Once it gets going, though, it’s pretty good. 8 (‘Le soir’)We can see the delicate but increasing influence of the classical period trickling into Haydn’s symphonies by this point, as he leaves Baroque structures behind. 21. The six String Quartets, Op. Symphony No. (It is in this section of the last movement where the musicians stop playing, snuff out their candles, and leave in turn.). Joseph Haydn's Symphony No. Symphony No. A little by-the-numbers, perhaps, but the numbers are quite good. 33The viola, of all things, comes to the fore here, as Haydn gives it its own voice in the first movement here. 81 (103) Variations on a theme by Haydn (116) Symphony No. Symphony No. 2 - it’s short. This symphony is a bit like that. Browse. 39We’re well into the Sturm und Drang period now, and Haydn’s starting to sound edgy. Symphony No. Well, in no. 9; Gershwin – An American in Paris; Gershwin – Piano Concerto in F; Gounod – Faust; Handel – Messiah; Haydn – Symphony No. Symphony No. 99. Forget the rest of the symphony - splendid as it is, it’s all about the first minute. 66. Did Haydn own a boat? 4. 42Amid some of the more tired numbers in the mid-period, 42 is actually pretty lively. The horn of the time was the valveless natural horn, which needed to be adjusted with inserted crooks to play in different keys. 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. 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. 77 (164) Double Concerto, Op. 47. Aled Jones 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. 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. Do not be fooled: it’s a fairly boring early one.90. 44. Perhaps, with his advancing years and with dozens of symphonies under his belt, he was finally comfortable with his work? Download 'Song to the Moon' on iTunes, 11 January 2016, 10:45 | Updated: 3 January 2017, 16:41. 18. 17If you were to listen to Haydn’s symphonies in chronological order, no. Symphony No. Symphony No. Gerstein opened the Fantasie-themed second half with Haydn’s Fantasia in C major (also known as Capriccio), followed by Beethoven’s rarely played Fantasia in G minor, Op.77.Both composers are so well known for their highly formalistic genres such as sonatas and symphonies, that it was interesting to listen to their less rigorous side. Extra marks for death-avoiding dramatic premiere. Disappointing. 104. 50 No. 91. 9; Franck – Symphony in D minor; Haydn – Symphony No. 102 See Symphony No. 33. 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. 27. More stellar nickname work, everyone. Maybe a cameo from Zac Efron. Symphony no 4 in E minor, Op. Symphony No. 7am - 10am, Song to the Moon Symphony No. 101 (‘The Clock’)Finally, a nickname that makes sense! There’s even some musical dragging here, as Haydn hobbles the minuet with incessant dotted rhythms.75. Symphony No. Symphony No. Symphony No. 7 (‘Le midi’)The afternoon, eh? *takes Haydn’s horns away*45. Great, shivery triplets in the first movement, and a power-pop finale. 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. Nice melodies, the odd rhythmic tweak or structural innovation, but nothing more. 93. Symphony No. 8. 85. Symphony No. Symphony No. 1. It’s difficult to establish any kind of momentum, but there are chunks of the final movement that elevate the whole work higher than a complete throwaway. 16. 81 Haydn 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. It’s good actually. 54As Haydn gradually worked his way around the orchestra, so his explorations into the properties of individual instruments became stronger. Symphony No. 43. 89Another good one for the wind section, as Haydn grappled with an increased ensemble size. 60 (‘Il distratto’)The nickname for this one basically means ‘The Distracted’, and it’s pretty clear why. 57Another 30 minute+ symphony, but this time, it doesn’t seem like the ideas are stretched to breaking point. 29. Perhaps the most fun to be had with this one is to count the five-note semiquaver runs in the second movement. 103. The story was based on a children's fairy tale by E. T. A. Hoffmann, adapted by Alexandre Dumas.. 78. 96. 3; Mahler – Symphony No. Symphony No. At this relatively early stage in his career, Haydn clearly knows what he’s doing and is still smashing out melodies like there’s no tomorrow, his symphonies are becoming interchangeable. 50After a run of some really strong symphonies throughout the ‘40s, no. Symphony No. 50 is a total squelch. Symphony No. Symphony No. 80 (90) Tragic Overture, Op. 12You could describe the opening movement as a fun bit of fluff and everything after it composing-by-numbers, especially the ponderous second movement. The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. 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. 18The symphonies that open in slow tempo tend to fall into two camps when it comes to Haydn - spectral beauty, or a meandering plod. Listen to the oboe. 36. There’s a bit of ploddy syncopation in the second movement to get your pulse back to a sentient level, but aside from that there’s little to get truly excited about. 100. Symphony No. 76 by Joseph Haydn were composed in 1796 or 1797 and dedicated to the Hungarian count Joseph Georg von Erdödy (1754–1824). 41. Well, he picked wisely. 102See Symphony No. 83. Symphony No. The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). Does anyone really know how good it is? It is a delight to listen to, sure, but it’s an ephemeral pleasure that doesn’t last as long as it might. 17 would be about the point where you’d consider giving up. When Haydn gets killed by a mobile phone, you stop the, Haydn - Nelson Mass: How Haydn’s greatest work cemented, New Releases: Khatia Buniatishvili plays Rachmaninov and, Haydn: Symphonies Nos. Symphony No. Even the slow second movement (with which Haydn generally had mixed success) is passably sweet without distracting from the nippy numbers either side of it. An early sign in Haydn’s career that he knew how to craft tension, to elicit wonder and ecstasy, all with a gentle crescendo. 77 is the perfect accompaniment to jumping methodically into a series of puddles. Symphony No. But more than that, he’s challenging the horn players - their parts in the third movement would be a nightmare for any professional. 95Sounds a bit seafaring, maybe? Look, ENOUGH HORNS. The second, slow, movement in A major and 38 time is also in sonata form. 5; Mahler – Symphony No. Symphony No. 20. This was Tchaikovsky's last ballet, from which he compiled a famous Suite of eight numbers for concert performance. The magic of the second movement’s tick-tocking has become legendary and ensured no. Why won’t he let rip? If you’ve a nimble string section, this will put them to the test immediately. 37. Symphony No. 58 is pleasant enough, but there must’ve been a legion of music lovers at the time who were willing him to recapture the magic of his previous glories. But then it turned out that it actually happened at a different premiere (symphony no. It’s among the more interesting works of Haydn’s early-mid-period, and mostly because he seems to have committed to one character. 87. It’s balanced by some of the earliest meaningful woodwind parts in a Haydn symphony (hello tinkly flute lines), and the composer’s usual flourishes, but the sheer impact of those first few minutes are what it’s all about. What follows is a long coda-like section, in essence a second slow movement, which is highly unusual in Classical symphonies and was probably quite surprising to the Prince. Symphony No. 78Haydn composed no. 1; Mahler – Symphony No. Soundwise, it’s a bit more like getting a 2:2 from Plymouth. 74. Classical Era: Haydn's String Quartet in C Major, second movement. Symphony No. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Symphony No. 2Here’s the key thing with no. 88Go straight to the second movement. 42 (BANG-quiet, BANG-quiet). Winsome and pleasant enough, but it suffers from another quite tawdry slow movement.97. Enjoyable fireworks, for sure, but it’s showstopper rather than a heartstopper. 46. 14There’s an absolutely ingenious movement here, the finale, that bases all of its material on one descending scale. Symphony No. 41A grind. And like a bear, it is a lumbering beast, a definite carnivore and dangerous to cuddle. 35In No. Enjoyable, if not especially memorable. 69, there was no more melancholy in Haydn’s music and he churned out sprightly little chuffers like this one. Symphony No. 46, that opening optimism is quite quickly dissipated, making this Sturm und Drang masterpiece one of the symphonist’s finest achievements. Grim notes that aside from these departures from the norm, the first movement is "hardly able to be perceived as revolutionary" and "is not at all that adventurous, containing a development that ventures only to the levels of IV, International Music Score Library Project, https://en.wikipedia.org/w/index.php?title=Symphony_No._45_(Haydn)&oldid=1002054351, Wikipedia articles needing page number citations from August 2016, Articles with International Music Score Library Project links, Wikipedia articles with CANTIC identifiers, Wikipedia articles with MusicBrainz work identifiers, Wikipedia articles with WorldCat-VIAF identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 22 January 2021, at 16:46. It’s not a genre-buster, but it has a wonderful feel. Fairly passable. 92 (‘Oxford’)Right, so it’s nothing to do with Oxford - it just happened to be premiered when Haydn was awarded an honorary doctorate. Not challenging technically, but to nail that lyricism is a rare and satisfying thing. The craft of the build-up, the cheeky unexpected cadences, the silence between the notes… lovely. 22. Symphony No. 65. 42. Symphony No. 3; Mahler – Symphony No. 64. Often, it works beautifully and you can basically get away with it because they’re so logical. Well, it’s funny to musos, anyway. 62. Like Star Wars: The Force Awakens. Sadly, this is the latter. There’s a dignity, a quietness, a latent darkness even - all of the appropriate funereal emotions, basically. 85 (‘La Reine’)Not a pizza. So while it’s entertaining to hear them fight it out with the strings for ‘most important section’, it’s a bit confusing. Interestingly, having such a buoyant and bouncy first movement makes the impact of the slow, second movement all the more pronounced. 102 (87) Academic Festival Overture in C minor, Op. Symphony No. 38. Very pleasurable.20. 4Confusing filler. Extra marks for death-avoiding dramatic premiere. 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. 9 25 14. Symphony No. They form the last complete set of string quartets that Haydn composed. [2], At that time, Haydn's patron Nikolaus I, Prince Esterházy was resident, together with all his musicians and retinue, at his favorite summer palace at Eszterháza in rural Hungary. Symphony No. 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. Symphony No. 52, 53 and 59 - Royal Northern, The head of Austrian composer Joseph Haydn mysteriously. 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. Symphony No. Here, he turns his attention to the bassoon, and gives it a merry old tune to parp, which makes for a very enjoyable opening. 56. Haydn eschewed the traditional three-movement structure here in place of a four-movement epic, with plenty of little intricacies to keep symphony-nuts entertained, like a finale that squashes a fugue into sonata form. 2; Mahler – Symphony No. The results are, despite the simplicity of the source material, pretty stimulating. No more conforming to tropes - it was time for a bit of innovation. But, surprisingly, it’s no primitive beast. 22 (‘The Philosopher’)One of the first times we hear Haydn’s ‘effects’ within a symphony. A winner. Symphony No. Look, we’ve listened to 95 of these symphonies in a row. 67. 25. 78 as the final of three symphonies designed for London audiences, along with 76 and 77. The second movement is, however, an absolutely transparent whopper. 49 (‘La Passione’)When a truly dark, complex work leaps out of a musical canon so often reliant on frolic and joy, it’s a big deal. The music eventually reaches the end of the recapitulation in a passage that sounds very much as if it were the end of the symphony but suddenly breaks off in a dominant cadence. Very good value. 71Ah, sweet melancholy, you have returned! But is the symphony actually any good? 6 (‘Le matin’)That miraculous opening! It’s another of his stylistic tics, little amusements that he incorporated no-doubt to entertain himself as much as the audience. 104 (‘London’)Another belting opening, after the daring drumroll of no. Long, uninventive and positively backwards-looking. Symphony No. 57. 53 (‘L’imepriale’)Puff out your chest and revel in Haydn’s most overtly stately symphony. As for the nickname, this is more bonfire night than Mordor, so don’t worry about being traumatised.24. 53. 96. 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. *uncontrollable posh chuckle* And it’s gone on to become one of the moments that Haydn is best-known for, along with the ending to the ‘Farewell’. Symphony No. Symphony No. Symphony No. 96 (‘The Miracle’)So basically this is another nicknamed symphony where the nickname has literally no bearing on the symphony. Source for this paragraph: Webster (1991:2). 93This is the first of Haydn’s London symphonies, which make up the final 12 in terms of opus numbers. Symphony No. 50. Symphony No. It’s evidence that Haydn’s love of a good compositional game was established early and, if he didn’t get too bogged down, then it really works for the listener too.34. Trouble is, by this point, around 1763, Haydn was pretty much constantly knocking out symphonies with his eyes closed, which means a large chunk of that early output is pretty forgettable. Symphony No. Symphony No. Well… aside from some neat and intricate small ensemble work in the third movement, there’s not a whole lot to write home about in 56. 31 (‘Hornsignal’)Undoubtedly one of his finest openings - those clanging horns are so prominent, so enthusiastic, so bold. The rest is sort-of fun, but you know, not mega. 59. 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. Time passing makes mankind worse.” So yeah. 99A symphony of amazing moments, rather than a complete thematic success. 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