F.J. Haydn - Hob I:7 - Symphony No. 7 in C major "Le midi" (Hogwood)

[@markmanning2545]

These symphonies climb with ease, and fall into grace.

[@doctordank]

Had the pleasure of seeing the Utah Symphony perform this last night. Great piece!

[@Tijaxtolan]

A symphony called "midday" performed at night... ._.

[@davidphillips5961]

there's prayers unawears

[@innocenzobarrera1505]

... che splendore il sound degli strumenti d'epoca de The Academy of Ancient Music di Hogwood!

[@larisateslenko9642]

Андрей Попов Седьмая симфония До мажор Гайдна являет собой вторую часть цикла «Утро - День - Вечер» и, соответственно, являет собой «День» или то, что бритты называют словом afternoon, то бишь, время от 12-ти пополудни до 6 часов вечера. 7-я симфония ещё больше, чем 6-я является симфонией-концертом. Сольные партии тут предусмотрены для концертмейстеров не только первых, но и вторых скрипок, а также для главного виолончелиста (или контрабасиста?). Местами, особенно в Аллегро 1-й части звучание совершенно подобно звучанию Кончерто гроссо. Первая часть, как и в предыдущей 6-й симфонии, начинается с медленного торжественного вступления, которое вскоре взрывается бурным концертным Аллегро, пиршеством солистов. Впрочем, солисты играют во всех частях, не только в первой. Вторая часть- Адажио, речитатив, соло одинокого героя. Третья - чудо из чудес, жемчужина Гайдна созерцательного. Здесь какое-то дивное ощущается единение со всей природой, с Космосом, с Богом. Кстати, впервые в медленных частях Гайдн использует гобои (во второй) и флейты (в третьей). Прежде у него медляки были инструментованы в симфониях только для струнных. Ага. Я не оговорился. Здесь не одно, а целых два Адажио, причём одно следует за другим! А частей в симфонии аж пять! Велика роль концертирующих солистов. На этой записи вы можете услышать также солирующий контрабас. Правда, в тех нотах, что у меня, это соло отдано виолончели. Интересно, как там в уртексте? Надо у Антона Антон Сафронов (Anton Safronov) спросить. И снова удивляет финал. Открою секрет: финалы симфоний - самое больное место почти у всех композиторов. Даже великим удавались едва ли 50% симфонических финалов. Гайдн же не промахнулся пока ни разу - всякий раз железная и убедительная точка в драматургии.

[@ЕвросетьЕвросеть-р8л]

Спасибо!!!

[@elaineblackhurst1509]

Some really interesting points, but just need to point out that Le Midi translates as Noon (midday) in English not afternoon which would be L’apres-midi.

[@henryglitz7534]

I can't get enough of the 2nd movement!

[@vinceturner3863]

Love the Viola (I think) and Double Bass in the trio of the third movement. Everybody in the orchestra gets a turn in this and the previous symphony. Both symphonies have a sinfonia concertante feel about them

[@MrFiddler66]

"il mezzogiorno" (1761) Scoperta una nuova via, Haydn sembra volerla percorrere fino in fondo. le tendenze concertistiche si accentuano ancora, accompagnate da un continuo mutamento di tempi e un ampliamento dei contorni fonici e della gamma timbrica. La ricerca di una espressione più umana e "totale" sfocia addirittura in un quinto movimento (1. Adagio-allegro 2. Recitativo 3. Adagio 4.Minuetto 5. Finale Allegro) . Alcuni biografi (Griesinger, Dies) ritengono che Haydn si riferisse in particolare a quest'opera quando disse di avare descritto caratteri morali nelle sinfonie. LDC

[@michaelwinby5854]

?

[@michaelp4657]

Anyone else wondering if Beethoven was inspired by the 2nd movement? Several striking similarities between this "recitative" and the one in the 9th. I'm sure someone has noticed it before, this is just the first time I've checked out Haydn's early symphonies.

[@edmundhartzell551]

I just noticed this. Immediately went to the comments to see if anyone else thought the same.

[@MaxwellKaye]

Whoa that sounds so much like the 9th (9:11 - 9:30)

[@torrestoledolucas]

Beethoven learned composition with Haydn, some of his early works were actually inspired by and dedicated to Haydn.

[@torrestoledolucas]

BTW, it kinda reminds me of Vivaldi's Summer

[@elaineblackhurst1509]

@@torrestoledolucas Beethoven did *not* learn composition from Haydn. The formal lessons Beethoven took were entirely concentrating on counterpoint and completing hundreds of exercises from Fux’s Gradus ad Parnassum. That said, outside the lessons, they may well have discussed music more widely - though not very often - as they found each other’s company mutually uncomfortable, and there were a whole string of ‘misunderstandings’ between the two of them.

[@jamesgulligan4326]

The Finale Allegro sounded a bit similar to the Clarinet Concerto by Mozart as well.

[@jamesgulligan4326]

They should call this Symphony No. 7 "Ripoff" (Get it? It's like Symphony No. 94 "Surprise").

[@StuartSimon]

That’s quite an accomplishment, to rip off music that won’t be composed for another thirty years. Exactly thirty.

[@LEONFENG134]

Mozart.HA! No surprise.That's why they call him "PAPA HAYDN" indeed. Get it?

[@jamesgulligan4326]

@@LEONFENG134 Jajajajaja

[@concerned1]

@@StuartSimon 🤣

[@Moribus_Artibus]

You can hear the transition from Baroque to Classical in this

[@elaineblackhurst1509]

This is entirely a new-style Classical symphony; not a note of it resembles in any way works by JS Bach, Handel, Telemann, Vivaldi, nor any other of the later Baroque composers.

[@Moribus_Artibus]

@@elaineblackhurst1509 Not too intensely, but I can pick up on some little flourishes and passages that have this Handel-like quality to them.

[@Marie2o05]

Did you get the Vivaldi inspiration with, for exemple the G A B G F like in the first movement of the autumn concerto by Vivaldi.

[@elinathanferlay1013]

I think that what you call a "Vivaldi inspiration" is actually due to some Baroque reminiscences. This symphonie was composed in 1761: Rameau, Telemann and Scarlatti were still alive. Baroque period wasn't totally finished in this time, and Classical period wasn't completely begun.

[@jasonhurd4379]

Actually the Baroque period proper finished back around 1720, not 1750, which is an arbitrary date chosen by music historians since it coincides with the death of Sebastian Bach. The bizarrerie and wild experimentation which were characteristic of the High Baroque and which gave the era its name, were all old hat by 1720, and the taste had already embraced the short-breathed phrasing and rejection of counterpoint inherent in the new galant style. Bach was notoriously old-fashioned, and just because he continued to adhere to a XVIIth-century æsthetic until his death by no means indicates that the Baroque era actually lasted that long.

[@dereksuszko728]

Does anyone know if the solo instrument in the trio is a baryton or viola da gamba or just a period cello?

[@ComposersbyNumbers]

It's a cello. To my knowledge, Haydn never called for a viola da gamba specifically, in any of his works. He did compose quite extensively for the baryton but only in chamber music settings (duets, trios up to octets). However, they were intended to be played by his employer, Prince Esterhazy, who would never have lowered himself to play a part among his servants in the orchestra (his loss!)

[@furnace6441]

The solo in the trio is a double bass, both according to the score and in this recording. Haydn was one of the first composers to write orchestral solos for the instrument

[@michaelwinby5854]

Showing off that knowledge I've not got! :)

[@davidphillips5961]

hydrn with him always renews

[@gracelee0515]

10:30