It’s still an enjoyable symphony, but mostly because the Germans call it ‘mit der Paukenschlag’ (‘with the kettledrum stroke’). But, surprisingly, it’s no primitive beast. 93. It’s not a genre-buster, but it has a wonderful feel. 4. If you’ve a nimble string section, this will put them to the test immediately. 15Real talk: the opening to this symphony is deathly. 76The temptation as soon as a Haydn symphony starts is to sing along, even if you don’t know the tune. By which we mean there are plenty of sneaky dissonances to enjoy, bumptious horns aplenty and a very sweet slow movement. Symphony No. Tolerably exhausting, like a strenuous playfight with an older sibling. Symphony No. According to James Webster, this choice was unusual; indeed the Farewell Symphony is apparently the only 18th-century symphony ever written in this key. As it stands, though, it’s a fairly blustery work, with the Largo standing out as the key achievement here - solemn, morose and in tune with that delightfully emo tempo marking. Not a classic, but solid enough. And the final movement is a whopping theme and variations, which takes the whole thing to over half an hour. 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. 34 it’s just percolating. No more conforming to tropes - it was time for a bit of innovation. Symphony No. Except it’s not surprising because literally everyone knows it’s coming. 49. 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. 12You could describe the opening movement as a fun bit of fluff and everything after it composing-by-numbers, especially the ponderous second movement. Though the melodies are undoubtedly fine, they are also languorous, slow, and perhaps overly dainty.80. There follows a series of dissonant suspensions carried across the bar line, which are extended to extraordinary lengths by Haydn when the same material appears in the recapitulation. 99A symphony of amazing moments, rather than a complete thematic success. 54As Haydn gradually worked his way around the orchestra, so his explorations into the properties of individual instruments became stronger. More stellar nickname work, everyone. Symphony No. 51. 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. 25. 19. 17If you were to listen to Haydn’s symphonies in chronological order, no. Symphony No. 27Chronologically, this one was written much earlier than you’d think, given it’s numerical placing within Haydn’s canon. Symphony No. Dvořák – Symphony No. 81. 3Uh-oh, time for an innovation! 20There’s a a wonderful momentum in the first movement, especially if you’ve got a particularly yearning woodwind section. A typical performance of the symphony lasts around twenty-five minutes. 68Haydn the joker returns, mucking about with accents in the minuet and trio to give the illusion of a wonky downbeat. Skip over. 18. Symphony No. Aled Jones Esterházy seems to have understood the message: the court returned to Eisenstadt the day following the performance. 9A bit of an autopilot symphony. 21You get the impression here that Haydn felt he’d got the whole symphony thing sewn up. Well, in no. Symphony No. He even goes as far as recycling his own material from the ‘Farewell’ symphony in the first movement. Start studying Final Exam for Humanities 102. What is the form used? Symphony No. Symphony No. So, for 21, he sets himself some rather nifty structural challenges, eschewing a traditional fast section in the opening movement and setting up the second movement as a colossal mirrored layout. Symphony No. 7; Dvořák – Cello Concerto; Dvořák – Symphony No. 69 (‘Laudon’)By the time he got to no. 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. 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. Neat. 79 is Haydn back to his (conservatively) experimental old self once again. 55. Just kidding! Symphony No. 93This is the first of Haydn’s London symphonies, which make up the final 12 in terms of opus numbers. Symphony No. Well, thankfully, no. 5; Mahler – Symphony No. 10Once again showing Haydn’s penchant for brevity when necessary, this 15 minuter still only comes to life in the finale. 86Strident, daring and ultimately triumphant, like sneaking in under the barrier in a multi-story car park when the car in front has already gone through. 7 (‘Le midi’)The afternoon, eh? 56. Perhaps, with his advancing years and with dozens of symphonies under his belt, he was finally comfortable with his work? Symphony No. Symphony No. 96. Imagine being hounded by an ex-lover who still has your bank details and has been completely inaccurate when dividing your possessions. 14. [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. 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. Symphony No. 73. 65It’s nice to note that Haydn’s slow movements get more interesting, daring and deep as the opus number increases. Symphony No. The results are, despite the simplicity of the source material, pretty stimulating. 62Allow it to wash over you and you’ll be fine. Haydn was keen on testing this already-tricky instrument, but here it feels a little like it was at the expense of decent melodies. 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