J. Haydn - Hob I:80 - Symphony No. 80 in D minor (von der Goltz) 

Once a composer reaches a certain level, it talking about better or worse is irrelevant. One thing is if the composer can speak with his (or her) own voice. If this level is reached inferior composer can be profitably listened to.

He's been my favourite for over 32 years and my experience is like yours. I keep changing my mind about which works are best. There's no doubt in my mind he's the greatest composer of all time.

Yes, he is.

He is as great as Mozart, history though has tended to favour the more theatrical genius of Mozart, they are very different composers, even though they shared a similar classical period idiom. Haydn had so much hidden depths.

Yes I thought about that. This is like a return to Sturm Und Drang in a later idiom.

(Italian) Il culmine di questo adagio è alla battuta 17 dove tra le due melodie si innesta un angelico arpeggio discendente dapprima in fa maggiore e quindi in re minore, un grido inaspettato che non si ripeterà più. 6:20

you know a Haydn symphony is good when it is! ^^

I think it's quite clear that Beethoven's first 5 symphonies were highly influenced by Haydn.

Stop making stupid comparisons with Mozart. Mozart's Maurerische Trauermusik in C minor ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-okFlNAl7HQQ.html or Adagio & Fugue for String Orchestra in C minor ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FEORBxiMEjI.html are 100 times more innovative and profound than this. Haydn stopped writing opera in 1787 the same year Mozart's Don Giovanni premiered because he realized how much he paled compared to Mozart.

donald trump cards You’re absolutely right, people shouldn’t make ‘stupid comparisons’: unfortunately that’s exactly what you have then gone on to do yourself.

Yes it's a good performance. Isn't it so weird that great musicians remain obscure.

@@gouldhatedbachschromaticfa7494 Haydn stopped writing operas because his patron stopped requesting them.

Thread Bomb You are both partly right but there is an amount of ill-informed detail that does not help to make your points. Haydn’s last Eszterhaza opera was Armida first performed in 16 February 1784 (not 1787). Given that Mozart and Haydn almost certainly first met in 1784, Haydn’s abandoning opera had nothing to do with Don Giovanni - he had already stopped writing opera, indeed his last directly comparable opera - the dramma eroicomico Orlando paladino - was written in 1782. Haydn was overwhelmed by Figaro, and he certainly did decline opera commissions because he felt no other composer could show there face where Mozart was known - he stated this explicitly. However, he would not have accepted these commissions anyway because there were only 24 hours in each day - in the 1780’s he was conducting roughly 125 opera performances a year of about 12 different operas of which about half would be new productions. On top of the work in the opera house at Eszterhaza, after Armida (1784), he composed: - Symphonies 79 - 81, - The six ‘Paris’ symphonies 82 - 87; - Symphonies 88 - 92; - The string quartets Opus 42, 50, 54/55, 64 (nineteen in total); - The orchestral and string quartet versions of The Seven Last Words; - The concerti and notturni for the King of Naples; - Various masses, songs, piano sonatas and trios - Et cetera. The amount of music composed and performed in the 1780’s by both Mozart and Haydn, and given the advances made by both and the sustained quality of almost everything produced, is one of the greatest of musical phenomena. Regarding opera, Prince Nicholas never ‘...stopped requesting them’. From the above, you can draw your own conclusion that Haydn simply had no time to write his own when Prince Nicholas was quite happy to listen to Sarti, Cimarosa, Paisiello, Dittersdorf, Gazzaniga, Anfossi et al. Indeed, had he lived just a few months longer, Haydn had already acquired the score and vocal parts with the intention of performing ‘Le Nozze di Figaro’ in 1790/91. Haydn did not stop writing opera as implied by ‘Bernstein said...’, ‘because he paled...’. On his first London trip he was contracted to write ‘L’anima del filosofo’; a commission which he both accepted, and fulfilled. Additionally, there are a string of other operatic works including the fantastic scena, ‘Berenice, che fai ?’ (1795) which Beethoven knew well and used as the direct model for his own ‘Ah, perfido’, hardly time he would waste on a work that ‘...paled’. The grain of truth in the original comment, and in your reply, is that Haydn was almost certainly the first person to fully appreciate and understand the genius of Mozart’s later operas, at a time when contemporary Viennese opinion found there to be ‘...too many notes’, and preferred Cimarosa and Paisiello et al.

The names generally only capture one idea of the work anyway - hen, bear, clock, surprise...

É bom saber de apreciadores de Haydn em tal alto grau no Brasil, onde este genial compositor passa quase despercebido...

I'm glad other people are thinking up nicknames fro the un-named symphonies of Haydn. It shows you must love them as much as I do. You've given me an idea which I will take to the Haydn group on yahoo.

How come?

Gabriel Fromyhr Listen again Gabriel, Haydn has fooled you. Listen to the wobbly little Ländler in the seven (sic) bars just before the first movement da capo double bar...closer to a Disney cartoon soundtrack than sturm und drang. This little fragment of nonsense then takes over almost all of the development in a very un-sturm und drang way. It’s a great symphony, and Mozart liked it too; he played it at a couple of performances - including the premiere - of his Davide penitente in Vienna in 1785 ...but it’s not sturm und drang - it’s a fake.

Hii friend again x10000000

Hi, you say that this is the next station, cheers

@@m.erubik hello persistent musician!

-_-

@@luigivercotti6410 challange you to find the looprolled

I love that passage, the main theme transposed in minor mode. So Beethoven.

(☞ ͡° ͜ʖ ͡°)☞

Yes. It is.

What evidence do you have that Mozart considered it hilarious?

@@gregking4142 Mozart performed two symphonies by Haydn at the first performance of his Italian sacred cantata ‘Davide penitente’ (K469) in Vienna, two weeks before Easter 1785, this d minor symphony being one of the two. As such, I think the chances of Mozart thinking it ‘hilarious’ are pretty much zero. That said, this symphony - which is about as un-Mozartian as you could get - clearly fascinated Mozart, and with good reason. Symphony 80 was just one of a number of symphonies Mozart clearly knew and appreciated. Some others being 47, 62, and 75, which he noted for use in his concerts; the scrap of paper with the incipit of these three works - in Mozart’s hand - is in Philadelphia.

Moi je préfère Mozart....

Stop making stupid comparisons with Mozart. Mozart's Maurerische Trauermusik in C minor ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-okFlNAl7HQQ.html or Adagio & Fugue for String Orchestra in C minor ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FEORBxiMEjI.html are 100 times more innovative and profound than this. Haydn stopped writing opera in 1787 the same year Mozart's Don Giovanni premiered because he realized how much he paled compared to Mozart.

true! Haydn loved mozart

@@amadeuswolfe7180 and Mozart loved Haydn

donald trump cards You’re absolutely right, people should not make ‘...stupid comparisons’. Unfortunately, that’s exactly what you have yourself gone on to do.

That's your subjective impression from listening to the music. Another listener would say the opposite, and say it with just as much conviction as you make this assertion. Who says Bach, Mozart, and Wagner didn't put "love" into their music? Also, you say that the difference between Haydn and all others is love. If that difference can't be stated in musical terms, than it is simply imaginary.