Wilhelm Backhaus (March 26, 1884–July 5, 1969) was a very famous German pia… Read Full Bio ↴Wilhelm Backhaus (March 26, 1884–July 5, 1969) was a very famous German pianist. Many German cities take their namesake from him. [Spelled 'Bachaus' on some record labels]
Born in Leipzig, Backhaus studied at the conservatoire in Leipzig with Alois Reckendorf until 1899, later taking private lessons with Eugen d'Albert in Frankfurt am Main. He made his first concert tour at the age of sixteen. In 1905 he won the Rubinstein Prize with Béla Bartók taking second place. He toured widely throughout his life - in 1921 he gave seventeen concerts in Buenos Aires in less than three weeks. In 1930 he moved to Lugano and became a citizen of Switzerland. He died in Villach in Austria where he was to play in a concert.
Backhaus was particularly well known for his interpretations of Ludwig van Beethoven and romantic music such as that by Johannes Brahms. He was also much admired as a chamber musician.
Born in Leipzig, Backhaus studied at the conservatoire in Leipzig with Alois Reckendorf until 1899, later taking private lessons with Eugen d'Albert in Frankfurt am Main. He made his first concert tour at the age of sixteen. In 1905 he won the Rubinstein Prize with Béla Bartók taking second place. He toured widely throughout his life - in 1921 he gave seventeen concerts in Buenos Aires in less than three weeks. In 1930 he moved to Lugano and became a citizen of Switzerland. He died in Villach in Austria where he was to play in a concert.
Backhaus was particularly well known for his interpretations of Ludwig van Beethoven and romantic music such as that by Johannes Brahms. He was also much admired as a chamber musician.
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Andante With Variations In F Minor Hob XVII:6
Wilhelm Backhaus Lyrics
No lyrics text found for this track.
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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Elaine Blackhurst
Jason Brown
Haydn was particularly fond of f minor, and there are a number of works in that key besides the quartet you mentioned:
Symphony 49
String Quartet Opus 55 No 2
two songs - Fidelity, and The Spirit’s Song
Orfeo’s great second act aria in the opera L’anima del filosofo
parts of his cantata Arianna a Naxos
and parts of the Scena di Berenice.
f minor was a key Haydn used rather more often than Mozart, and it inspired some of his most profound thoughts; it could even be called a favourite key over and above the obviously more common key signatures.
Elaine Blackhurst
Haydn was continually employed by the Eszterhazy family from 1761 until his death in 1809; he served four consecutive Princes and was paid either a salary, or a pension, and from 1790 - both.
Haydn did not lose his job as you suggest, what happened was that Haydn’s third Prince (Anton) - appalled at the cost of Prince.Nicholas’ musical establishment - disbanded the orchestra and abandoned Eszterhaza; Haydn was retained, but with only nominal duties - in effect he was a freelance composer with financial security from the Eszterhazy’s.
This allowed him to make the two long trips to England where he made himself financially double secure where basically, he made a fortune.
Haydn would have been able to see Maria Anna con Genzinger in Vienna from his return to Vienna in September 1790 until his departure to England in December of that same year, and from August 1792 - his return from England - until her death in January 1793.
The whole idea of idea of Haydn being ‘inspired’ by the death of someone - Mozart as well with his a minor piano sonata K310 often said to reflect the death of his mother - is highly speculative; I have similar doubts about the slow movement of his Symphony 98 being a tribute to his recently departed friend Mozart, as is often suggested.
But I maybe wrong…
These musical memorials are I think more a 19th century thing, as with Mendelssohn’s string quartet in f minor Opus 80 which was clearly about the loss of his sister Fanny (Mendelssohn wrote ‘Requiem for Fanny’ on the score).
Elaine Blackhurst
Mozart died in 1791, this work was written in 1793 in Vienna in the time between the two trips to England.
The great Haydn scholar HC Robbins Landon has suggested that there may be a link with the sudden death of Haydn’s friend Maria Anna Von Genzinger in January 1793.
I’ll offer a more sensational alternative theory.
This work underwent a number of revisions, and was extended.
In 1793, Beethoven was staying as a performing house guest at the Eszterhazy palace at Eisenstadt where Haydn was working on music for the forthcoming second visit to England, as well as teaching Beethoven counterpoint.
Did Beethoven perform the Variations at Eisenstadt ?
Did Haydn hear Beethoven add an extempore coda - something like what is now the final section ?
Did Haydn go away and write down something similar as his own final amendment ?
I suggest this as the final section of this magnificent work is probably the most Beethovenian music Beethoven never wrote.
Mozart - I’m not sure; by 1793, Haydn’s mind was full of England, and dealing with ‘the Great Mogul’.
Anyway, three theories - take your pick.
Kelvin Luk
1:02 - 1:19
3:06 - 3:12
4:39 - 4:44
4:49 - 5:00
7:00 - 7:18 (why are there frequent crescendo and decrescendo markings? Compare this short passage to the entire 5:05 - 6:00 where there are no dynamic indications)
8:04
8:30 - 8:36 (I understand why he disobeyed the first piano marking here, just here, but still, not necessary)
8:51 - 8:56
The above are just about entirely false ones. There are ones that he doesn't do enough, forte not forte enough, piano not piano enought etc Moreover, compare his piano somewhere to forte somewhere else, and hey! Piano is more forte than forte.
And I'm sorry but I am indeed the person that gave the dislike. I like Haydn and I really don't like this interpretation. This "dumbed-down" version seems to fit into the anecdote that Haydn is lesser but I don't ever think he is. Nor is he not a genius compared to Mozart. Mozart cannot compare to Haydn's depth and wisdom most of the times.
Luigi Brandão
Very funky harmonic twists... I loved the crazy tonal wandering with the neapolitan sixth - dominant - "X" near the end of the piece
林光輝
感人肺腑，無與倫比，真正名演。
Terry P
This man could write music! Baffles me that Haydn doesn't appear more frequently in concert programs.
無影片挑戰10訂閱
Why haydn can't make music
Jason Brown
@paolo t.s. Mozart and Haydn pair well together don't they? Mozart composed a fantasia in f minor for organ K608. adagio and Allegro in f minor K594 and well as a prelude and fugue in f minor K404. Haydn wrote a string quartet in f minor op 20 no 5. It's interesting to compare these pieces to each other and they offer some hints how to handle similar works by Beethoven and Schubert.
Elaine Blackhurst
Jason Brown
Haydn was particularly fond of f minor, and there are a number of works in that key besides the quartet you mentioned:
Symphony 49
String Quartet Opus 55 No 2
two songs - Fidelity, and The Spirit’s Song
Orfeo’s great second act aria in the opera L’anima del filosofo
parts of his cantata Arianna a Naxos
and parts of the Scena di Berenice.
f minor was a key Haydn used rather more often than Mozart, and it inspired some of his most profound thoughts; it could even be called a favourite key over and above the obviously more common key signatures.
Franz Eybler
4:16 how beautiful is this part
Brahyam O. Villaquiran
according the history, this pieces may have been written in response of the premature death of Maria Anna Von Genzinger, who had a close relationship with Haydn, that after loosing the job of "kapellmeister" or music director in the Eszterháza palace, wasn't able to see with frequency, making a feeling of longing in Haydn, it was a blow to him when she die, making it, a possible inspiration for this works.
WIM
you're a fucking dumbass if you honestly believe that. fucking astrology level of unfounded correlations.
Elaine Blackhurst
Haydn was continually employed by the Eszterhazy family from 1761 until his death in 1809; he served four consecutive Princes and was paid either a salary, or a pension, and from 1790 - both.
Haydn did not lose his job as you suggest, what happened was that Haydn’s third Prince (Anton) - appalled at the cost of Prince.Nicholas’ musical establishment - disbanded the orchestra and abandoned Eszterhaza; Haydn was retained, but with only nominal duties - in effect he was a freelance composer with financial security from the Eszterhazy’s.
This allowed him to make the two long trips to England where he made himself financially double secure where basically, he made a fortune.
Haydn would have been able to see Maria Anna con Genzinger in Vienna from his return to Vienna in September 1790 until his departure to England in December of that same year, and from August 1792 - his return from England - until her death in January 1793.
The whole idea of idea of Haydn being ‘inspired’ by the death of someone - Mozart as well with his a minor piano sonata K310 often said to reflect the death of his mother - is highly speculative; I have similar doubts about the slow movement of his Symphony 98 being a tribute to his recently departed friend Mozart, as is often suggested.
But I maybe wrong…
These musical memorials are I think more a 19th century thing, as with Mendelssohn’s string quartet in f minor Opus 80 which was clearly about the loss of his sister Fanny (Mendelssohn wrote ‘Requiem for Fanny’ on the score).