Martha Caplin: Haydn - Symphony No. 77 in B-flat major, Hob.I:77 (Orpheus Chamber Orchestra) 

Yes. His music has been part of my life for the past 50years and whenever Listen I am filled with joy

In many ways I agree. I am very fond of Mozart, and his creativity is extraordinary, though I tend to go to his chamber works for that. Saying that, I overall do not enjoy his symphonies that much. But Haydn, yes Haydn, indeed Haydn.

Now on my third time round, it may not replace sex but should run it a close second - magnificent. Thanks EuroArts from the UK, the arts desert.

I think I have pointed this out before - but for the benefit of others - it seems pretty certain that from his appointment to the Eszterhazy court in 1761 that Haydn played the violin in his symphonies, *not* a keyboard continuo. For those interested, the reference study on the issue is: *James Webster: On the Absence of Keyboard Continuo in Haydn’s Symphonies.* Webster in essence goes through all the reasons why a keyboard continuo was not used; it’s a fascinating and essential read for anyone interested.

@@elaineblackhurst1509 I doubt he was playing anything, why would he? He didn't compose as much as he did pratting about playing the stuff he had written. Good example is Sym 99, in a particularly large orchestra he offered to help, playing the piano.

@@petercrosland5502 An unfortunate comment as it amounts to misinformation - a problem Haydn suffers from more than most composers - and as someone who properly appreciates Haydn, I am surprised you are peddling this nonsense. You really need to look at Webster’s study in order to be in a position to comment, and it is quite clear, *Haydn played the violin during the symphony performances at Eszterhaza,* though he did play the keyboard during the opera performances where obviously a harpsichord was essential as part of the little basso continuo group for the recitativi. If interested about when Haydn did actually play the harpsichord (he was the only keyboard player ever employed 1761-1790) like everything else I write on RU-vid it is factually accurate and source-based, and you might like to Search Pietro Travaglia’s painting of a performance of Haydn’s opera L’incontro improvviso from the Eszterhaza theatre 29 August 1775 which shows clearly Haydn at the harpsichord, surrounded by the continuo, with the orchestra in front of him.

⁠@@petercrosland5502 Not quite sure what to make of this surprisingly bizarre contribution which is as inaccurate as to fact as it is mistaken in its judgement.

An interesting personal perspective, but not one I share. This symphony for example has a considerable amount of very clever contrapuntal work in the outer movements which cannot really be absorbed in one listening; the Andante sostenuto is very sensuous in a particularly Haydnesque manner. Having known this symphony since the Dorati recordings appeared in the 1970’s, it is one to which I return often; additionally, nowadays we have the opportunity to listen to the work on period or modern instruments, larger and smaller scale, with or without harpsichord continuo, et cetera; each style of performance will reveal new beauties and intricacies, particularly in a symphony as fine as this one. All Haydn’s symphonies will bear repeated listening for those with ears to hear; that said, rather like food, it’s a personal choice, and your viewpoint is as valid as that of anyone else, though in this case, it would appear one of us might be mistaken.