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Comments from YouTube:

t enomoto

The development of the finale is a masterclass on how to develop a simple theme contrapuntally and distribute it between voices. Haydn at his subtlest.

George Law

4y↑19

Haydn experiments with tonality in this symphony (the first of his in which clarinets are used): though the main key is E flat, the slow movement is in G major and the trio in C major. Note how the music at 18:55 moves effortlessly from the end of the minuet (E flat) to the start of the trio (C): the modulation is achieved through the note G, which is both the mediant of E-flat major and the dominant of C major. Little things like this are a source of fascination for me – and Haydn's symphonies are full of such little gems.

adrian jose corvis mausa

cm2 7iñccuucccccccc6

Elaine Blackhurst

2y↑1

George Law
You’re right to identify points of interest in this symphony because it puts you in good company.

Beethoven twice copied out the first movement development section for study purposes - he was particularly interested in the thematic development incorporating counterpoint.

Orden Just

2y↑3

I like the part that goes "pum pum pum pum pum pum."

haanashim

Thank you perfessor!

Katie Lamb

52w↑1

2nd movement is so beautiful, i listen to this several times a week

Ricardo Nascimento

Espetacular!!!!!

Olga Goncharuk

3y↑2

Бесподобно!!!!

Andrew Hill

5y↑4

A top favourite - along with 93, 101 and 102 from the final 12 symphonies. Fine recording.

Michael F

3y↑1

My own favourites list is partially different. So what? - late Haydn is simply wonderful.

haanashim

3y↑6

The woodwind writing - he learned from the recently departed Mozart.

Elaine Blackhurst

1y↑2

haanashim
The woodwind writing was largely determined by the quality of the players Haydn found in London.
It appears the clarinets were somewhat suspect, and not as good as those in Vienna, hence the rather conservative parts.

There is very little evidence that Haydn took much in terms of orchestration from Mozart, and the two composers had very different - note ‘different’, not better or worse - concepts of orchestral sonorities and textures.

golfan1000

Thank you so much for this. Balmic.

Brian Knapp

6y↑7

Lovely adagio slow movement.

myempathy

Can't build without a strong theme.

SilverDiamond

3y↑2

I play in the orchestra and we are playing this concerto

Elaine Blackhurst

Надежда Вазильева ‘...concerto’. Recte: ‘...symphony’.

David James

33w

Does this guy ever score for bass and snare drums, cymbals, triangles...?

Starless

26w

Listen to Symphony No. 100, 2nd Movement.

Vincent Andrews

3y↑1

Haydn was extraordinarily ahead of his time.

Elaine Blackhurst

Der Boss Komponist You’re right; but see my reply above.

Elaine Blackhurst

Vincent Andrews
Beethoven - ie next generation - was particularly interested in this symphony.

Beethoven twice copied out the development section of the first movement for study purposes - he seems to have been particularly interested in the contrapuntal aspects of the work - ie previous generation.

Der Boss Komponist

Not really. He was an extraordinary important part OF the time.

snowcarriage Cheng, Cheng-hung

3y↑1

Thanks for uploading!

galaga king

25w

I have this complete set but no phonograph 😢

MrFiddler66

5y↑1

Questa sinfonia pone un dilemma fu composta prima o dopo la n.1? Dal punto di vista armonico sembra tornare alla semplicità dei primi quartetti d'archi con quel susseguirsi di cadenze dominante-tonica, tonica-dominante. Barocchi sono pure i ritmi puntati di cui abbonda il primo movimento. Viceversa la struttura formale è molto più progredita, il discorso obbedisce a leggi logiche ed è ordinato in frasi ricorrenti che appartengono ad un musicista già provetto nella tecnica e nel linguaggio sinfonico. Altro segno caratteristico: la scomparsa dell'indicazione dei ritornelli, per cui la sinfonia si dipana senza ripetizioni, dal principio alla fine. Furono probabilmente questi particolari che risvegliarono l'interesse dell'editore Venier, il quale pubblicò l'opera a Parigi, nel 1764, sotto il titolo " I nomi sconosciuti che meritano di essere conosciuti". La fama internazionale di Haydn prende dunque le mosse da questa "seconda".

Roger Parton

4y↑1

It is possible you are considering the wrong symphony here. This work dates from quite late in Haydn's career (1793).

• sam

5y↑1

💙

~

1y↑1

What's the name of this painting?

Gogoxcn

1y↑1

Albert Christoph Dies - Leopoldine temple with pond (1807)

mustapha Le Sage larouci

5y↑1

bonne écoute a tous les fans

Michael T

14w

ERSCHÜTTERND !!! Tepper Michael.

StealBs

14w

Trop bi1 :)))))))

StealBs

14w

J'aime les bananes

PP1969GR

2:38

gda295

5y↑1

bruggen / haydn

K leo

14w

2:11

Ilia Khan

3y↑5

After you listen this music, you grow in confidence that modern music is a crime and should be strictly punished!

Starless

You, Sir, are stupid, and should keep that in mind when emptying the contents of your brain into the web.

[Insert Clever Name Here]

2y↑3

@Ilia Khan That is a terrible description of jazz. I'm not going to go on a tangent, but it sounds to me that you're just taking your own, narrow opinions and treating them as objective truth. I can't tell you what to like, but just shitting on music you don't like for no other reason than you don't like it is unimaginative

Ilia Khan

2y↑2

@[Insert Clever Name Here] Jazz is a vulgarity, humiliation of classical instruments. If you like improvisation and more full music than even classical, I advise you to listen to the Indian traditional music.

[Insert Clever Name Here]

2y↑1

@Ilia Khan I am not well-versed enough in modern music to throw out a good list of names, but there are many genres of music with many different musicians, one of my personal favorites being jazz. Let's also consider the times of Haydn versus today. In the 18th and 19th centuries, if you wanted your music to be known, you'd have to expend a ton of work in stuff not even related to the music (getting good concert venues, trying to get people to show up, etc.). Today, all one needs is some recording equipment and access to the internet to get their art out there. Additionally, tastes have changed. That doesn't make modern music bad, it just makes it not your favorite. You're certainly entitled to your opinion, but your opinion doesn't dictate what music is good. To compare music of yesteryear with today's is to compare apples to oranges. I'm not saying you can't enjoy classical music more (especially considering I do like that kind of music more myself); I'm just saying that doesn't make all modern music objectively bad, and the idea that "all modern music is bad because it's not as good as the kind of music I like is" is an unimaginative take.

Ilia Khan

2y↑1

@[Insert Clever Name Here] That's not problem, that there are mediocre. Problem is, that there are no Haydns any more. Can you name one, please? And look, how many Haydns were in the days of Haydn: Mozart, Beethoven and Antonio Salieri, who isn't worse than Mozart or Beethoven, not even distinguished in those days. The mediocre is not the problem. Without the mediocre there is no perfect. Everyone is mediocre in the process of learning. But the problem is that the musicians are no more aiming, trying and working to be perfect, and love disharmony more than harmony. Modern musician is the agent of chaos. Even popsingers, in their primitive melodies, managed to be the agents of chaos. Whom are you calling to be "intresting" in our modern times, Dmitri Shostakovich? Even Stalin and the battle for Leningrad together had barely managed to make him write a classical piece of music among his many symphonies.

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