J. Haydn - Hob I:63 - 2nd Version - Symphony No. 63 in C major "La Roxelane" (Hogwood)

[@seneca4625]

Il Giardino Armonico has a great video of the 1st version of this sypmphony. Great stuff. This one's just ok.

[@ДженароГатузо-е7л]

О Гайдн , Гайдн ! Ты велик!

[@tomgrier9542]

The piu tosto allegro totally kicks my ass!

[@davestrickland8378]

I see what you mean.

[@robertnicora1136]

The second mouvement remember me carmen " et c'est la garde montante …"

[@josemendes1648]

Peça sinfônica linda mediante a música e muito triste minha vida não sei quem é vd que judia tanto de muito julga não posso morar em lugar e muito sofrimento ninguém me ajuda então ouço a sinfonia e muito triste amo a vida e parece que a vida não me ama km

[@robertgreene2684]

At 13 :54 begins one of Haydn's real inspirations. Wonderful(though too fast here for my preference)

[@timroebuck3458]

Seems like most post Bernstein conductors are in too much of a hurry. They don't seem to get that the minuet is a stately dance and not a break dance.

[@elaineblackhurst1509]

@@timroebuck3458 The point about the ‘correct’ tempo of a Classical period symphony is debatable, though you’re quite right that the origins of the Minuet are to be found in a dance movement. Mozart, Haydn, and Beethoven all wrote dancing Minuets for Viennese balls, but they are very different beasts from their symphonic Minuet cousins. Haydn marked the Minuet movement ‘Allegro molto’ in works as far apart as Symphony 28 (1765) and Symphony 94 (1792) - this is clearly not a dancing Minuet as the tempo is far too fast; additionally, the dance movement needs to be four-square to fit the steps, Haydn’s symphonic Minuets in particular are often are anything but, and are in effect undanceable. The so-called Minuet in Beethoven’s Symphony 1 is of course nothing of the sort, but is a fast - Allegro molto e vivace - one-in-a-bar Scherzo in all but name. Mozart’s symphonic Minuets never get any faster than the Allegeretto-type, but these too are not for dancing. If you listen to older recordings pre-c.1980 such as the Haydn ‘Paris’ or ‘London’ symphonies by Karajan and the Berlin Philharmonic, or from Dorati’s complete cycle with the Philharmonia Hungarica, then the Minuets to our ears today can seem ploddingly slow. The fact that Haydn was speeding-up Minuets considerably, and that Beethoven broke the mould completely with his new-style scherzi, suggests that even in the later part of the 18th century, the slower Minuet had perhaps had its day, and was considered slightly old-fashioned. That said, some modern performances, particularly when the Classical Minuet is taken at a brisk one-in-a-bar, do seem very fast, and in that respect, you probably have a point. The only other thing I’d add is that in Haydn particularly, there is a wide range of *different* tempo instructions attached to the Minuet movements which means that they were not all intended to be taken at the same pace, this is where the conductor’s musical and artistic judgement come into play by finding the right tempo to match the spirit of the music.

[@harryandruschak2843]

"Like" on 31 August 2017