J. Haydn - Hob I:39 - Symphony No. 39 in G minor (Hogwood)

[@TheVerySpecialK]

Probably my all-time favorite Haydn symphony, just on account of how unique it sounds. The dramatic utilization of silence, the simple yet effective motifs; all are typical of Haydn. Yet, this one stands apart, especially in terms of the first and last movements. A true gem.

[@Galantski]

I can't limit myself to a single favorite Haydn symphony, as there are many that I cherish, but this one definitely makes the list!

[@elaineblackhurst1509]

TheVerySpecialK Good point; the four and a half beat silence between bars 5 and 6 of the first movement is eerily unsettling and a good example of Haydn creating dramatic tension by defying expectations and disrupting the normal four bar question/answer phrasing and format of music of the time. This unpredictability is not uncommon in Haydn - it’s a trick Beethoven picked up directly from Haydn and therefore carried on into the next generation - and it is one of the key reasons some people find that Haydn’s music lacks the balance and poise of Mozart in particular, who almost never does this sort of thing; they are right - but Haydn is doing it deliberately and knows exactly what he is about. The silence I noted, and upon which you have commented, would never have occurred in Mozart, he did things differently; in this case, it is an inspired use of silence that is very powerful, and lifts the music dramatically, mysteriously, and emotionally from being Vanhal or Dittersdorf to being Haydn* (and once again, it is something that is also found in Beethoven). * Unfortunately KZbin is full of ‘experts’ who will tell you that these pauses - and much else - are ‘humour’, ‘a joke’, and the like, because they misguidedly imagine that Haydn is attempting to make us all laugh all the way through his works.

[@jonnybirdy0411]

I absolutely adore this symphony, especially the first movement

[@andrewpfeiffer6218]

Guest appearance of the Symphony No 8 minuet again in the minuet

[@joselopes2293]

Haydn is the father of the symphony. His music is amazing in harmony, grace and elegance. Viva Haydn a true genius of music that gives us unforgettable moments of pleasure and haunting music. Bravissimo

[@MrFiddler66]

"il mare turbato" (1768 ca) Il titolo, che compare su un solo manoscritto del 1779 e che non è stato ripreso da alcun editore, sembra più giustificato di altri nomi arbitrari, assegnate a sinfonie di Haydn ed entrati poi nell'uso. L'agitazione orchestrale, sopratutto nell'ultimo movimento, si può infatti collegare a un intento illustrativo, sia pure contenuto in una cornice formale impeccabile. Come nelle sinfonie della caccia (n.31 & 72) Haydn raddoppia il numero dei corni portandoli a quattro. LDC

[@elaineblackhurst1509]

Ottimo il tuo commento, ma in totale ci sono quattro sinfonie di Haydn con 4 corni: Sinfonie 13 72 31 e 39.

[@MrFiddler66]

@@elaineblackhurst1509 Vero quello che dici, ma il mio esempio si riferiva all'intento illustrativo presente nella n.31 e nella n. 72 e non nella n.13 e nella n.39. Mi fa piacere che sei una grande appassionata di Haydn. Scrivimi quando vuoi per scambiarci opinioni e idee. Un caro saluto.

[@leo32190]

Please refrain from using any other language other than English in the comments section. Thank you!

[@acerovalderas]

One of my favorite symphonies.

[@jean-pierremoignot5343]

Mes deux versions favorites sont Bruggen et Goldberg.Mais celle ci est remarquable.

[@philippeyared2050]

This is perfect. Hogwood was a true musician. Thank you.

[@nottinghillad]

he was a scholar and a true musician.

[@kallehed6330]

Mozart be like

[@elaineblackhurst1509]

Mozart clearly modelled his one and only sturm und drang-type symphony - the 4-horn* Symphony 25 in g minor (K183) - on Haydn’s 4-horn* g minor Symphony 39 (c.1767). Whilst on a trip to Vienna in 1773 where he wrote K183, he probably also either heard or saw the scores of: JC Bach’s symphony in g minor Opus 6 No 6 Vanhal’s symphony in g minor (g1). (There is a g2 written probably 1774). * Mozart followed Haydn’s lead in pitching two horns in B flat and two in G which allowed a wider use of harmonics needed for g minor, and solved the main technical restrictions of 18th century horns. (Mozart as late as 1788 similarly originally planned his g minor Symphony 40 (K550) with four horns, but quickly reduced them to two, one in B flat, and one in G).

[@lucaszavaluentie4855]

You know when a Haydn symphony is good in a minor key signature