Repertoire: The Haydn Symphony CRUSADE (No. 40)

[@robertkunath1854]

This is a video that I have been waiting for. I discovered No. 40 when I got the complete Haydn Symphonies with Adam Fischer on Brilliant Classics. As soon as it began, I was looking up from my work (for, alas, I have to work during much of my listening). DH is quite right, I think, to emphasize its graciousness: it's a gorgeously urbane symphony. But it's also a consummate work of art, gripping from first bar to last, and DH has helped me appreciate it even more. This is one of the Haydn symphonies that I go out of my way to get multiple versions. If DH wanted to favor us with a few recommendations of especially gerat performances (kind of at odds with what he has permission to play, I realize), I would be all ears! And I can't wait for No. 44, which surely deserves a separate video on best recordings thereof.

[@martinheyworth3750]

Many thanks for your illuminating comments about the descending scale figure that occurs in more than one movement of this fine symphony and acts as a unifying feature. Thomas Beecham, who recorded the Haydn 'London' Symphonies, recorded this work in 1948 - his only recording of an early Haydn symphony, as far as I'm aware (it's available on KZbin). I recall reading that the horn virtuoso Dennis Brain was included in Beecham's performances of this symphony - in which the prominent first horn part in the trio of the minuet benefitted from his virtuosity. The autograph score of this symphony is dated 1763, making the work contemporary with Symphonies Nos. 12 and 13, whose autograph scores are extant and are also dated 1763. Although one could perhaps take issue with Beecham's slow tempo in the minuet and absence of the repeat of the first movement's exposition, his omission of a gratuitous and obtrusive harpsichord 'continuo' is a welcome instance of 'less is more'.

[@AaronKristerJohnson]

Rediscovered this unjustly neglected masterwork recently. It is a beauty, a real gem. All of it is fantastic, but for me the real highlights are the completely child-like graciousness and lack of ego in the 2nd movement (how can you not smile ear to ear -- if you do not, you are dead inside) and the magnificently compact and life-affirming fugal finale, which I could, and have, listened to on repeat.

[@tortuedelanuit2299]

One of my favorites, similar to another neglected symphony in the bustling, quasi-baroque style, No. 58.

[@Bucky58]

Always amazed that Haydn could write so many symphonies without repeating himself.

[@DavesClassicalGuide]

Me too.

[@felipeechavarria7229]

It's called genius in my book.

[@mhc2231]

I am also a fairly new subscriber (perhaps only on board a month or two). As a classical music lover who is a non-musician (I myself could never open a score and follow along), I want to thank you for your terrific channel. I've been systematically exploring the previous videos and discovering so much valuable and enlightening information (composers, music, history, and recordings). You have a gift for communicating musical ideas and concepts in vivid and approachable ways for those of us who are just figuring out what a key signature is. Naturally, I immediately became a Classics Today "Insider" and I look forward to continuing the journey. To echo Jonas Ebatt's comment; you are doing great and valuable work here -- Thank you. And as far as Haydn goes -- I've always loved this composer, but this crusade, along with the other Haydn videos you've posted, have really deepened my appreciation and led me to some pretty awesome recordings too. One idea: it seems like a trend among younger performers to record "recital" type CDs, mixing a major composer and familiar repertoire (Bach, Beethoven, Scarlatti) with later (often modern) composers to create a sort of dialogue across musical eras. David Greilsammer, Julien Leiber, Danish String Quartet come to mind as examples. I'd love to hear your thoughts on this "recital" type programming and which you think work particularly well. (just a thought).

[@DavesClassicalGuide]

Thank you for your suggestions, and welcome! Regarding recital programming of the type you describe, it all depends on the repertoire chosen, and how well it all comes together. Most of the time, in my experience, it doesn't, but there are notable exceptions. Cedille is a label that is particularly good at this type of programming.

[@johndillworth582]

You are on fire lately. Just spitting out content. Haydn wrote fugues? I love a good fugue. Count me in.

[@DavesClassicalGuide]

He wrote a lot of them. He was a dazzling contrapuntist.

[@robertkunath1854]

Wait until you hear the finale of Symphony No. 70, which Haydn uber-expert H.C. Robbins Landon justly called "a flaming triple fugue"! I can't wait until DH gets to it (and it's one the symphonies that Dorati and the Philharmonia Hungarica just nails!).

[@DavesClassicalGuide]

@@robertkunath1854 And it evolves out of nothing at all!

[@joelparshall80]

The second movement of this symphony is such a charmer. But the whole work is wonderful and, as you say, much neglected. Curiously, Beecham and the Royal Philharmonic recorded it on 78s in the late Forties but didn't do a lot more to explore Haydn's non-nicknamed early and middle symphonies, at least in recordings of which I'm aware. You're doing great work with the Haydn symphony crusade. I just finished listening to No. 60, "Il Distratto," and can't wait for you to get there, as I'm sure you can have a field day with it.

[@JoeSlam.]

Great videos David. Informative plus listening samples! Thanks!

[@DavesClassicalGuide]

My pleasure!

[@phanboyiv]

I'm loving these. Had never really paid much attention to Haydn before, but I liked the Chiaroscuro Quartet recordings of his string quartets so much, that got me listening to his symphonies, and there's so freaking *many* of them these individual breakdown episodes really help me understand what makes each one special.

[@andrewquirey7364]

Like that have to get that one.

[@mgketteridge]

Suggest you use the Adam Fischer performances of these marvellous symphonies. Why? No silly harpsichord, and they have been recorded at the Esterházy Palace, where they were originally performed. Most especially, in my humble opinion, they are played in a far more lively manner than that of the performances you are using. Do you perhaps have an agreement with Naxos, which prevents you from using the recordings on the Brilliant Label?

[@DavesClassicalGuide]

They aren't of Brilliant, technically, just licensed, and I don't have permission to use them for copyright reasons. I also disagree with you about their quality, at least in the late symphonies, but that's another matter. Naxos doesn't prevent me from doing anything--everyone else does.

[@mgketteridge]

@@DavesClassicalGuide Thank you for your reply, which, regarding copyright issues, did not surprise me. Thanks also for producing this series of “lectures” if that's not too grand a title for your excellent and extremely well-informed musicology not only about Haydn but many other composers that you have tempted me to investigate or revisit. Back to Haydn and Adam Fischer, I agree with you that his performances of the later symphonies from about 90 onwards are not so good; they lack the sparkle of the Sturm und Drang and the earlier ones. It's as if he and his orchestra were, dare I say, getting tired like players who annoyed Arturo Toscanini at times. Toscanini by the way, as you probably know, rated Haydn above Mozart as a composer, saying that the latter was very beautiful but always the same.