F.J. Haydn - Hob I:3 - Symphony No. 3 in G major (Hogwood)

The symphony is set in 4 movements:
1. Allegro (0:00)
2. Andante moderato (5:17)
3. Minuetto (11:58)
4. Finale: Alla breve (15:46)
en.wikipedia.or...)
Performers: The Academy of Ancient Music, conducted by Christopher Hogwood.

[@bartjebartmans]

The Minuet is a canon between the higher and lower voices at the distance of one bar. Haydn would later write a similar canon in the minuet of his twenty-third symphony. Later, Haydn himself would develop this technique into the "Canones in Diapason" of the minuet of his Trauer Symphony and the "Witches' Minuet" of his D minor string quartet from Op. 76.

[@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.

[@ArchonExMachina]

The beauty, radiance, power, clarity, purity and relentless resolve -- the resolute resolution -- in Haydn's music gives me power to solve and overcome any problem or issue. Yes there are emotions present, but they are all mostly so positive that the contrast fades. If I really want to sense the feathering of the edges of my heart I go to Chopin. If I need to do powerlifting of the brain, have the wit and intelligence of a genius and the determination of a king, I go to Haydn.

[@GentlyHewStone]

This is a great comment. Beautifully put!

[@Hocin61]

Thank you for sharing this anthology of one of the big composers of classical music who had ever existed and simply even of music.

[@jean-pierremoignot5343]

Stendhal et Haydn sont mes écrivain et compositeurs préférrés.Tous deux respirent le bonheur.Ce n est pas par hazard que Stendhal a écrit une belle Vie de Haydn;Grand merci pour vtre remarquable travail.

[@elaineblackhurst1509]

Jean-Pierre Moignot A fascinating read indeed; however, it must be pointed out that this book is one of the most unscrupulously plagiarised, stolen, and pirated pieces of literature in the entire nineteenth century. Stendhal was a great French writer, but this particular Life of Haydn owes rather more to Giuseppe Carpani than it does to Henri Beyle. Un libro davvero affascinante, ma questo libro è uno dei pezzi di letteratura più plagiato - senza scrupoli - del ottocento. Questa Vita di Haydn è stata scritta dello scrittore famoso francese Stendhal; in realtà, Stendhal li aveva rubati, e purtroppo è più Giuseppe Carpani che Henri Beyle.

[@lionrem9656]

La Symphonie nº 3 de Joseph Haydn en sol majeur Hob.3 est une symphonie du compositeur autrichien Joseph Haydn. Composée entre 1760 et 1762, elle comporte quatre mouvements. Analyse de l'œuvre Allegro Andante moderato Menuet Allegro Instrumentation /deux hautbois, un basson, deux cors, cordes, continuo.

[@MauricioRamirez-fm1uu]

Thank you for such a great job organizing and sharing all this magnificent music.

[@acerovalderas]

The first movement of symphony 3 feels me with joy.

[@jackhousman6637]

All of Haydn's music fills me with joy. When I need to feel joyful, he never fails.

[@ИЛЬЯДемин-ь7ы]

Вот это вещь👍👍 Как в отпуск съездил

[@jonchic2002]

great composer and great musicians!

[@larisateslenko9642]

Андрей Попов Третья симфония Соль мажор написана Гайдном где-то между 1760 и 1762. В общем, старина Гайдн (в то время он, конечно, был не старина, а очень даже молодой человек)… хм… отчего-то вспомнилось из Достоевского: «Послушайте, молодой человек!!! Вы ещё очень молодой человек!!!» О чём это я? Ах да! Старина Гайдн не устаёт нас удивлять. Он впервые написал симфонию в 4-х частях! Эка невидаль! - скажете вы. Ну да, конечно, вы ведь привыкли давно, что почти во всех симфониях должно быть четыре части. Но тогда это было довольно редким явлением. Симфония, которая генеалогически происходит из серенады или дивертисмента и отчасти от французской оперной увертюры, в те времена обычно писалась в трёх частях, как и предыдущие две симфонии Гайдна. Почти все ранние симфонии Моцарта тоже трёхчастные. Красивое печальное Анданте здесь написано в Соль миноре. Довольно редкий случай использования для промежуточных частей одноимённой тональности. Хотя, у Гайдна и не такое бывает. Также можно заметить, что Гайдн очень неохотно использует духовые в медленных частях. В предыдущей симфонии в Анданте тоже играли одни струнные. Зато в менуэте в Третьей симфонии Гайдн даёт вволю посолировать валторнам и гобоям, это их выход в Гайдновской jam session. Звучит Третья симфония около 18 минут. Если бы Гайдн не позабыл поставить во Второй симфонии знаки повторов, она звучала бы примерно столько же и не была бы самой короткой Гайдновской симфонией. 😜

[@yvonnelenders5986]

Beautiful & Joyful!!

[@MrFiddler66]

(1759-1760 ca) La 3 sinfonia è tra le più solide e rappresentative tra quelle scritte tra il 1758 e il 1760 sopratutto per l'importanza riservata al finale, segno di tendenza ad una più coscienziosa ricerca dei limiti espressivi della sinfonia. FINALE (alla breve): introdurre una fuga in forma quasi canonica in una sinfonia è una temerità che lascerà perplessi anche i compositori del romanticismo. Haydn osa questo passo in un'opera giovanile e lo ripeterà poche altre volte nella sua carriera (vedi sinfonie nn. 40 e 70). Come detto non è una fuga in senso stretto bensì una fuga sinfonica perfettamente in carattere con gli altri movimenti. Lo stesso tema è formato da valori lunghi su una linea spezzata, quindi affine all'idea fondamentale del primo movimento. I controsoggetti sono due, uno dei quali udito nelle prime battute contemporaneamente al tema e frammisto alla fuga, si trasforma in una nuova idea che si combinerà in seguito con il tema stesso e il secondo controsoggetto. Quest'ultimo riecheggia il tema d'esordio della sinfonia n. 10 LDC

[@GeraldM_inNC]

I don't know why orchestras hardly ever program early Haydn in their live concerts. These early symphonies (I'm on a project to listen to them starting from #1) are gems. And they are fully classical, I don't hear any rococo in this one. Even as of 1760 Haydn was head and shoulders above his contemporaries. Love the fugal finale! The eerie slow movement was memorable too.

[@elanniel7959]

Very nice

[@howtouploadinfullquality3638]

The last movement of this symphony reminds me very much of Mozart's Piano Concerto no 25...anyone else hear a slight resemblance?

[@luisvitorino1968]

Adoro!

[@nehakiran525]

Came here after mozart😊:)

[@harryandruschak2843]

Why was symphony #2 removed?

[@ComposersbyNumbers]

I removed it momentarily because the audio stream of the last movement had been damaged during encoding. But I re-uploaded it about 2 weeks ago. It should be in the playlist

[@johanelpro5462]

ComposersbyNumbers :¿tendran las obras completas de otros compositores en especial de beethoven,christian bach y leopold mozart? y gracias por subir la obra completa de franz j. haydn

[@MArten11t]

What painting is that? Or at least what palace?

[@ComposersbyNumbers]

+Marten T The painting depicts the renovation project of the garden facade of the Esterhazy Palace (1812) by Albert Christoph Dies (1755-1822). Running out of money, Prince Nicolaus had to abandon the project.

[@MArten11t]

***** Thank you, I much appreciate it. Btw, love all your videos.

[@asafbeeri4037]

It seems to me that Mozart was influenced by this symphony when he wrote the Lacrimosa section of the requiem and the Finale of the Jupiter symphony...

[@elaineblackhurst1509]

Asaf Beeri No ‘influence’ whatsoever - it is highly unlikely Mozart knew this very early work. 18th century composers used frequently little tags such as the famous four notes *do-re-fa-mi* - or a slight variation of - which were very well known. Neither in Haydn 3 (c.1761-3), 13 (1763), nor Mozart 41 (1788), are either composing a new subject or theme, they were simply reusing a suitable old one that offered fantastic opportunities for contrapuntal development. As noted above, you will find that Haydn used a similar four note motif again in the finale of Symphony 13. Mozart himself used it more than once: as an 8 year old boy in the Andante of Symphony 1 and in the first movement of Symphony 33 and in the Finale of Symphony 41 and in his Mass K192. Further examples of Haydn using the idea - or a slight variant - and/or treating it differently, occur in the second movement of Symphony 11, and the third movement of Symphony 25. Using old motifs was an 18th century commonplace; don’t read too much into it.

[@Shine-kg9vk]

And Leck mich im arsche

[@gregking4142]

@@elaineblackhurst1509 Well said. People are too intent on finding such similarities between unrelated works. With all the thousands of pieces of music made in the classical style, the occasional instance of motivic similarity is inevitable.

[@elaineblackhurst1509]

Greg King You’re quite right and the four note motto from the finale of the ‘Jupiter’ symphony is one in which listeners imagine all sorts of nonsensical links. Mozart and Haydn both used the motif, or variants a number of times; - it even appears in the slow movement of the eight year old Mozart’s Symphony 1 (K16) written in London, intoned by the horns; - in the symphony K. Ann 214 (45b); - and in the first movement of the Symphony 33 (K319); - Et cetera. As the four notes fit the words ‘Credo, Credo’, it probably appears numerous times in mass settings too, as it does specifically in Mozart’s Mass K192.

[@gregking4142]

@@elaineblackhurst1509 If I'm not mistaken, it also appears in works by Palestrina and Brahms.

[@gabrielfromyhr5694]

finale reminds me of Jupiter symphony

[@zakattack8624]

The Finale sounds like Mozart's Leck Mich im Arsch ;)

[@ecozcelik]

Good catch! Mozart actually took the melody from here :)

[@richrol58]

Are you sure it's not "...am Arsch?"

[@richrol58]

You're right--he did go for the more "intrusive" "...IM Arsch."

[@gt2x443]

@@richrol58 kzbin.info/www/bejne/iWqwf2WNmtZ5j5o ;)

[@elaineblackhurst1509]

@@ecozcelik No he didn’t.

[@Sionare]

I loved the andante moderato, principally the low tones

[@mikedaniels3009]

Josef F. Haydn, F for Feelgood, starting with the first chord thru to the last.

[@Gelonax-kb6in]

Fallout 3

[@CHRISTINEVERITYCOONEYdelia99]

I never listen to pop music. It is decadent, noisy, and disordered showing decline. classical music shows the law and order and beauty as there is in the universe, Be careful. Technical discussions get very complex.

[@w.l.hartman9929]

I agree Akhil. All music is an expression of the beauty inherent in the universe. Of course there is personal taste. I love classic up to Beethoven and then I get bored. This doesn't mean Ravel or others are boring, just that I get bored. I love metal too. Can't stand jazz or rap. All music is divine in its own right.

[@lanfordvideos]

Agree wholeheartedly. I never listen to today's trashy poor-excuse-for-music either. Instead I listen to the beautiful music of Haydn, Mozart, Bach, and Beethoven, which is not only brilliantly structured and highly mentally stimulating, but also brings us up to the higher plane of understanding about life possessed by a generation far more intelligent and enlightened than our own.