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Joseph Haydn / Symphony No. 39 in G minor (Solomons) 

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Franz Joseph Haydn (1732-1809)
Symphony No. 39 in G minor, Hob. I:39 (1767/68)
00:00 - Allegro assai
05:57 - Andante
11:58 - Menuet & Trio
15:40 - Finale. Allegro di molto
L'Estro Armonico, dir. Derek Solomons (1982)
"Haydn's G minor Symphony [No. 39] is original in many ways, not only for the harshness of its language, especially of the first movement and Finale, but for its orchestration. Here Haydn uses four horns, two in B flat alto and two in G. This means, firstly, that he can create sumptuous horn chords, and secondly, that he has a pair of horns at his disposal when he modulates to the relative major. Haydn's work had far-reaching consequences. J.B. Vanhal modeled at least one of his two G minor Symphonies on it, even to the four horns, and so, almost immediately, did J.C. Bach and, in 1773, W.A. Mozart (in K. 183, also with the four horns). It is also worth recalling that when Mozart started to compose the great G minor Symphony K. 550, he first used four horns, two in B flat alto and two in G, later reducing them to two.
The first movement of No. 39 is curiously unsettling. The main theme is announced and continued piano, and the tension inherent in its thematic layout is heightened by the extraordinary use of silence between the various sections. (This use of rests to increase the dramatic effect becomes a very important detail in Haydn's mature style, of which we are now on the threshold; no one knew better than he how to employ the art of silence, and many of his finest effects are derived by the single expedient of inserting a pause in the right place.) To give the second part of the melody a still more individual twist, Haydn stretches the last phrase with its characteristic octave sip, so that the theme simply dies away to nothing. The structure of the three component parts (4+6+4) is also cleverly veiled by the insertion of rests. Having achieved such a restless, almost frustrated atmosphere, Haydn creates a still more unified tension by employing this one theme throughout the movement. Indeed, Haydn cannot escape the hypnotic effect of his principal subject: he modulates from the tonic to the relative major: and the first subject appears, extending itself contrapuntally. In the development he reaches a superb, five-part tutti in which the violins, in imitation, sweep through a fine sequence; and again, we see that the oboe part is based upon a tiny fragment of the main theme, the string parts being derived from a figure found at the end of the exposition which, in turn, developed out of the principal theme. The whole movement is held together by a device which we have come to know well in the previous period: a bass line constantly moving in quavers.
After the force of the first movement, the quiet little Andante, for strings only in E flat, is a throwback to an earlier style: Haydn has not yet learned the secret of maintaining tension throughout a whole work. The Minuet is a serious piece worthy of the outer movements, while the Trio, in B flat (the relative major), is again rather jovial. It is only the Finale which really reaches the inspiration of the first movement. Here we have, in a symphony in a minor key, the same highly advanced type of movement [found] in No. 38. If the two middle movements of No. 39 were on the same artistic level as the outer allegros, we would have had one of Haydn's finest 'Sturm und Drang' symphonies; as it is, this flawed masterpiece is one of the most interesting of this strange interim period. What makes this Finale successful is not only the energetic drive and the nervous semiquavers which carry on the restless spirit of the opening movement, but the care with which Haydn has provided a number of dynamic contrasts; thus, the violins rush down the scale into a 'subito piano', while after the double bar, the first and second violins have a long passage by themselves, 'piano'; and the rest of the development is characterized by continual alterations of 'f' and 'p'." - H. Robbins Landon
Painting: Sturm und Regen in einem Holländischen Hafen, Andreas Achenbach

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16 июн 2024

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Комментарии : 96   
@daveerhardt1879
@daveerhardt1879 9 лет назад
This is one of my favorite early Haydn symphonies. The stress in the outer movements were so unlike the Haydn symphonies at that time.
@shnimmuc
@shnimmuc 8 лет назад
+Dave Erhardt Try 40, 43,45 for ~stress symphonies.
@matthieubreno9519
@matthieubreno9519 3 года назад
L’incorporation de figures de silences à l’intérieur des différents groupes thématiques (notamment le premier) et surtout la manière dont Haydn en fait usage relève d’une grande maîtrise du matériau musical. Dans un souci de dramatisation du discours (tension ...... résolution), Haydn s’émancipe de l’usage assez traditionnel que l’on fait des silences en prenant la liberté d’étirer leur valeurs, créant ainsi la surprise avec des arrêts non prévu et étonnant car plus longs que la moyenne (presque non mesuré) qui viennent fragmenter le discours. C’est très bien écris. Bravo l’artiste !
@elaineblackhurst1509
@elaineblackhurst1509 3 года назад
@@matthieubreno9519 Sono d’accordo al cento per cento; puoi dirlo forte. I agree completely; you are absolutely right.
@anrewmartin382
@anrewmartin382 4 года назад
A very beautiful symphony that Haydn composed as he was learning to develop his own particular style. From his compositions, many that followed him composed music indebted to his genius and his ability to experiment.
@LuisAlberto-eu5xb
@LuisAlberto-eu5xb 6 лет назад
One of the most excelent music of the 18th century.
@flayuhat
@flayuhat 6 лет назад
I. Allegro assai 0:01 II. Andante 5:57 III. Menuet & Trio 11:58 IV. Allegro di molto 15:40
@variouscastorena190
@variouscastorena190 4 года назад
Alegro di malto is very simillar to Mozart's allegro con brio
@variouscastorena190
@variouscastorena190 4 года назад
In symphony 25
@redrakham8060
@redrakham8060 4 года назад
Various Castorena right!
@Olovlig
@Olovlig 4 года назад
I really like this symphony. Ir reminds me a lot of Uttini (working for the swedish court in the 18th century), and Pergolesi. And some parts feel very operatic, like it’s part of an overture. I like the clean simplicity and the use of formulaic stuff like falling fifths and the La Folia-progression, still not boring to listen to.
@acerovalderas
@acerovalderas 5 лет назад
I love the first and fourth movements. This is an excellent recording.
@huangsharon4638
@huangsharon4638 8 лет назад
Thank you! This is the" Best of Haydn"
@MenofMayhem98
@MenofMayhem98 2 года назад
Zoe Hammerstein's Personal Diary It's so wonderful to be surrounded by all this talent! Little old me, who can barely play the violin, is sitting among some of the world's greatest musicians. I still can't believe my luck! Today was great too. I was able to record an entire symphony... HAYDN'S SYMPHONY NO. 3 IN D MINOR. It was so beautiful! I could barely keep up with the everyone else in the string section, but they were so nice. They encouraged me instead of being stuffy jerks or something. Best of all, they record all of it and then let you hear yourself play on the studio's speakers. I can't wait until tomorrow... I hear we're doing a piece from Dvorak! Fallout 3, Vault 92
@carlkulzer5982
@carlkulzer5982 4 месяца назад
Thank you for this outstanding recording of this passionate (for Haydn) symphony. I especially love the first movement. I am listening with Bose headphones, and the sound is great. Also excellent notes.
@LaPellegrina-jt8jv
@LaPellegrina-jt8jv 10 лет назад
L'Estro Armonico Directed from the violin by Derek Solomons Violon / Violon / Violine Derek Solomons Catherine Mackintosh Elizabeth Hunt Christopher Hirons David Woodcock Cathy Weiss Roderick Skeaping Viola / alto / Bratsche Ian White cello / violoncelle Anthony Pleeth double bass / contre basse / Kontrabass Peter McCathy bassoon / basson / Fagott Felix Warnock Alastair Mitchell harpsichord Sheba Blumenfeld oboe / hautobois Clare Shanks Sophia McKenna horn / cor Anthony Halstead Christian Rutherford Timothy Brown Patrick Garvey Trumpet / trompette / Trompete Stephen Keavey David Staff timpani / timbales / Pauken Stephen Henderson Pitch / Diapason A = 430
@DaviSilva-oc7iv
@DaviSilva-oc7iv 3 года назад
Mozart was inspired by this symphony to compose his 25th symphony
@parthborikar5676
@parthborikar5676 2 года назад
That's not quite accurate. His style of the symphony is same. But it's not written anywhere that he was DIRECTLY inspired from this piece.
@elaineblackhurst1509
@elaineblackhurst1509 2 года назад
@@parthborikar5676 The word ‘inspired’ is as absurdly mis-used as it is ludicrously over-used by English speakers. Mozart was well-aware of Haydn 39 (1768) and it was clearly the model for Mozart 25 (1773) - four horns, two pitched in G and two in B flat for example, along with some other features - but it’s a model, and that’s about it.
@parthborikar5676
@parthborikar5676 2 года назад
@@elaineblackhurst1509 Yepp that's the word. 'Model' I wasn't able to remember that word. Thanks for reminding me my friend
@pjbpiano
@pjbpiano Год назад
It would have been more accurate to say Beethoven’s fifth first movement theme was inspired from this. Especially the development section of B’s piece.
@elaineblackhurst1509
@elaineblackhurst1509 10 месяцев назад
@@pjbpiano I don’t think so, and even if Beethoven ever heard Haydn 39 (possible, but unlikely), ‘…inspired’ is wildly overstating the case. The famous motif that opens Beethoven 5 is foreshadowed clearly by Haydn a number of times; here’s just three to check-out for starters: Symphony 28 first movement String quartet Opus 50 No 4 opening motif Piano sonata in E flat Hob. XVI:49 knocking motif that occurs a number of times during the first movement.
@user-mq4do3uy6s
@user-mq4do3uy6s Год назад
О Гайдн, Гайдн!Волшебство!
@buzdug
@buzdug 4 года назад
The last part is awesome!
@exhocmomentopendetaeternit9096
@exhocmomentopendetaeternit9096 3 года назад
I absolutely love Haydn 💕
@cmrmusic4998
@cmrmusic4998 3 года назад
17:14 - 17:32 is absolutely transcendental.
@dreamer_4937
@dreamer_4937 4 года назад
Forgotten how cool this symphony is 😍
@biomuseum6645
@biomuseum6645 4 года назад
Simply inspiring
@raulillapel760
@raulillapel760 3 года назад
Esta melodia es como un susurro que acaricia suavemente el alma
@juanxxxcarlos
@juanxxxcarlos 11 лет назад
Excellent! Great job!
@FolkieMacc
@FolkieMacc 5 лет назад
Northern Chamber Orchestra played this at Macclesfield Heritage Centre last night. It worked very well in an intimate setting with a relatively small ensemble.
@Badmintonforall
@Badmintonforall 4 года назад
one of the most excellent conductor !
@AbdullahTurut
@AbdullahTurut 10 лет назад
again and again gorgeous
@Silvakki
@Silvakki Год назад
Meeting the mayor on first day of the 3 I have left till the moon falls.
@jade_14
@jade_14 5 лет назад
I just listen this piece in the orchesta of viena, and I fell in love...
@georgemark985
@georgemark985 5 лет назад
In Athens?
@jade_14
@jade_14 5 лет назад
@@georgemark985 Nope, in the city of vienna, in the Musikverein. It was amazing.
@margatroidderek9285
@margatroidderek9285 7 лет назад
The harpsichord makes it sound so prodigiously extravagant.
@Olegstuff21986
@Olegstuff21986 6 лет назад
It adds that baroque, mysterious feel to it. I agree :).
@MrJonimano
@MrJonimano 11 лет назад
¡Uf cuanta pasión! :D...
@sohosito
@sohosito 6 лет назад
“El Papá de las sinfonías” 'El anciano' Genio. De Austria para el mundo.
@elaineblackhurst1509
@elaineblackhurst1509 3 года назад
MAN SITO In whatever language you choose: In qualsiasi lingua si scelga: Haydn is *not* the ‘Father of the Symphony’. Haydn *non* è ‘il padre della sinfonia’. Etc/Ecc.
@paulefstathiou1819
@paulefstathiou1819 Год назад
Haydn !
@liachechel
@liachechel 4 года назад
Allegro di molto of this symphony is very similar to the final of CPE Bach's d minor flute concerto
@josephh8117
@josephh8117 3 года назад
Beginning my sturm und drang binge here
@vilebrequin6923
@vilebrequin6923 Месяц назад
Binge, baby, binge!😊
@waggishsagacity7947
@waggishsagacity7947 7 лет назад
A delightful collection of Haydn's Sturm und Drang symphonies and Sibelius's great symphonies (but there are more, you know) et alie, and a nod to Cesar Franck (and why not?) I love Symphony No. 39, but oddly here, there are 3 or 4 performances with the same number of names. Why? Otherwise, thanks.
@Tammerscot
@Tammerscot 5 лет назад
haydn piano concerto
@MrMo-zf4ul
@MrMo-zf4ul 4 года назад
So this is where Mozart got his no.25.
@elaineblackhurst1509
@elaineblackhurst1509 4 года назад
Deadppool L'amor Haydn’s Symphony 39 (1765) was a seminal work. It spawned a number of such works including JC Bach’s Opus 6 No 6 (published 1770) and Vanhal’s g1 (1771). All these g minor works were known in Vienna and therefore probably by Mozart who in 1773, made a one-off attempt at a sturm und drang style symphony and produced his Symphony 25 (K183).
@thethikboy
@thethikboy 5 лет назад
Oh goodness, the inspiration for Mozart's symphony of the same key.
@polyphoniac
@polyphoniac 5 лет назад
Indirectly, perhaps, via Vanhal. This symphony triggered something of a fad among composers of that period.
@elaineblackhurst1509
@elaineblackhurst1509 5 лет назад
polyphoniac ...and J C Bach’s g minor symphony Opus 6 Number 6.
@polyphoniac
@polyphoniac 5 лет назад
@@elaineblackhurst1509 Mozart appears to have known that J.C. Bach symphony at least by 1780, when he used material borrowed from it to launch the first-movement development section of his C-major symphony (K. 338) of that year. But I hear more striking parallels between Mozart's "Little G-minor" and the two g-minor symphonies of Vanhal, which Mozart likely heard on a visit he made to Vienna with his father in 1773. Incidentally, Vanhal, whose symphonies were immensely popular with the Viennese musical public in the 1770s, stopped writing symphonies around 1780. It's no accident that the few symphonies Mozart wrote in his Vienna years (before the final three, which appear to be a response to Artaria's publication of the first three "Paris" symphonies of Haydn, which were published in reverse order: E-flat, g minor, C major) were written for other cities (Linz, Prague, the "Haffner" initially for Salzburg).
@elaineblackhurst1509
@elaineblackhurst1509 5 лет назад
polyphoniac The influences and stimulus - both actually overstated - that led to his one-off and rather un-Mozartian g minor Symphony 25 were firstly and foremost Haydn’s seminal g minor Symphony 39 which is itself better described as the model - even down to copying the four horns, two in G and two in high B flat. Uniquely for Mozart, it has many of the standard sturm und drang features at which he decided to try his hand having clearly been impressed by works in this style that he heard in Vienna. JC Bach’s g minor symphony (Opus 6 No 6) - another single shot at this style, had been published in Amsterdam in 1770 and was therefore available in Europe, and along with Vanhal’s first g minor symphony (g1), also clearly modelled on the Haydn, all three works were I think known to Mozart. Your suggestion of Mozart knowing the JC symphony as late as 1780 is simply wrong; he probably heard it during his visit to Vienna in 1773 which is one of the most significant dates in Mozart’s musical development - he heard lots of new music including this symphony, but much more importantly, he heard a range of Haydn’s works which were very different from anything he had heard before. The sturm und drang style was as alien to Mozart as it was to his spiritual companion JC Bach; he would have heard probably the Haydn, JC Bach and Vanhal - and possibly others - in Vienna and decided to write a work in this fashionable manner. The fact that it was a one-off proves just how alien the style was to him; his second g minor attempt, Symphony 40 (K550), written fifteen years later, owes almost nothing to sturm und drang and is an entirely different matter. Mozart’s 25 lacks the fierceness and jagged edges of Haydn’s sturm und drang style; and you are right, because of that, it is in some ways closer to the Vanhal. Mozart’s more lyrical, cantabile qualities are evident in 25, along with sighing appoggiaturas all wrapped up in a more melancholy work that whilst being of great, indeed of striking individuality, remains an astonishing - if uncharacteristic- effort by the 17 year old young man. The first movement in particular has become very well known since Amadeus, and is today Mozart’s most popular early symphony; but perhaps overall as Robbins Landon has noted, the work as a whole ‘lacks balance’. The characteristics of sturm und drang works sat rather more comfortably with Haydn’s very different treatment of material than they did with that of Mozart - or JC Bach - ergo, a string of works in this style from the former, single shots from the latter. I think Vanhal’s second g minor work (g2) may postdate Mozart’s K183 by about a year, and therefore could obviously not be an influence. Thanks for your comments - some interesting points.
@elaineblackhurst1509
@elaineblackhurst1509 3 года назад
Better model than ‘inspiration’.
@xarmu0927
@xarmu0927 Год назад
The newest comment I've read was from three months ago. I wonder how long until someone comments again? Hopefully not too long.
@hiera1917
@hiera1917 6 лет назад
I would've guessed Mozart, very interesting.
@PANDORASBOXRELEASE
@PANDORASBOXRELEASE 6 лет назад
Mozart borrowed from Haydn and was a big fan of Haydn's work. In many ways Haydn shaped the early portion of the Classical period influencing many composers that came after him.
@ZenGrammy
@ZenGrammy 5 лет назад
This inspired Mozart’s Symphony 25
@elaineblackhurst1509
@elaineblackhurst1509 5 лет назад
KJ Mérida I would absolutely *not* have guessed Mozart. Apart From Mozart’s one-off attempt at writing music in this sturm und drang style - Symphony 25 in g minor (K183), modelled on this symphony, and influenced by others such as JC Bach and Vanhal that Mozart would probably have heard in Vienna, nothing else in Mozart sounds remotely like any of Haydn’s string of symphonies written in this style (for example 26, 44, 45, 49, 52). The two composers in fact have very little in common apart from the blatantly obvious such as using sonata form* and with a little careful and attentive listening are almost impossible to mistake for each other. * Superficially only - their treatment of the form was actually very different.
@sdnpls
@sdnpls 9 лет назад
does anyone know the name of the painting used for this video's background?
@aquablasterx3
@aquablasterx3 9 лет назад
Sturm und Regen in einem Holländischen Hafen, Andreas Achenbach
@sdnpls
@sdnpls 9 лет назад
TearS Aqua Star thanks a lot man
@MattH-wg7ou
@MattH-wg7ou 3 года назад
Its definitely different from, but also reminds me of Turner's "The Storm". One of my favorite pieces.
@MichaelCWBell
@MichaelCWBell 4 года назад
What’s the painting?
@kazuhwaa
@kazuhwaa 4 года назад
Sturm und Regen in einem Holländischen Hafen, Andreas Achenbach
@Jean_Angelo_SaezCompositor
@Jean_Angelo_SaezCompositor 3 года назад
4:25
@skipdowning2328
@skipdowning2328 6 лет назад
"flawed masterpiece"? are you kidding?
@_mechanick_8114
@_mechanick_8114 5 лет назад
15:41
@asdfgh3173
@asdfgh3173 3 года назад
mozart's k.183 inspired by this
@elaineblackhurst1509
@elaineblackhurst1509 3 года назад
Better model than ‘inspired by...’.
@kouru8708
@kouru8708 3 месяца назад
сведение не оч, у меня закажите
@keatk_
@keatk_ 5 лет назад
Can see where Mozart found his 25th
@rogernortman9219
@rogernortman9219 5 лет назад
Haydn's symphonies in the minor are always an emotional trip because he's usually so cheerful. Too bad that Mozart didn't have that imagination!
@mysteriev7071
@mysteriev7071 5 лет назад
Mozart did compose 2 symphonies in minor 25 and 40
@pseunition6038
@pseunition6038 5 лет назад
Are you joking or what? "Too bad that Mozart didn't have that imagination". Have you heard ANY minor key works by Mozart AT ALL? Also, a lot of his major works contain minor segments that are similar in feeling to this, but do you even care to listen to the entirety of Mozart's works?
@elaineblackhurst1509
@elaineblackhurst1509 5 лет назад
Pseunition Mozart wrote very little in the ‘sturm und drang’ style evident in Austria c.1765 - 1775 apart from the g minor Symphony 25 (K183) written in 1773. Mozart’s other very significant minor key works were of a very different type owing very little to sturm und drang, and everything to his very particular and unique genius.
@MrMo-zf4ul
@MrMo-zf4ul 4 года назад
Four words, Sympony no.25 at 17.
@mysteriev7071
@mysteriev7071 4 года назад
Mozart actually wrote another symphony in A minor, called "Odense" symphony.
@cesarenoviello
@cesarenoviello 5 лет назад
ciao vivaldi mi saluti
@feli4130
@feli4130 5 месяцев назад
ciao
@martinramin3703
@martinramin3703 2 года назад
The only avantage mozart had over hydn was gods support
@SuperMelvyn
@SuperMelvyn 5 лет назад
I am sure Solomons' orchestra is "correct" but in the halls of Eisenstadt and Esterhazy I am sure they would have sounded bigger with reverberation etc. Also, our modern ears are not "authentic" so that performances like this - precise, careful, committed though they are - diminish the stature, range and depth of the work so that it sounds like a museum piece rather than something that speaks directly to us across the centuries. Mozart benefits from the continuing presence of "inauthentic" performances by modern orchestras and Haydn needs the same advantages. That said, a marvelous work - especially the outer movements.
@SuperMelvyn
@SuperMelvyn 2 года назад
@Ubiquitary Such rudeness is inappropriate on youtube where civilized critical exchange is the norm. Perhaps you could re-phrase this as a critcal argument.
@fatsumo
@fatsumo 2 года назад
Let's not bring my wife into this...
@jakubix0099
@jakubix0099 4 года назад
I m from poland