Quel génie Haydn! Un matériel harmonique simple et une inspiration dans chaque mesure. Un accompagnement de la basse dans le 1 er mouvement exceptionnel !!! Un chef d'œuvre magistralement interprété par Nevill Mariner
Great friend of JCWT Mozart. (It’s J Haydn, and WA* Mozart - one does not use the baptismal names) * Mozart adopted the Latin form Amadeus of the Greek Theophilus though they mean the same thing - lover of God; he actually used the Italian form Amadeo most frequently.
Can anyone say where Haydn used the cor anglais anywhere else in his music - and here he uses two. This work is good, the cor anglais sound beautiful, and very specific. Answers might be: - Two itinerant cor anglais players dropped by and Haydn used them once and once only. Possible but seems weird that no one else wrote pieces for two cor anglais and what did Haydn's normal oboe players do when this piece was performed? - Haydn didn't like it (or Prince Nickolaus Esterhaza didn't) - though I don't know anyone who doesn't like this piece - After this piece, the cor anglais were locked in a cupboard or damaged - though you wonder why no oboe version was made - Something else All suggestions welcome!
I think the cor anglais were probably played by the Eszterhaza orchestra’s resident oboe players as they always appear when the oboes are either silent, or as here, are absent entirely. Additionally, the cor anglais are almost always used in the key of E flat (both Mozart and Haydn had very keen ears for the sounds and mood of different instruments in certain keys that went some way beyond just the technical limitations of the instruments of the time). I would suggest that judging by the music Haydn wrote for it, that he did like the instrument very much; he understood very clearly its particular qualities - and perhaps limitations - and how to write effectively for the instrument. Symphony 22 is the only symphony by Haydn - or anyone else that I am aware - that uses a pair of cor anglais in the Classical period. Haydn certainly uses the cor anglais in vocal works up to 1775 as follows - others may be able to add to this list - but off the top of my head: Stabat Mater - an alto aria, and a quartet and chorus (1767). L’incontro improvviso - the stunningly sensuous trio for three sopranos ‘Mi sembra un sogno’ (1775); the strings are muted, and the two cor anglais are hauntingly effective. (This trio is Haydn’s ‘Soave sia il vento’ - if you do not know it, it is a *must* listen). It appears in other operas, including in the score of the late aborted London opera L’anima del filosofo (1791); and also in some other instrumental works such as the very early Divertimento a 8to Hob. II:16, and Hob. II:24 (1760/61).
@@elaineblackhurst1509 Thank you for this very full reply. Listening to Mi sembra un sogno. It is lovely. It is great to have such full explanations from someone who is so well informed about Haydn
The orchestration of this symphony is specific: strings, two horns, two english horns ( and one bssoon unisono with cellos). The expression is severe, conditioned by this odd orchestration. This is probably why it was named "the philosopher".
It's nickname 'the philosopher' is due to the classic 'question - answer' form of the music in the first movement. It reminds of the dialogue form of the old greek philosophers publications, especially Plato's famous dialogues.
@@BasJongeling The origin of the nickname - added later, and not by Haydn - is unknown; the story you have suggested is only one of a number that have been speculatively put forward.
How ironic that this symphony was written a full century before Frank's Symphony in d minor was premiered. And everybody was shocked to hear an English horn solo in a symphony! I guess an English horn duet in a symphony is okay but an English horn solo in a symphony isn't.
Mr Numerobis Haydn was never Mozart’s teacher; after the composers first met probably in 1783, they were both fully mature composers, and any teacher/pupil relationship would have been inappropriate. It is true that Haydn and Mozart learned things from each other after they met in the early 1780’s, but at a far deeper level than ‘influence’ - it was much more to do with challenge and stimulation. Mozart already knew a lot about Haydn well before - there is a lot of evidence that Mozart had been studying a number of Haydn’s works before their great friendship developed (symphonies, string quartets and piano sonatas in particular); in contrast, prior to their meeting, it seems unlikely that Haydn knew very much about Mozart at all.
