J. Haydn - Hob I:38 - Symphony No. 38 in C major (Hogwood)

[@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

[@sydneysims8137]

Us, the humble servants of Muse in all sincerity love this composition of Meister H.

[@ahassett37]

*music

[@MrFiddler66]

(1766 -1768) Drammi e conflitti interiori sono esclusi in partenza dalla tonalità celebrativa di do maggiore - che impone per consuetudine l'aggiunta di trombe e timpani. E' tuttavia con questa sinfonia, la prima veramente compiuta e interessante in tutte le parti , Haydn ripete e supera il successo ottenuto con il "Giorno", effettuando un decisivo passo avanti. Allegro molto: Questo finale è un capolavoro e in esso la sinfonia trova la sua degna corona. Lo stile contrappuntistico, la scrittura concertante e la forma sonata sono fusi in un tutto omogeneo. Il secondo tema è affidato ancora ad un oboe. Ampi passaggi polifonici si alternano a esibizioni virtuosistiche in un contesto pieno di poesia. I due temi risuonano contemporaneamente, si separano, si inseguono sullo sfondo di pedali degli strumenti a fiato. Poi l'oboe scende al tono minore, per finire con la conclusiva corsa all'unisono in un solare do maggiore. LDC

[@Rickriquinho]

This is a work of a genius.

[@bobshifimods7302]

That goes for most Haydn works.

[@elaineblackhurst1509]

@@bobshifimods7302 Of the 107 (sic) symphonies Haydn composed, Symphony ‘A’ (Hob. I:107), a very early work c.1759, is the only one I would not recommend without reservation.

[@ronaldbwoodall2628]

Another one of Haydn's bright, fresh symphonies, this one with a delightful "echo effect" in the 'andante'; in fact I believe the work is known as the "Echo Symphony". it's played a little too straight here; I think Dorati's version captures its' humor more effectively. I like the way Hogwood takes the passage from 17:51 to 18:01 however.

[@ClarinetMate]

The horns are loving these symphonies haha

[@abigail8885]

TURN THAT SHI UP 🔥🔥🔥

[@jackwilmoresongs]

I recall reading that this ECHO symphony may have been a homage to some composer who died around that time, who had this style of echoing his phrases. But I cannot remember the name of the composer. More of a Baroque era composer I think.

[@elaineblackhurst1509]

Jacques Wilmore Echo and/or antiphonal effects were not uncommon throughout the Baroque period in many forms of music, particularly orchestral and choral works. They continued into the Classical period too and composers such as Haydn and Mozart used them, often less obviously, by for example having answering phrases between first and second violins; this is why orchestras playing music from this period - and beyond into the age of Beethoven - should always have the first and second violins split and sat opposite each other, rather than the more normal modern arrangement. Performances of the quartets of these composers should adopt the same seating arrangement for the same reason.

[@patriciayeiser6405]

@@elaineblackhurst1509 The echo effects in Baroque music were achieved by the tutti vs the ripieno or continuo group. The 18th century just varied the practice a bit.

[@elaineblackhurst1509]

Patricia Yeiser You are quite correct that in the concerti grossi of the Baroque period, the music was passed from the ripieno (main body) to the concertino (soloists). However, it was rather more than just echo effects, the soloists of the concertino group normally elaborated on the material of the opening and returning ritornello quite extensively. The continuo harpsichord - or small group - supported and filled in the bass of both ripieno and concertino; it did not have an independent part, its role was to simply realise the bass. Probably the best known examples of this where it can be clearly heard are Corelli’s seminal and magnificent set of twelve concerti grossi Opus 6, and the only set to really ever match it, the twelve Opus 6 of Handel. The pattern is repeated in hundreds of string concerti grossi from the period. Just for clarification, the elaboration of the music in the concertino sections is far more than simply echo effects. Some of the best genuine echo effects actually occur in church music where choirs were located in different parts of a church or cathedral; some of the music written for the Basilica San Marco in Venice for example is specifically written to exploit these antiphonal (or echo) effects, and they go back to the early seventeenth century with composers such as Monteverdi. The music of the Classical period as you say used the echo and varied the practice a bit; you will find works by Mozart and JC Bach for example written for two, or double orchestra(s) such as the latter’s Symphonies Opus 18 No’s 1, 3 and 5 specifically written to create the antiphonal/echo effect.

[@jackwilmoresongs]

@@elaineblackhurst1509 Thankyou for your insights into that style.

[@elaineblackhurst1509]

Jacques Wilmore You are very welcome; glad you found it useful.

[@bobshifimods7302]

I love Hogwood in some of the early symphonies. In this one however he goes seriously awry in the second movement from which the symphony derives its name. He takes it much too slow and kills the whole humour of the repeated motif. For me Dorati get's this work better than anyone else.

[@秋本康博-e3f]

This play would be probably much better if it contained the timpani.

[@bobshifimods7302]

You know I never noticed they were missing until you pointed it out. What about the continuo?

[@秋本康博-e3f]

@@bobshifimods7302 Nearly all the symphonies of J. Haydn during this period contain the continuo, don't they? For example, 'Mercury' symphony of the same composer was best played by Neville Marriner, but such performances are very few nowadays. Anyway thank you for your question.

[@elaineblackhurst1509]

@@秋本康博-e3f Haydn’s symphonies, including the very earliest do *not* contain a continuo part. Three reasons: 1. Haydn was the only keyboard player employed at Eisenstadt and Eszterhaza (and earlier by Count Morzin). It has been established - most conclusively by James Webster - that Haydn played the violin in the performances of symphonies.* 2. On no extant autograph manuscript, copy, or printed edition is there to be found a single figured bass marking from which to realise the continuo part. 3. The harpsichord continuo is not necessary as the harmony does not need filling out. That said, some conductors and listeners do prefer to use a continuo, but as I said, it is actually not necessary. * Haydn did of course play the harpsichord for the secco recitatives in the opera, and the organ for the church services.

[@elaineblackhurst1509]

@@bobshifimods7302 Continuo not necessary; you might find my reply above of some interest.

[@秋本康博-e3f]

@@elaineblackhurst1509 Thank you for your valuable information which I shall keep for the rest of my life. Then, Madame, how may we think about his symphony No.98 of which the part of harpsichord is essential?

[@amarzonic1992]

Berlin seid ihr gut drauf?