J. Haydn - Hob I:87 - Symphony No. 87 in A major (Brüggen)

[@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 orchestra interpretation and direction are amazing.

[@jamesj53]

Why have you posted the same comment on every one of these videos??!

[@emmanuelcaneschi2746]

Now we can be provided with this very interesting information everytime we happen to listen to Haydn in this challenge. Excellent

[@GeorgeLaw5]

The second movement is one of my favourites - such excellent writing for the wind instruments. It's like a concerto where the flute, oboes, bassoons and horns are the "soloists" and the strings provide the accompaniment - and there are even two cadenzas for the "soloists" in the movement (9:22 and 12:35). Absolutely spellbinding.

[@MrFiddler66]

Pagina concertistica, concepita forse per mettere in risalto il talento dei solisti di flauto e di oboe, è in realtà uno dei brani pastorali più densi di emozione che Haydn abbia mai scritto. Tutto è di una semplicità assoluta, a cominciare dal tema solenne simmetrico che si staglia sullo sfondo nuvoloso dei corni. C'è probabilmente un intento descrittivo in quel cinguettio di flauto che spunta ad annunciare il sole, rappresentato da un canto più disteso e penetrante intonato dall'oboe e ripreso dallo stesso flauto. Prima della fine, vi è un nuovo episodio da sinfonia concertante: questa volta la cadenza è affidata , con pari importanza a flauto e oboe, i quali recitano alternativamente un motivo pigolante. Quest'ultimo chiude poi magistralmente la pagina, che potrebbe avere fornito qualche spunto a Beethoven per la "scena del ruscello". LDC

[@MrFiddler66]

Concert page, conceived perhaps to highlight the talent of the flute and oboe soloists, is actually one of the most emotionally filled pastoral pieces that Haydn ever wrote. Everything is of absolute simplicity, starting with the solemn symmetrical theme that stands out against the cloudy background of the horns. There is probably a descriptive intent in that chirping of the flute which emerges to announce the sun, represented by a more relaxed and penetrating chant intoned by the oboe and taken up by the same flute. Before the end, there is a new episode from a symphony concertante: this time the cadenza is entrusted, with equal importance, to the flute and oboe, who alternately recite a chirping motif. The latter then masterfully closes the page, which could have given Beethoven some inspiration for the "brook scene". LDC extension

[@Discovery_and_Change]

1st movement 0:01 begins | 1:06 moment 2nd movement 7:05 begins 3rd movement 13:52 begins 4th movement 18:00 | 18:51 moment | 21:45 checkpoint to magic |

[@bmeinardus]

Frisch und frohes Meisterwerk des Vaters der Symphonie!!!

[@nxumalo]

Unmistakable THE GREAT HAYDN!!!!

[@ronaldbwoodall2628]

What new superlatives can one add to any mature Haydn symphony? This one is as masterful as any other, and as enjoyable. The 'adagio' with its "pregnant pause" is especially noteworthy (pun or not).

[@MrFiddler66]

(1785) All'apogeo della parabola creativa, Haydn si concede un ritorno alle fasi più remote della sua lunga carriera, riportando all'onore atteggiamenti espressivi, modi di attaccare il discorso e di svilupparlo, tipici delle sinfonie sperimentali. in quest'opera soprattutto nel primo e nel secondo tempo, si avvertono, fuse nello stile brillante e sicuro messo a punto in dozzine di capolavori, compiacenze barocche. LDC

[@snowcarriagechengcheng-hun3454]

Thanks for uploading!

[@CesarCastilo]

Gracias

[@imolaunger]

What's the title of the painting? It reminds me of Stowe in the UK.

[@GreetingsFromBlackwoodFarm]

This is wonderful. Does anyone know if this is the song that Claudia plays "on a more somber note", in Interview with the Vampire, the movie from 1994?

[@maxfochtmann9576]

Великолепно. В 1.вом движении слышны курицы.

[@ruramikael]

Not as good as the other Paris symphonies.

[@elaineblackhurst1509]

ruramikael It’s not so much ‘not as good as’, but rather understanding that in each of the six ‘Paris’ symphonies, Haydn is doing something different - they are not all the same. There are six different keys, six different types of slow movement, six different moods, et cetera. Regarding 87* in particular, the development of the ideas in the first movement is as adventurous as any first movement of the whole set; the hymn-like slow movement has some very beautiful wind writing; whilst there is some very fine contrapuntal work in the finale, along with some unusual harmony in the recapitulation. * 87 is the *first* of the six ‘Paris’ symphonies. Haydn’s actual preferred - and almost certainly chronological - order was made explicitly clear in a letter to his Viennese publisher Artaria written from Eszterhaza and dated 2 August 1787. Haydn wrote that he apologised for forgetting in his previous letter, but that they were to be engraved thus: *87, 85, 83, 84, 86, 82* This makes much more sense from a listening point of view than the familiar - but arbitrary - order in which the works were issued by Artaria (82-87), and adopted by everyone else since; the sequence 82-87 is most unfortunate. It is noteworthy also that Haydn was clearly bothered about the correct order, bothered enough to write to Artaria to tell them to get it right; and so too should we. Listening to the six ‘Paris’ symphonies in the wrong order is a bit like reading six chapters of a book in the wrong order, or Mozart’s last three symphonies any way other than 39, 40, then 41.

[@jamesj53]

@@elaineblackhurst1509 Thanks for all your information on Haydn Elaine it's really been helpful for discovering his works appropriatley