Symphony No. 54 in G major This is the first Haydn symphony to use the full classical orchestra: 2 flutes, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani and strings, and Haydn takes full advantage of the opportunity.
as I have been undertaking a complete Haydn symphony cycle for the last 15 years, currently working on the 54th symphony. what a great timing to find your video. your observation is absolutely right. I can recommend this to anyone who is not familier with Haydn symphonies. By the way, just one thing to mention about the 2nd movement. The repeat sign of the second half is eliminated in Henle's new Haydn complete edition. it says the authenticity of the repeat in the second half is in question.
I'm glad that someone elevates J. Haydn. He is a true Master. I'm also starting to like Michael Haydn very much. What a pair of brothers/composers. 🎼🎶🎶
# 54 has been one of my favorite Haydn symphonies ever since i got it back in the early 70's on a Nonesuch LP conducted by Leslie Jones. I never thought much about why I enjoy it so much. I just know that I do. I want to thank you for explaining why it is so exceptional. You hit the nail right on the head.
In this symphony, there are some lovely solo violin passages played by the concertmaster, which sounds very modern to my ears. I wonder if that was another one of Haydn's innovations.
Excellent comment, David: congratulations on your crusade in favor of Haydn's symphonies, so unjustly neglected. I think it corroborates your observations about symphony 54 to note that Haydn realized that he was greatly expanding the horizons and possibilities of his symphonic work: the unfinished edition of Haydn's symphonies by Hogwood has at least this merit of bringing two versions of this work, and the comparison between them shows the scope of this process.
I noticed a rather fascinating detail about this symphony... In the bars 8-9 of the Presto there is the sequence of notes G-F#-D, and the 4th part begins with the same 3 notes! This motive is rather unusual in the 18th century classical style, but appears quite often in spanish or norwegian music of folk inspiration, it is also the famous Grieg motive (A G# E at the begin of his piano concerto). This is of course coïncidental, but the presence and the emphasis on this motive at the beginning of both movements cannot be due to chance, it must have been of some importance to Haydn when composing this symphony.
I find it weird that Haydn didn’t use the clarinets until his last few symphonies. Because Haydn really really loved the clarinet as an instrument just like Mozart did. I don’t know was he waiting for the right moment to put them in because the clarinet is really a colorful instrument just like Haydn’s music. I’m 100% sure if Haydn had clarinets in his orchestra at the Esterhazy’s he would absolutely put them in his earlier symphonies and give them great passages.
Yes, he would have, but he didn't have the instruments. They were a Viennese specialty--Mozart only wrote for the clarinet because he had the Stadtler brothers available. Haydn's players in London were not on the same level, so he couldn't write extensively for the clarinet until the late oratorios (and a couple of the Masses).
As always, many thanks for this stiumlating series! I was litening to this symphony just last week, part of the recently-acquired Derek Solomons box from Sony, and I was startled anew by the panoply of instrumental colors and the haunting slow movement. I hadn't heard the work for a number of years and, like you, Dave, I had forgotten its splendors. I'm not particularly taken with Thomas Fey's performance, though, which seems too forceful and lacking in elegance. Solomons is better. Now I need to compare both with Dorati. Can't wait for the next installment.
Fey's is much better than Muller-Bruhl on Naxos, though. He is always a bit brash, and the problem with this performance is the very slow tempo for the trio in the minuet--but it's still better to be too exciting than dreary. I have to go with recordings where I have permission to use clips.
@@DavesClassicalGuide I understand about the copyright restrictions. Too bad. It limits you to Naxos and Hänssler. What about Fischer onn Brilliant? Do you have access to that series when you might need it for the "Crusade"? Müller-Bruhl is an interesting case. Very unpredictable. Sometimes bristling with fresh ideas, sometimes eccentric. I have to say it's been lots of fun getting to know the Solomons recordings again after so many years. I collected them in the Eighties and they made a big impression at the time overcoming my misgivings about period instruments in Haydn.
Joseph Haydn symphonies always sound fresh to me.Because of my age I tend not to remember some of them even though I started with Dorati on LP fifty years ago.I do not wish to say which is my favourite symphony as they are all top quality.This is a general comment from me which happens to appear in this symphony. You will definitely delete this but it is not an insult.I am far older than you so complete this series as soon as possible (50+3)
Hayden certainly did push forward the language of music, and also pushed forward the evolution of orchestral instruments, particularly the horns. His influence must have inspired the musicians of the day to engage with more refined techniques.
Hi Dave! Your book on Haydn is no longer available in Amazon, nor its Kindle verdion. Where can I purchase your Haydn book? Preferably the physical version.
That's annoying. Try the publisher's website. They do print on demand and there's a link to the audio tracks (Rowman and Littlefield). I just checked and it's available there.
