implies laughing and joking, is another over-used word.
@Alcina Interesting thoughts as ever. ‘Witty’ and ‘playful’ are of course two of the most frequently found adjectives used by the late, great HC Robbins Landon with whom I spent a memorable day at the University of Bristol in England in 1982; not sure I would describe Robbie Landon nor his writings as a ‘…very restrained ladies tea-time’ sort of person or writer. As you may have gathered, I struggle with the whole concept of humour in music generally - I find Mozart’s Ein Musikalischer Spass (K522) very UN-funny - my problem entirely, though I do think there are some genuinely comedic moments in Haydn’s operas. Other than the operas, I think the humour aspect - ie trying to make listeners laugh through comicality - is somewhat over-stated in Haydn, and what there is to be found, is little more than that to be found in Beethoven who is rarely tarred by the same brush. Perhaps I just need to lighten up!
@@simatic7253 Piano - pianissimo - pianississimo, et cetera.* It’s the issi’s (= very) that you that you multiply in Italian for very quietly, and very very quietly and so on as seen on musical scores (p pp ppp); it works similarly for forte = loudly. You can have bravo/i/a/e and bravissimo/i/a/e; never seen or heard bbb. * You can occasionally find pppp = pianissississimo, or even ppppp = pianississississimo, but now it’s just getting silly!
