Time passing makes mankind worse.” So yeah. To my colleagues, I apologise for your having to sit next to this: NB: I didn’t bother with any un-numbered or newly-discovered symphonies. 23. The second movement is, however, an absolutely transparent whopper. It was one of the works that helped Haydn's 4-movement symphony become the standard that would define orchestral music for generations. The work is in F♯ minor. 78, a decade later) and the key scheme of the movements correspondingly striking: F# minor, A major, F# major F# minor moving at the end to major. 65It’s nice to note that Haydn’s slow movements get more interesting, daring and deep as the opus number increases. Symphony No. Esterházy seems to have understood the message: the court returned to Eisenstadt the day following the performance. 14. It’s a wonderful effect and, with that brilliant story behind it, it’s almost enough, but unfortunately this one will never be premier league Haydn. Haydn phoning it in, no major stylistic tics or inventions.82. 47. This symphony is a bit like that. No 45 is one of the best-known of Haydn’s Eszterháza symphonies, largely because of the famous circumstances of its composition. 29OK, so there’s a weird thing about the melody in the third movement - basically, it’s supposed to be improvised by the harpsichord, but generally people don’t bother to put it in. 88Go straight to the second movement. Not top-flight Haydn, but severely enhanced by its unabashed brevity.54. Symphony No. 41. Angular, interlocking lines of melody wind around each other most attractively and inventively in the first movement, while the third features an impish trick - deliberately leaving one poor musician a quaver behind the pack to make the whole thing sound bowlegged and clumsy. The movement begins, as almost any other major work would open a movement, with an eight bar motivic idea that first appears in the 1st violin. Symphony No. The official reason is that some of the material was used for a play of the same name in 1775, but Haydn actually does sound pretty distracted here. ", The "Farewell"Symphony, dating from 1772, could be Haydn's most well-known and popular symphony. Tepid. 47 in G major, "Palindrome", Haydn: Symphony No. 49 in F minor is shrouded in ominous, gray clouds. Nice melodies, the odd rhythmic tweak or structural innovation, but nothing more. Symphony No. 31 in D major, "Hornsignal". Before you know it, the movement is over. 64 (’Tempora mutantur’)The literal translation of the full tempo marking at the beginning of no. The craft of the build-up, the cheeky unexpected cadences, the silence between the notes… lovely. 1It opens with a nifty, nippy crescendo, but then doesn’t do very much at all. 36Not a classic. 69 (‘Laudon’)By the time he got to no. A little by-the-numbers, perhaps, but the numbers are quite good. Then, for the first time in any of the Haydn symphonies we have examined so far, a real contrasting second theme appears--in the wrong place, of course! The third kind comes in mm. Symphony No. The opening phrase of the finale is as perfect an eight-measure period as one could ask for: Four measures ending with a half-cadence answered by four measures ending with a full cadence and nicely balanced in register (the phrase actually ends with an F# on the first beat of the next line). Symphony No. Just look at the third movement - nothing but wind, and a sweet flute solo. The Adagio in particular is a total smoothie, lithe and slippery in equal measure. Oh how they must have laughed, those 18th century boffins, as they caught wind of Haydn’s little game. This is the reverse of a dotted rhythm and is often described as a hiccup. 27Chronologically, this one was written much earlier than you’d think, given it’s numerical placing within Haydn’s canon. 62. Symphony No. So, what's the story behind this tradition? 58. These stories about the raids on Gibson guitar factories are just weird. 103. Still, it was only his first (numbered) stab at a symphony, so we’ll forgive. Was it an 18th century superyacht or a dinghy? The final movement is pretty impressive though - a rolling cast of soloists all have a pop at out-horning the horns, with entertaining results. 66. A winner. 29. Symphony No. 11. THE MUSIC SALON: classical music, popular culture, philosophy and anything else that catches my fancy... "Your opinion of Thile's Bach is . 28. It’s not a genre-buster, but it has a wonderful feel. 78Haydn composed no. Finale: Presto, 2/2 - Adagio, 3/8 (F# minor and A major, then F# major). And the final movement is a whopping theme and variations, which takes the whole thing to over half an hour. Symphony No. Well, it’s funny to musos, anyway. 102. 65. Symphony No. 42 (BANG-quiet, BANG-quiet). Symphony No. 50 in C major (1773 and 1774) Symphony No. 48. 82 in C major, "The Bear", Haydn: Symphony No. And, because it’s Haydn, there are a whole bunch of tricks and quirks embedded deep into the piece, from surprise entries to abrupt and remote key changes. Still, the epic drumroll that kicks this one off is a superb scene-setter. Scope/Content: Audio recording of the UCI Symphony Orchestra recorded at the Irvine Barclay Theatre, June 10, 1994.Scope/Content: Exsultate jubilate / W. A. Mozart -- Bassoon Concerto in F major, op. Or not. There are plenty of nice moments, though, especially the strings that gradually die away to absolutely nothing in the opening (very atmospheric), and Haydn’s ready and inventive use of extreme dynamics. 1 Performances. 18The symphonies that open in slow tempo tend to fall into two camps when it comes to Haydn - spectral beauty, or a meandering plod. If you’ve a nimble string section, this will put them to the test immediately. 51. Symphony No. Tolerably exhausting, like a strenuous playfight with an older sibling. Perhaps it was encountering young upstarts like Mozart that spurred him on once again, but this is a great example of tunes being equal with special effects. 50. 91There’s some reworked material from Handel’s Ariadne of Naxos buried in here, which perhaps explains why it feels more like accompaniment without melody to begin with. 96 (‘The Miracle’)So basically this is another nicknamed symphony where the nickname has literally no bearing on the symphony. Enjoyable, if not especially memorable. The bookend movements here are strong, but the middle is a bit of a plod. 76, though, there’s something deliciously unexpected about the melodies - lines go up where you expect them to go down, arpeggios rattle quite illogically at times, and soon you’re unsure whether to follow the bassoon or the strings. Symphony No. Well, thankfully, no. Symphony No. 32. Symphony No.45 in F-sharp minor Alt ernative. 97Super-chromatic from the outset, it’s as if old man Haydn is drunkenly scrawling across the manuscript, a smouldering fag-end perched on a shelf, dangerously close to his glass of Riesling. Symphony No. Well, in no. Great writing here at the music salon by the way - I just found the site recently and have been really enjoying it. And like a bear, it is a lumbering beast, a definite carnivore and dangerous to cuddle. 79 is Haydn back to his (conservatively) experimental old self once again. 67There’s a nervous energy to no, 67, almost a rediscovery of a past vigour. "I've been reading your blog for nearly a year now, and as a college student new to the world of classical music I have to say it's been incredibly informative. 102), so it was totally irrelevant. 48 (‘Maria Therese’)The Holy Roman Empress Maria Therese was probably scared stiff by those opening horns. Symphony No. Still worthy of inclusion in his late-period run of symphonic excellence, just about. Symphony No. Symphony No. There’s much to enjoy in the whole thing, but if you’re a symphonic meat-eater then you’re better off skipping to the Adagio. 49. Less than 10 minutes, no repeats, some pleasant themes and a small spotlight for the violas. 55 (‘The Schoolmaster’)Supposedly the nickname of this symphony comes from the second movement, which sounds like a schoolmaster wagging his finger and falling in love. 28. Either side of that, not much. 71. 64. 2Here’s the key thing with no. 36. 35. 13More evidence that Haydn loved the cello. Finale: Presto, 2/2 - Adagio, 3/8 (F# minor and A major, then F# major) The second movement uses just the two horns in A and the third movement, in the outrageous key of F# major, uses two in F#. Like two snakes doing a weird choreographed courtship ritual, the string lines encircle each other in the most unusual and delightful ways, before the whole thing gives over to a series of pastoral themes. 87Weirdly, after being guilty of phoning it in for quite a lot of these symphonies, the latter stages of Haydn’s career saw some of the most energetic works emerge. If you find a recording that foregrounds the continuo in that closing Presto, this is a right belter. 9, third movement. Of all his compositions, the genre of symphonic continues to thrive to our modern age, such as Symphony No. It is a tad sluggish though, you might even call it dramatic and *whispers reverently* romantic. 67. This final section is in F# major: Now let's listen to Christopher Hogwood and the Academy of Ancient Music with the whole symphony: I am so thankful for obsessive thinkers and writers like yourself who give us something interesting and intellectually nourishing to chew on almost every day. 19. Did Haydn own a boat? Forget the rest of the symphony - splendid as it is, it’s all about the first minute. Perhaps, with his advancing years and with dozens of symphonies under his belt, he was finally comfortable with his work? 84. Very satisfying. Except it’s not surprising because literally everyone knows it’s coming. Hard to tell. But with the second movement of no. Haydn’s fourth movement of this symphony is formulated as a Sonata-Rondo movement. (UPDATE: I forgot to mention that the motif changes to a tremolando version for the last four measures.) 56One of Haydn’s longest at over half an hour, but does he manage to fill it with enough decent tunes? Smooth Classics with Margherita Taylor No more conforming to tropes - it was time for a bit of innovation. Symphony No. Symphony No. Perhaps the most fun to be had with this one is to count the five-note semiquaver runs in the second movement. Symphony No. Like Star Wars: The Force Awakens. 2. 76. Symphony No. violins left (played by Haydn himself and the concertmaster. There’s like a billion of them. Symphony No. OK, stop sounding the horns. Symphony No. Winsome and pleasant enough, but it suffers from another quite tawdry slow movement.97. And a gesture as simple as that opening has huge consequences for the rest of the symphony - somehow, it makes it more reverential, more considered, more serious. Symphony No. Symphony No. Symphony No. Symphony No. 1 in G minor. 22. Symphony No. The second movement is obsessed by three different kinds of Lombardic rhythms (known in some circles as the "Scotch snap"). Overall the symphony is a melancholy work. 46 in B major (1772) Symphony No. 17 to 19, also in the violins. Symphony No. In truth, the symphony itself suffers from a slightly excessively meandering opening movement, but it’s the beginning of one of the composer’s most attractive musical guises. 19Wistful and bracing at the outset, then a little dismal in the middle, then back to being bracing at the end. 45 in F ♯ minor, known as the "Farewell" Symphony (German: Abschieds-Symphonie; modern orthography: German: Abschiedssinfonie), is a symphony dated 1772 on the autograph score. 74You could accuse Haydn of being the king of plod, needlessly dragging things out for far longer than necessary by repeating them or marking them at slow tempos. Symphony No. 84 (‘In nomine Domini’)Thanks to the massed orchestral forces at Haydn’s disposal during the time of his Paris symphonies, this is perhaps his windiest. The prince and his court moved to the palace as usual for the summer of 1772, but this time he had decreed that no wives or families of the musicians were to visit them there. Unless you look a bit more closely at the chronology of what was composed when, in which case that argument falls apart. Nearly all the symphonies, string quartets, and sonatas of Haydn, Mozart, Beethoven, and countless other composers begin with a first movement in sonata form. So I have decided to update i... UPDATE: As this post is getting a lot of attention, I have gone through and updated all the clips as my original choices all disappeared. 10Once again showing Haydn’s penchant for brevity when necessary, this 15 minuter still only comes to life in the finale. Literally no-one would notice. But the real meat here is in the second movement, one of his loveliest Adagios and a bittersweet treat. 99. Look, we’ve listened to 95 of these symphonies in a row. 4. More stellar nickname work, everyone. Symphony No. The discussion about the division of the octave into major thirds in Coltrane's "Giant Steps" got me thinking about other inst... A commentor asked a good question about my last post : In the sense you (both) have used the term here, what exactly is an arrangement? 61. The first symphony on this CD is one of Haydn's best known works and the only one of Haydn's early symphonies to retain a continued place in the repertory from Haydn's life until the present. 81Haydn is on dynamic and kinetic form here, giving conventional tonality a bit of a slap in the gills with his tricksy little stop-starts and key subversions. 15. Do not be fooled: it’s a fairly boring early one.90. There are flashes of inspiration elsewhere, sort-of, but generally you assume that this was being composed alongside a lot of other, more important works. Symphony No. 46Because so many of Haydn’s symphonies begin with a declamatory, jaunty melody, it’s a job to separate them into subtle emotional categories. It was written for Haydn's patron, Prince, , while he, Haydn and the court orchestra were at the Prince's summer palace in, . 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