J. Haydn - Hob I:80 - Symphony No. 80 in D minor (von der Goltz)

[@adrianrumson6149]

Every time I listen to a Haydn Symphony, its my new favorite. Certainly I would be prepared to say that Haydn might be the best composer of all time: excellent musical material coupled with flawless technique.

[@walterbushell7029]

Once a composer reaches a certain level, it talking about better or worse is irrelevant. One thing is if the composer can speak with his (or her) own voice. If this level is reached inferior composer can be profitably listened to.

[@pigsbishop99]

He's been my favourite for over 32 years and my experience is like yours. I keep changing my mind about which works are best. There's no doubt in my mind he's the greatest composer of all time.

[@pepehaydn7039]

Yes, he is.

[@thomasmcgorry2176]

He is as great as Mozart, history though has tended to favour the more theatrical genius of Mozart, they are very different composers, even though they shared a similar classical period idiom. Haydn had so much hidden depths.

[@Discovery_and_Change]

1st movement 0:01 begins | 0:53 string | 2nd movement 5:12 begins | 6:20 heartfelt violin moment 3rd movement 13:57 begins | 15:05 leisure 4th movement 17:08 begins

[@mr.bob4630]

That was magnificent. And the syncopations in the last movement were dazzling.

[@bens1752]

I love the parallels between this and the 45th. There are certainly times that it makes me smile when Haydn just flat out makes fun of his earlier "dramatic" symphonies.

[@pigsbishop99]

Yes I thought about that. This is like a return to Sturm Und Drang in a later idiom.

[@lucaszavaluentie4855]

You know a Haydn symphony is good when it is a minor key signature

[@FiliusPluviae]

you know a Haydn symphony is good when it is! ^^

[@matthewwhitehouse301]

The theme of the Adagio is so alluring!

[@MrFiddler66]

(Italian) Il culmine di questo adagio è alla battuta 17 dove tra le due melodie si innesta un angelico arpeggio discendente dapprima in fa maggiore e quindi in re minore, un grido inaspettato che non si ripeterà più. 6:20

[@feinstruktur]

One of his best symphonies & one of its best renditions!

[@GemmaCallahan-tj5wl]

so far, the third movement, the Menuetto, is the only movement in the entire symphony that ENDS in a minor key, all the other movements end in the major, the stormy Allegro con spiritoso has no coda, it just ends with the recapitulated second subject in D Major, the slow movement begins and ends in B-flat Major, and the Finale is in D Major. The structure of this symphony is very similar to Beethoven's 5th Symphony, the second subject in the recapitulation of the minor-key first movement is in the parallel major, the slow movement is in the subdominant key of the main key's relative key, the main section of the third movement is in the tonic minor and the trio is in the tonic major, and the finale is in the tonic major with little to no minor key sections. The only thing that Beethoven's Fifth Symphony has that this symphony doesn't is a transition passage that links the Third movement with the Finale.

[@pigsbishop99]

I think it's quite clear that Beethoven's first 5 symphonies were highly influenced by Haydn.

[@luizcarlosbarros9356]

Espetacular sinfonia. Não consigo imaginar Haydn sem pensar nela. Todos movimentos são maravilhosos. O adagio é simplesmente sublime. O que seria do mundo musical sem o Haydn.

[@Marcos.Pablo.Dalmacio]

É bom saber de apreciadores de Haydn em tal alto grau no Brasil, onde este genial compositor passa quase despercebido...

[@SuperMelvyn]

This orchestra brings out the astringent folkloric side of Haydn which leads towards Mahler and even Shostakovich and takes him a long way from the more "melifluous" Mozart. And both paths lead via Beethoven who strides music like a Colossus!

[@gouldhatedbachschromaticfa7494]

Stop making stupid comparisons with Mozart. Mozart's Maurerische Trauermusik in C minor kzbin.info/www/bejne/pZypnYF3oZx7h7M or Adagio & Fugue for String Orchestra in C minor kzbin.info/www/bejne/fHayg3WunrJ4oKs are 100 times more innovative and profound than this. Haydn stopped writing opera in 1787 the same year Mozart's Don Giovanni premiered because he realized how much he paled compared to Mozart.

[@elaineblackhurst1509]

donald trump cards You’re absolutely right, people shouldn’t make ‘stupid comparisons’: unfortunately that’s exactly what you have then gone on to do yourself.

[@pigsbishop99]

Yes it's a good performance. Isn't it so weird that great musicians remain obscure.

[@ThreadBomb]

@@gouldhatedbachschromaticfa7494 Haydn stopped writing operas because his patron stopped requesting them.

[@elaineblackhurst1509]

Thread Bomb You are both partly right but there is an amount of ill-informed detail that does not help to make your points. Haydn’s last Eszterhaza opera was Armida first performed in 16 February 1784 (not 1787). Given that Mozart and Haydn almost certainly first met in 1784, Haydn’s abandoning opera had nothing to do with Don Giovanni - he had already stopped writing opera, indeed his last directly comparable opera - the dramma eroicomico Orlando paladino - was written in 1782. Haydn was overwhelmed by Figaro, and he certainly did decline opera commissions because he felt no other composer could show there face where Mozart was known - he stated this explicitly. However, he would not have accepted these commissions anyway because there were only 24 hours in each day - in the 1780’s he was conducting roughly 125 opera performances a year of about 12 different operas of which about half would be new productions. On top of the full-time work in the opera house at Eszterhaza, after Armida (1784), and up until 1790 he composed: - Symphonies 79 - 81, - The six ‘Paris’ symphonies 82 - 87; - Symphonies 88 - 92; - The string quartets Opus 42, 50, 54/55, 64 (nineteen in total); - The orchestral and string quartet versions of The Seven Last Words; - The concerti and notturni for the King of Naples; - Various masses, songs, piano sonatas and trios - Et cetera. The amount of music composed and performed in the 1780’s by both Mozart and Haydn, and given the advances made by both and the sustained quality of almost everything produced, is one of the greatest of musical phenomena. Regarding opera, Prince Nicholas never ‘...stopped requesting them’. From the above, you can draw your own conclusion that Haydn simply had no time to write his own when Prince Nicholas was quite happy to listen to Sarti, Cimarosa, Paisiello, Dittersdorf, Gazzaniga, Anfossi et al. Indeed, had he lived just a few months longer, Haydn had already acquired the score and vocal parts with the intention of performing ‘Le Nozze di Figaro’ in 1790/91. Haydn did not stop writing opera as implied by ‘Bernstein said...’, ‘because he paled...’. On his first London trip he was contracted to write ‘L’anima del filosofo’; a commission which he both accepted, and fulfilled. Additionally, there are a string of other operatic works including the fantastic scena, ‘Berenice, che fai ?’ (1795) which Beethoven knew well and used as the direct model for his own ‘Ah, perfido’, hardly time he would waste on a work that ‘...paled’. The grain of truth in the original comment, and in your reply, is that Haydn was almost certainly the first person to fully appreciate and understand the genius of Mozart’s later operas, at a time when contemporary Viennese opinion found there to be ‘...too many notes’, and preferred Cimarosa and Paisiello et al.

[@BambosNeophytou]

That TRIO is stunning!

[@marklama6435]

This symphony deserves a nickname! If No. 82 is "The Bear", perhaps No. 80, with the opening Allegro that springs from the shadows with lethal grace, should have been called "The Tiger", or possibly, "The Tyger"--after Blake. No one name could capture the many personalities this masterwork takes on over its four movements.

[@calatria2949]

The names generally only capture one idea of the work anyway - hen, bear, clock, surprise...

[@snowcarriagechengcheng-hun3454]

Thanks for uploading!

[@joselopes2293]

Haydn is really the father of the symphony. The elegance and harmony of their compositions are amazing. Viva Haydn and his incredible and incomparable music. The symphonies are true musical masterpieces that provides us moments of unforgettable pleasure. The interpretation and direction of orchestra are superb.Bravissimo.

[@pipestud3corncobpuffer785]

This should be called Haydn's Progressive Symphony.

[@pigsbishop99]

I'm glad other people are thinking up nicknames fro the un-named symphonies of Haydn. It shows you must love them as much as I do. You've given me an idea which I will take to the Haydn group on yahoo.

[@apostolismoschopoulos1876]

How come?

[@MrFiddler66]

Il culmine di questo adagio è alla battuta 17 dove tra le due melodie si innesta un angelico arpeggio discendente dapprima in fa maggiore e quindi in re minore, un grido inaspettato che non si ripeterà più. 6:20

[@GemmaCallahan-tj5wl]

15:05-16:22 17:03

[@apostolismoschopoulos1876]

22:07

[@luigivercotti6410]

-_-

[@apostolismoschopoulos1876]

@@luigivercotti6410 challange you to find the looprolled

[@simoneliloni6117]

I love that passage, the main theme transposed in minor mode. So Beethoven.

[@m.erubik]

(☞ ͡° ͜ʖ ͡°)☞

[@harryandruschak2843]

"Like" on 15 September 2017

[@apostolismoschopoulos1876]

14:53 then wait 10 heart beats

[@m.erubik]

Hii friend again x10000000

[@m.erubik]

Hi, you say that this is the next station, cheers

[@apostolismoschopoulos1876]

@@m.erubik hello persistent musician!

[@cadefinch8706]

Is this the full length of the symphony?

[@simoneliloni6117]

Yes. It is.

[@gabrielfromyhr5694]

Very Sturm und Drang

[@elaineblackhurst1509]

Gabriel Fromyhr Listen again Gabriel, Haydn has fooled you. Listen to the wobbly little Ländler in the seven (sic) bars just before the first movement da capo double bar...closer to a Disney cartoon soundtrack than sturm und drang. This lop-sided little fragment of nonsense then takes over almost all of the development in a very un-sturm und drang way. It’s a great symphony, and Mozart liked it too; he played it at a couple of performances - including the premiere - of his Davide penitente in Vienna in 1785 ...but it’s not sturm und drang - it’s a fake.

[@pepehaydn7039]

The difference between Haydn and the rest of the world is love: he loves what he writes, and it is explicitly perveptible anywhere in his output. Bruckner is similar, Beethoven sometimes, Messiaen too... but few others. It is the difference between a son and a product you make: Bach’s, Mozart’s, Wagner’s music, however genial, are products of genious but deprived of love, they arr not an end in themselves. Haydn’s music is an end in itself, so subtle, so deep.

[@gregking4142]

That's your subjective impression from listening to the music. Another listener would say the opposite, and say it with just as much conviction as you make this assertion. Who says Bach, Mozart, and Wagner didn't put "love" into their music? Also, you say that the difference between Haydn and all others is love. If that difference can't be stated in musical terms, than it is simply imaginary.

[@pigsbishop99]

Yet another masterpiece from the greatest composer to walk God's earth. Apparently Mozart thought it was 'hilarious'. I take it deadly seriously like I do all Haydn's works. So much variety and invention.

[@gregking4142]

What evidence do you have that Mozart considered it hilarious?

[@elaineblackhurst1509]

@@gregking4142 Mozart performed two symphonies by Haydn at the first performance of his Italian sacred cantata ‘Davide penitente’ (K469) in Vienna, two weeks before Easter 1785, this d minor symphony being one of the two. As such, I think the chances of Mozart thinking it ‘hilarious’ are pretty much zero. That said, this symphony - which is about as un-Mozartian as you could get - clearly fascinated Mozart, and with good reason. Symphony 80 was just one of a number of symphonies Mozart clearly knew and appreciated. Some others being 47, 62, and 75, which he noted for use in his concerts; the scrap of paper with the incipit of these three works - in Mozart’s hand - is in Philadelphia.

[@brunftbert3381]

Listining to pieces like this one I do NOT wonder anymore why I prefer Haydn to Mozart...

[@stephanejavier5495]

Moi je préfère Mozart....

[@gouldhatedbachschromaticfa7494]

Stop making stupid comparisons with Mozart. Mozart's Maurerische Trauermusik in C minor kzbin.info/www/bejne/pZypnYF3oZx7h7M or Adagio & Fugue for String Orchestra in C minor kzbin.info/www/bejne/fHayg3WunrJ4oKs are 100 times more innovative and profound than this. Haydn stopped writing opera in 1787 the same year Mozart's Don Giovanni premiered because he realized how much he paled compared to Mozart.

[@amadeuswolfe7180]

true! Haydn loved mozart

[@neptune511]

@@amadeuswolfe7180 and Mozart loved Haydn

[@elaineblackhurst1509]

donald trump cards You’re absolutely right, people should not make ‘...stupid comparisons’. Unfortunately, that’s exactly what you have yourself gone on to do.

[@gouldhatedbachschromaticfa7494]

Stop making stupid comparisons with Mozart. Mozart's Maurerische Trauermusik in C minor kzbin.info/www/bejne/pZypnYF3oZx7h7M or Adagio & Fugue for String Orchestra in C minor kzbin.info/www/bejne/fHayg3WunrJ4oKs are 100 times more innovative and profound than this. Haydn stopped writing opera in 1787 the same year Mozart's Don Giovanni premiered because he realized how much he paled compared to Mozart.