Haydn - The Complete London Symphonies 93-104 + Presentation (Century's recording : Eugen Jochum)

[@classicalmusicreference]

🔊 Download high-fidelity classical music: classicalmusicreference.com/ Franz Joseph Haydn (1732-1809) - The ‘’London’’ Symphonies : 93, 94, 95, 96, 97, 98, 99, 100, 101, 102, 103 & 104. *Click to activate the English subtitles for the presentation* (00:00-04:15) Symphony #93 In D, H 1_93 1.Adagio - Allegro Assai (00:00) 2.Largo Cantabile (07:15) 3.Menuetto: Allegro - Trio - Menuetto (12:28) 4.Finale: Presto ma non troppo (16:38) Symphony #94 In G, H 1_94 ''Surprise'' 1.Adagio Cantabile - Vivace Assai (21:14) 2.Andante (not available) 3.Menuet: Allegro molto - Trio - Menuet (37:25) 4.Finale: Allegro di molto (42:10) New Link - Complete Symphony #94 ''Surprise'' : kzbin.info/www/bejne/rXbJZXmIrMRsjaM Symphony #95 In C Minor, H 1_95 1.Allegro Moderato (46:06) 2.Andante Cantabile (52:38) 3.Menuet - Trio - Menuet (58:08) 4.Finale: Vivace (1:02:49) Symphony #96 In D, H 1_96 ''The Miracle'' 1.Adagio - Allegro (1:06:24) 2.Andante (1:13:35) 3.Menuetto: Allegro - Trio - Menuetto (1:20:32) 4.Finale: Vivace/assai (1:25:46) Symphony #97 In C, H 1_97 1.Adagio - Vivace (1:29:03) 2.Adagio ma non troppo (1:37:50) 3.Menuetto: Allegro - Trio - Menuetto (1:45:29) 4.Finale: Presto assai (1:49:33) Symphony #98 In B Flat, H 1_98 1.Adagio - Allegro (1:54:22) 2.Adagio Cantabile (2:01:56) 3.Menuet: Allegro - Trio - Menuet (2:08:19) 4.Finale: Presto (2:14:08) Symphony #99 In E Flat, H 1_99 1.Adagio - Vivace Assai (2:21:49) 2.Adagio (2:30:32) 3.Menuet: Allegretto - Trio - Menuet (2:39:17) 4.Finale: Vivace (2:44:52) Symphony #100 In G, H 1_100 ''Military’' 1.Adagio - Allegro (2:49:07) 2.Allegretto (2:56:19) 3.Menuet: Moderato - Trio - Menuet (3:01:58) 4.Finale: Presto (3:07:01) Symphony #101 In D, H 1_101 ''The Clock’' 1.Adagio - Presto (3:11:52) Click to activate the English subtitles for the presentation (3:11:52-3:13:22) 2.Andante (3:19:37) Click to activate the English subtitles for the presentation (3:19:37-3:21:41) 3.Menuet: Allegretto - Trio - Menuet (3:26:57) Click to activate the English subtitles for the presentation (3:26:57-3:27:38) 4.Finale: Vivace (3:34:39) Click to activate the English subtitles for the presentation (3:34:39-3:35:21) Symphony #102 In B Flat, H 1_102 1.Largo - Allegro Vivace (3:39:18) 2.Adagio (3:47:44) 3.Menuet: Allegro - Trio - Menuet (3:54:17) 4.Finale: Presto (4:00:29) Symphony #103 In E Flat, H 1_103 ‘'DrumRoll’' 1.Adagio - Allegro Con Spirito - Adagio (4:04:53) 2.Andante più tosto Allegretto (4:14:47) 3.Menuet - Trio - Menuet (4:25:15) 4.Finale: Allegro Con Spirito (4:30:43) Symphony #104 In D, H 1_104 ‘’London’' 1.Adagio - Allegro (4:36:06) 2.Andante (4:45:04) 3.Menuet: Allegro - Trio - Menuet (4:53:32) 4.Finale: Spiritoso (4:58:43) London Philharmonic Orchestra Eugen Jochum Recorded in 1971-73 Find CMRR's recordings on *Spotify* : spoti.fi/3016eVr HAYDN ET LA SYMPHONIE. Haydn est le premier compositeur à avoir compris. les richesses que recelait la forme symphonique et à les avoir exploitées. Pendant les trente années qu'il passa au service de la famille Esterhazy il vécut la plupart du temps dans un isolement musical qui le força à ne compter que sur ses propres ressources. N'ayant personne à qui demander conseil ni aucun modèle à suivre il fut forcé d'être original. Sa situation comportait cependant certaines compensations : il dirigeait un groupe de musiciens accomplis et avait la liberté de leur faire faire tout ce qu'il voulait. Haydn profita de cette licence et, ayant élargi son orchestre, il se livra infatigablement à toutes sortes d'expériences, composant une série immense de magnifiques symphonies ainsi qu'une quantité énorme d'œuvres de toutes sortes. Le nombre des symphonies qui lui sont attribuées s'élève à cent mais, son œuvre étant imparfaitement répertoriée, les numéros qu'elles portent ne correspondent pas à l'ordre chronologique. Chacune d'entre elles a fait l'objet d'au moins un enregistrement et ces documents sonores nous permettent de retracer l'évolution qui a fait de Haydn le père incontesté de ce genre. C'est en 1761, alors qu'il venait d'avoir vingt-neuf ans, que Haydn écrivit ses premières symphonies (Nos.6,7 et 8) pour l'orchestre que le prince Esterhazy venait de constituer. Elles forment une trilogie et le compositeur leur a lui-même donné des noms français : le Matin, le Midi et le Soir. Elles ressemblent par bien des points à des concertos baroques et comportent des passages pour instruments solo. Parmi les musiciens de l'orchestre se trouvaient quatre cornistes pleins de talent. C'est sans nul doute pour eux que Haydn composa en 1765 sa Symphonie No.31 ("Appel de cor") où des passages d'une extrême difficulté sont confiés à ces instruments. Dans son âge mûr il composa une de ses symphonies les plus célèbres, la Symphonie No.45 écrite dans une tonalité peu usitée, celle de fa dièse mineur. Son surnom, ' 'l'Adieu lui vient du dernier mouvement, au cours duquel les exécutants cessent de jouer les uns après les autres, éteignent leur lumière et quittent leur pupitre jusqu'à ce qu'il ne reste que deux violonistes. Il s'agissait d'une plaisanterie par laquelle Haydn voulait faire comprendre au prince que les musiciens avaient besoin de vacances. Haydn connut alors une phase qu'on a appelé sa période Sturm und Drang. Cette expression allemande signifie littéralement "tempête et passion" et qualifie un mouvement littéraire de la fin du XVIIIe siècle. Caractérisé par la prépondérance des sentiments, il préfigure le romantisme. Huit des symphonies de Haydn, de la Symphonie No.49 (la Passion) à la Symphonie No.56 en Do, illustrent l'influence que ce mouvement eut sur sa vie. Un large usage y est fait des tonalités mineures. En 1780 Haydn jouissait d'une réputation internationale et une société de musique parisienne lui commanda une série de six symphonies. Chacune des oeuvres qui composent cet ensemble, connu sous le nom de Symphonies Parisiennes, porte un surnom : l'Ours (No.82), la Poule (No.83) ou la Reine (No.85).. En 1790 il reçut une pension du prince Esterhazy et s' installa à Vienne où il acheta une maison. Il n'y demeura cependant pas longtemps car il ne put résister à l'invitation d'un imprésario du nom de Johann Salomon qui organisait des concerts à Londres. Il fit deux séjours très réussis à Londres et y composa deux séries de six symphonies connues indifféremment sous le nom de "londoniennes" ou de "Salomon". C'est à cette série qu'appartiennent "la Surprise" (No.94) avec son soudain coup de timbale fait pour réveiller un auditoire "l'Horloge" (No.101) avec son rythme persistant en forme de tic-tac; ' 'le roulement de timbales" (No.103) et "le Miracle" (No.96). Le surnom de cette dernière symphonie lui a été attribué par erreur. Il aurait dû en fait être attaché à la symphonie No.102 car il dérive d'un incident qui se produisit pendant l'exécution e cette œuvre. Un lustre était tombé et, personne n'ayant été blessé, on avait crié au miracle. Avec les "londoniennes" le génie de Haydn atteindra son apogée. Lorsqu'en 1791 Haydn arriva à Londres cela faisait trente-cinq ans qu'il composait des symphonies. Il avait presque toujours travaillé avec le même orchestre, ce qui lui avait permis de se laisser aller à son penchant pour l'expérimentation, de rechercher toutes les combinaisons possibles d'instruments et les moyens de créer des effets spéciaux. Il avait mis au point une formule symphonique qui servit avec bonheur de canevas à 81 des 108 symphonies qu'il composa : un mouvement rapide pour commencer, suivi d'un mouvement lent comportant des variations; un menuet dont la partie centrale était un trio contrastant avec le reste du mouvement; un finale rapide.Haydn ne laissa cependant jamais cette formule lui dicter une musique stéréotypée mais l'utilisa comme un moule dans lequel verser le matériau sans cesse renouvelé que lui fournissait son imagination aux ressources inépuisables. *(SUITE DU COMMENTAIRE: VOIR CI-DESSOUS).* Franz Joseph Haydn PLAYLIST (reference recordings) : kzbin.info/www/bejne/lZeTaaSOrdatkLs

[@classicalmusicreference]

L'originalité de Haydn et son sens de l'humour apparaissent tout Particulièrement dans deux symphonies la Surprise et l'Horloge pleines de surprises montrent avec quel art il savait ménager les effets les plus inattendus. Elles font partie du groupe de 12 œuvres écrites pendant son séjour à Londres (où on les appelait ' 'ouvertures' '). Elles représentent non seulement l'apogée de l'art de Haydn en tant que symphoniste mais aussi l'un des deux sommets atteints au XVIIIe siècle par ce genre, les dernières symphonies de Mozart représentant l'autre. **L’HORLOGE / The CLOCK.** *Click to activate the English subtitles for the presentation* (3:11:52). L’œuvre doit son surnom de « L’Horloge » au tic-tac représenté par le rythme persistant qui se fait entendre tout au long du deuxième mouvement. **Premier mouvement : adagio presto.** Calme et solennelle, l'introduction semble émaner des brouillards de la Tamise. De ses sonorités diffuses, comme brumeuses, s'élève une lente mélodie qui prend forme dans l'ombre comme en hésitant. Soudain les rayons du soleil semblent disperser les vapeurs matinales tandis que la voix énergique des premiers vioIons s'élancent dans un presto dansant. Ils invitent l'orchestre tout entier à se joindre à eux et la musique gambade joyeusement, les flûtes aidant les violons à présenter le thème principal pour la deuxième fois. Le deuxième sujet est alors introduit. La musique entre alors dans une phase de bonheur qui, à son paroxysme, toucherait à l'hystérie si les premiers violons, suivis par les violoncelles et les contrebasses, ne mettaient pas un frein à ces débordements par leurs gammes descendantes. La phrase initiale du presto est alors à nouveau exposée ce qui donne à l'auditeur l'occasion de remarquer que Haydn assemble les mesures qui forment ses phrases en groupes irréguliers, ce qui donne à sa musique un caractère d'imprévisibilité. Il est de fait que la seule chose à laquelle l'on puisse s'attendre de la part de Haydn c'est bien de surprendre. Le développement contenu dans cette section en fournit une parfaite illustration. Il commence par de vagues références au thème de l'extrait 2 qui se précise et se gonfle de menaces jusqu'au moment où la musique plonge par des gammes descendantes vertigineuses dans un développement chaotique. A mi-mouvement, d'âpres combats opposent des thèmes ennemis et la tension ne se relâche sur huit accords nettement énoncés qu'après un long épisode où la guerre a fait constamment rage. Les cordes s'efforcent alors d'alléger l'atmosphère puis la voix claire d'une flûte apporte une note de gaieté et le développement se termine par une gamme descendante. La récapitulation commence alors, apportant elle aussi des surprises. Elle se déroule dans un climat de liberté extraordinaire tandis que le mouvement approche de son apogée. Le thème de l'extrait 2 est confié aux violoncelles qui le repassent bruyamment aux violons et le rattrapent joyeusement quand ceux-ci le leur relancent. L'angoisse qui s'était manifestée plus tôt réapparaît, transformée par la lumière glorieuse du soleil. **Deuxième mouvement : andante.** On entend tout de suite le tic-tac de l'horloge produit par deux bassons que soutiennent les ‘pizzicati’ des seconds violons, des violoncelles et des contrebasses. Cet accompagnement, simple au départ mais qui se compliquera par la suite, sert de soubassement aux volutes du thème principal : Le mouvement tout entier tourne autour de ce thème et de ses dérivés. A la fin d'une première section qui est courte et caractérisée par un motif ascendant exécuté avec verve par le basson, le thème est répété; le basson fait encore entendre sa voix, dans un motif descendant cette fois, puis la deuxième section dérive. La tonalité passe au ré majeur pour préparer l'entrée d'un second sujet pour lequel Haydn n'emprunte qu'un fragment au thème initial. Il l'inverse, le comprime et se sert du résultat comme d'une nouvelle idée. Un hautbois solo joue une note qu'il tient pendant tout le temps que dure cet énoncé puis se joint aux violons pour répéter le thème principal tout entier sous une forme considérablement modifiée. Ir motif descendant du basson marque la fin de la section. On passe alors en Sol mineur pour l'exposé d'un nouveau thème tandis que les cordes au registre le plus bas et les vents continuent à marquer le rythme en tic-tac. Le thème initial au rythme pointé est répétée nerveusement à plusieurs reprises, annonçant un orage. Il éclate mais se calme immédiatement pour laisser entendre le tic-tac qui a été repris par la flûte et le basson. Ces deux instruments se lancent dans un duo comique tandis que les violons répètent le thème principal. Alors, tout à coup, l'horloge s'arrête. Lorsque son battement reprend il est confié aux seconds violons qui ont adopté la tonalité de mi bémol, les premiers violons essayant, eux, de faire entendre à nouveau le thème principal malgré les efforts d'une flûte colérique qui veut les en empêcher. Lui aussi irrité, I orchestre donne un moment de la voix puis se tait. Ir thème principal éclate dans la tonalité initiale tandis que les cors soutiennent le tic-tac et que les violons activent le mouvement. **Troisième mouvement : menuet et trio (allegretto)** Alors que le menuet de "la Surprise" était léger, aérien, joyeux, celui de "l'Horloge" est pondéré, solennel et très développé. L'humeur est annoncée dans la première partie par une sonorité large et un rythme ferme. Les vioIons entament calmement la deuxième partie tandis qu'un roulement doux des timbales souligne le rythme. Une brève conversation entre les hautbois, les bassons et les cors conduit à une version modifiée de la première partie. Les cordes font d'abord entendre un bourdonnement qui semble devoir servir d’accompagnement à un soliste dont on peut penser pendant un moment qu'il a oublié de faire son entrée. La flûte finit tout de même par produire une mélodie simple mais quatre des notes supérieures qu'elle émet ne s'accordent pas avec l'accompagnement. **Quatrième mouvement : vivace.** Dans le finale on trouve un écho des phrases entendues plus tôt. La chute rapide sert d'introduction à la section suivante et la musique explose dans un passage tumultueux, un instant interrompu par un hautbois solo qui fait entendre un chant hésitant. L'orchestre fait résonner les trois longues notes tandis que les violons se chargent de maintenir l'excitation générale. Abruptement, un long passage en ré mineur commence où la musique est entraînée implacablement par la fanfare furieuse des cuivres. Un retour au Ré majeur semble annoncer une ré-exposition tranquille. C'est en fait une Immense fugue qui commence, au cours de laquelle les divers instruments à cordes se disputent le premier thème. Les hautbois, les bassons et les cors font entendre les trois longues notes du premier thème. Ils réussissent à s'imposer au cours de la conclusion haletante.

[@divereric]

Would you be willing to help me look for a piece of work by Haydn? I’ve been through everything and I’m at a loss.

[@classicalmusicreference]

Yes I want. Give me some details :-)

[@divereric]

Classical Music/ /Reference Recording wow I never got a notification that you replied. If I remember right, it was pronounced Hariano Suite or similar. That’s all I remember. Does Haydn have anything like that?

[@classicalmusicreference]

I will search :-)

[@johng423]

There is a quality Haydn had that always come through to me. Here is a quote I read, attributed to Haydn: "God gave me a cheerful soul, so He will surely forgive me if I serve Him cheerfully."

[@johnmclean7723]

That is so clear in his work ❤!

[@stephenjackson4811]

Once again, my peace of mind returns, when I hear the Music of Haydn. And what better way for it to return than listening to the Haydn London Symphonies.

[@pckoha57]

Blessed are those who hear the symphonies of Haydn.

[@fredvacher3998]

Thank you ❤

[@richardcleveland8549]

A day without Haydn is like a day without sunshine! He's always wonderful. And what a treat to have all of the Londons together; I've never listened to them ad seriatim - what a way to get through the work day! Grazie, Signor CM, mille grazie!

[@classicalmusicreference]

very happy to contribute to make '' beautiful '' your working days :-)

[@andreauribe6454]

Totalmente de acuerdo.

[@victorywin1025]

😅you q

[@gustavoarango1206]

Si, francamente majestuoso y bálsamo en día de descanso. Gustavo Arango

[@walterjankowski8663]

No day can be a "bad day" when I have my Haydn or Mozart music with me. Tough engineering problems or personal issues are solved much easier and faster when those two great composers are around me. Uber human talent that resonates with my soul.

[@hertzair1186]

Walter Jankowski : likewise for me

[@pacolinan2133]

Walter I agree with your comment about Hayd or Mozart. Best regards, from Spain

[@philliphamilton3591]

Walter Jankowski Totally agree!

[@tgwcl6194]

👍

[@dieterbarkhoff1328]

I'd add Telemann, Fasch, Handel and Bach to that list.

[@andreapilarova8356]

😊 Thank you Papa Haydn! ❤Great interpretation! 👍

[@elaineblackhurst1509]

Thank you indeed, the papa of Joseph and of Michael Haydn gave us two very great musical sons.

[@mk5244]

...Maestro Jochum let the music speak. With dignity and humor, perfect classical education. Haydn and all the other masters were in best hands with Eugen Jochum. RIP

[@gerardoloera5414]

All I can say is that I love Haydn.

[@vincentcassidy2169]

Much better than Mozart 👍

[@NikoHL]

​​​@@vincentcassidy2169 That's nonsense. Even Haydn knew it. "I have often been flattered by my friends with having some genius, but he (Mozart) was much my superior." .

[@IrizarryBrandon]

@@zachary1050 I'm not sure I agree with this, but I respect the depth of this take

[@josetroche9681]

I have this recording on vinyl discs, and am still amazed at how ethereal; majestic; and vibrant the sound still is. The London Philharmonic, one of the world’s great orchestras, conducted by a masterful interpreter, performs with such brilliance, and allegiance to the scores. Listening to the symphonies is a tour de force in musical appreciation. Hayden’s symphonies are a work of genius.

[@mk5244]

….and no thumbs down. Haydn works! RDS

[@lorenzbroll101]

Just to read a biography of the man is incredible. How he managed such a life is beyond most human beings.

[@Think1961]

good, classical music, some fresh air on KZbin

[@richardcleveland8549]

horrible, frustrating, annoying and aggravating morning at work . . . but Haydn heals all wounds - and I'm even whistling under my breath!

[@classicalmusicreference]

:-)

[@zachary1050]

Haydn is not Jesus Christ, don't let yourself be mislead by the false idol of divine music.

[@kentisaksson4223]

Timeless - I always come back to the old master Haydn.

[@aaroncarson4954]

His London Symphonies are beautiful. One of the great achievements of the Classical era.

[@elaineblackhurst1509]

Neither Haydn* (1732-1809) nor Mozart (1756-1791) can meaningfully be referred to as ‘…old master [s]; modern classical music begins with the Classical period (c.1740-1800). *Haydn was born 24 years before Mozart but died 18 years after him - Haydn both precedes and follows Mozart.

[@brynjarhoff-lr6hw]

Haydn is great and gives me happyness in bad days and a warm soul.

[@lencoller6477]

If you like listening to beautiful music ruined by constant adverts this is perfect 😢😢

[@CaminoAir]

Just found this video two days ago. After listening to the first hour I purchased a previously used CD set on the Internet. Jochum's warmth elevates Haydn's lovely positivity and exemplary composing still further.

[@Bob-gl6cg]

One only needs to listen to 99, 100 and 101, to KNOW what a wonderful composer he was. His music [symphonies] flows, runs on its own, then comes back and compliments itself, then takes you to an absolutely defining ending, no matter which movement your in. Mozart and Hayden...............what a pair, their music will live forever. The Military and the Clock are my two favorites.

[@jordidewaard2937]

Haydn's symphonies have to be some of the most lovely, easy to listen to, works there are out there. I love listening to them so much, and it truly shows why he's considered to be the "father of the symphonies"

[@elaineblackhurst1509]

jordi de waard No such person as the ‘father of the symphony’ and it is certainly not Haydn as there had been hundreds composed before his first one. Believing in a ‘Father of the Symphony’ is about as rational as believing in ‘Father Christmas’!

[@anaosev8852]

@@elaineblackhurst1509 Nobody is saying Haydn was the first composer to write a symphony, the development of symphony dates all the way back to early baroque opera overture, the title is symbolic because he standardized and perfected the symphonic cycle. No reason to get mad about it

[@elaineblackhurst1509]

@@anaosev8852 Not getting mad about it, I just don’t understand why this arrant nonsense is so mindlessly repeated ad nauseam. And yes, people are saying that Haydn ‘…was the first composer to write a symphony’, so it needs challenging as it is simply fictionally re-writing musical history. A father by definition must be involved at the conception - Haydn was not involved regarding the symphony; it really is terribly simple. PS: I think you are mistaken; by wrongly labelling Haydn the ‘Father of the Symphony’, it leads many people to believe that he *did* actually invent the symphony, and that he was the first person to write one - a father clearly has to be in at the beginning - or in this case - the conception of something. .

[@JFF35753]

@@elaineblackhurst1509 Yes, yes!!! That includes our creation from our Father, Father God!!!!!!!

[@jshaers96]

Jochum sounds like one of those quietly excellent conductors who just got on with the job without any histrionics or personality court. He's almost always well worth hearing.

[@classicalmusicreference]

:-)

[@denishinds3777]

Yes. Try his Brahms 4 Symphonies on DG with Berlin PO.

[@stephensussman7468]

I thoroughly agree with you. see my comment above

[@adambomb30]

He was a great conductor without trying to be great. He lived to serve the composers, and not his own ego.

[@martinbreuer3790]

@@denishinds3777 fz

[@lanfordvideos]

I'd say that there is a purity and simplicity about Haydn's music that never was matched by any of the other, more famous composers. You can't go wrong with the original genius of good ol' Papa Haydn!

[@elaineblackhurst1509]

Stephen Lanford If you think this music has a ‘...simplicity’ about it then you are missing more than you are hearing; it’s true though that most Western classical music can be listened to and appreciated at different levels. PS. Nobody is using the silly, ‘Papà’ epithet (except perhaps a few in the US), which is now widely considered demeaning, inappropriate and unhelpful in understanding the true stature of the composer. PPS. ‘...more famous composers’ ? Mozart and Haydn together are the most important and well-known composers of the Viennese Classical period (c.1750 - 1800) for pretty obvious reasons. Haydn’s fame and stature are well understood across most of the Western world, and in other places that have taken up western classical music.

[@roberthill799]

@Elaine Blue-ribbon pedantry on parade!

[@elaineblackhurst1509]

@@roberthill799 Haydn carries probably the heaviest baggage of nonsensical baloney of any of the great composers, the great majority of which to the casual listener today, obscures his true stature and trivialises and misleads those interested in his music. Haydn is not ‘Papa’ which is condescending and patronising claptrap;* he is not ‘Father of the Symphony’; he is not ‘Father of the String Quartet’; he is not predominantly a ‘humorous’ composer… the end of the ‘Farewell’ symphony is not supposed to be funny; he did not lay the foundations for Mozart and Beethoven (he both precedes and succeeds Mozart); the ‘Surprise’ drum-stroke in Symphony 94 was not intended to wake the sleeping audience; the slow movement of Symphony 44 was not played at his funeral; he did not tell Beethoven not to publish his piano trio Opus 1 No 3; he did not write the famous ‘Serenade’ quartet movement Opus 3 No 5; In fact, the list is almost endless, and I could go on forever - the pure codology attached to this composer is almost as long as any 10 other composers of your choice put together. If it takes a bit of pedantry - blue riband or otherwise - to point those interested in away from darkness into light, then so be it. * Haydn’s take on this was made clear when in 1805 when the composer Cherubini - whom Beethoven rated above all his contemporaries - visited the aged Haydn at his house in Vienna. Haydn said to Cherubini: ‘Let me call myself your musical father, and you my son’. Haydn then presented him with the autograph score of Symphony 103 and inscribed it thus: ‘Padre del celebre Cherubini ai 24ttro di Febr. 1805’. (The score is now in the British Library). A million miles away from the ‘Papa’ foolishness, and a new insight for many into a popular and widely-held misconception.

[@roberthill799]

Very informative post. Thank you. I've actually never encountered the "Papa" term before this post though I can see how it might be a tiresome cliche if I had heard it often. Apologies for the insult in my previous message.

[@elaineblackhurst1509]

@@roberthill799 Really no problem - thanks for your thoughtful follow-up; it is true that Haydn was referred to affectionately as Papa by a tiny number of people entitled to refer to him as such, but it does not extend to all and sundry today. The term Papa is markedly more commonly used in one or two countries, rather than universally. Additional to my previous reply, ‘Papa’ had already been reduced to a term of ridicule and contempt by Beethoven’s circle as early as the mid-1790’s as when they were joking about a trick played on ‘…old Father Haydn’* about who had completed some of Beethoven’s counterpoint exercises that were fobbed off on Haydn as being by Beethoven (the tale is recounted by Ferdinand Ries); they all found it very amusing. Papa adds nothing to our understanding of a great composer, but unfortunately creates a misleading image of an avuncular and harmless old man and it stands in sharp contrast to the almost mythified and deified characters of Mozart and Beethoven, neither of whom actually need it as their stature of two of the greatest of all composers is not really in doubt. Hope you’ve found something of interest in my ramble; incidentally, the term Haydn would probably have preferred in every day usage is Dr Haydn, a term which was used during his own lifetime after receiving it. Haydn went to Oxford to receive the rarely awarded honorary Doctor of Music in 1791 (Handel never received one); it was something of which he was incredibly proud as it was a fitting acknowledgement of his status from his contemporaries. Just in terms of balance, it has to be said that some people have no problem with the term, and think I’m too touchy about it, but from what I’ve written, you can decide for yourself what you think. * You get a better sense of the pejorative undertones when put into English.

[@mk5244]

....vollendete Meisterwerke, deren Schöpfer „Papa Haydn“ zu nennen, eine grobe und durch nichts als Unwissen zu rechtfertigende Beschreibung dieses großen Meisters darstellt. Eugen Jochum war es ein sichtbares und hörbares Vergnügen, ohne Tanzeinlagen vor dem Orchester hier eine nach wie vor mustergültige Interpretation der Londoner Symphonien zu schaffen. Mi piace moltissimo

[@elaineblackhurst1509]

Concordo in pieno con quello che hai detto - ottimi i tuoi commenti.

[@TheJackflash85]

Haydn is my all-time favorite composer ~

[@markanderson6639]

These have been my favorite recordings of Haydn's London symphonies ever since I originally bought the Deutche Grammophon vinyl LP's of them back in the 1970's.

[@chriguausbern]

Haydns Symphonien sollten vielmehr auf den Konzertprogrammen zu finden zu sein

[@michaelreidperry3256]

I often fail to appreciate Haydn enough. When I do go back and remind myself how important he is to me, I can be overwhelmed to tears. Why do we stay away?

[@golfan1000]

formidable series of symphonies. the drum roll one is beethovian avant la lettre. Beethoven learned much from Haydn. Without Haydn, no Beethoven. Thank you for allowing us to listen to this. Haydn's music makes easier to face the hardness of life.

[@eporze]

For me,the N.103, is one of the greatest symphonies in the Musical World!.-

[@TheGreatMaster77]

Chords of the 1st Symphony's beginning clearly derives from Haydn's 103.

[@elaineblackhurst1509]

TheGreatMaster77 The origin of the idea for the unusual opening two chords of Beethoven’s Symphony 1 (1800) is clearly the opening chord of Haydn’s string quartet Opus 74 No 1 (1793). The only difference is that Beethoven’s is off-tonic in opening his first symphony, but that in itself is another Haydnesque trick.

[@richardrickford3028]

What you say about Haydn and Beethoven I think is spot on. When I listen to the first movement of Beethoven's first string quartet I feel it could almost be written by Haydn. Yet clearly through careful study and sheer brilliance Beethoven was later able to bring the string quartet to incredible new frontiers. You are also right about Haydn making it easier to face the hardness of life. Haydn's life like so many many other peoples lives must have been very hard - and remembering that perhaps makes his music sound all the more wonderful.

[@hertzair1186]

Haydn...the man who invented the Symphony and the string quartet...I rank him under only Mozart as the greatest composer of all time. I proudly own everyone of his symphonies.

[@elaineblackhurst1509]

Happy Hertzair If you rank Mozart above Haydn as a personal, subjective preference, that’s cool, but it’s too general - actually, it’s rather like foods, some you like better than others. Few would argue if you were talking about opera, piano concertos or string quintets and some other areas, but if you match up Mozart with Haydn in other areas such as the symphony, Mozart struggles to get near Haydn except in a few later works; similarly with the string quartet, objectively it is very difficult to place Mozart above Haydn. As he lived much longer than Mozart, there are a number of later works such as the piano sonatas and trios, oratorios, masses, or part-songs for example, in which the musical language has moved well beyond anything ever conceived by Mozart. It’s better not to try to rank these ‘A’ list composers, but do what the two friends did themselves - simply appreciate the differences. Haydn no more invented the symphony than he did the spaceship; such a comment flies in the face of every known fact about the conception, and origins of the form. On your wider point, is there really a ‘greatest composer of all time’, and how do you judge the competition ?

[@remomazzetti8757]

Haydn didn't invent the symphony or string quartet. He may be the first composer to perfect them, but he certainly didn't invent them.

[@hertzair1186]

Remo Mazzetti : please state who invented the symphony and String quartet forms of orchestral music.

[@elaineblackhurst1509]

@@hertzair1186 Nobody ‘invented’ the symphony, it evolved in the hands of different composers in different countries. It evolved generally speaking from Italian-style opera overtures ‘sinfonie avanti I’opera’, in the eighteenth century. Check out for starters the following composers: Giovanni Battista Sammartini, and Antonio Brioschi - Milan, Johann Stamitz, Holzbauer, Fils, and Richter - Mannheim, Monn, and Wagenseil - Vienna. Regarding the string quartet, there were occasional examples of divertimenti by composers such as Wagenseil in Vienna, and Richter in Mannheim, and others; the use of four strings occurred naturally in many forms of music. It was Haydn however - through 68 astonishing works of the highest inspiration and genius - who was largely responsible for elevating the string quartet (and the symphony) to one of the most challenging of genres, ones which many of the greatest composers who followed were largely judged, and into which they chose to pour some of their most profound thoughts. Haydn’s string quartets are one of the absolute pinnacles of western classical music.

[@hertzair1186]

@@elaineblackhurst1509 : your fourth paragraph was more to my point.

[@jean-michelprillieux5012]

Sublimes symphonies ! Mon morceau préféré qui m'émeut aux larmes est l'Adagio (2e mouvement) de la Symphonie n° 99.

[@大橋一男-o2j]

ハイドンの交響曲集 格調高く素晴らしい、感動しました。

[@notaire2]

Präzise und zugleich wunderschöne Interpretation dieser perfekt komponierten Sinfonien mit gut phrasierten und perfekt synchronisierten Töne aller Instrumente. Der warmherzige Maestro dirigiert das ausgezeichnete Orchester im angemessenen Tempo mit angenehmer Dynamik. Es gibt nichts überflüssiges oder ungenügendes. Einfach wunderbar!

[@felixheiss]

I went to one of the concerts they did in London at the time of these recordings in about 1971 . Sounded fabulous and so do the discs .

[@golfan1000]

Bravo! Thank you so much for posting this music, which helps one fight the life's battles. Viva Haydn!

[@dejanstevanic5408]

Pure joy - thank you CM/RR

[@TeleBachHand]

always a favorite of mine, HAYDN is ETERNAL....forever delighting our souls.....jn

[@tepmich]

Ich verliebe mich immer mehr in die Symphonien des großen Joseph Haydn !!! I fall more and more in love with the great Joseph Haydn symphonies !!! Tepper Michael.

[@JohannesBurbach]

Ich auch!

[@shin-i-chikozima]

The wonderfulness of Haydn's music is exceptional and outclassing

[@rnnyhoff]

What staggering genius, I'm only now discovering the wonder of his compositions. Such a fount of beauty and creativity. To think he was Papa Haydn to Wolfgang Mozart and outlived him by 18 years. This music is as rich and profound as it is bountiful.

[@seppecena]

He was also Beethoven's teacher.

[@elaineblackhurst1509]

@@seppecena Haydn taught Beethoven counterpoint* - a form of musical grammar - for 14 months in-between his two trips to England; similarly, Salieri gave Beethoven lessons specifically in Italian vocal music. Neither should really be labelled generally as Beethoven’s teachers outside these very narrow and particular roles, and certainly not in the area of free composition.. * From which as everyone knows, Beethoven said that he learned nothing.

[@tepmich]

Viele Symphonien Haydns erziehen die Seele eines Menschen im Geist des Mutes und der Furchtlosigkeit !!! Tepper Michael.

[@eporze]

Amigos,no es solo el compositor,se necesita tambie'n el interprete. Excelente el Maestro Jochum,nos muestra la cima de la madurez de Haydn, y la grandeza de estas Sinfonias!!.-

[@hyseo1121]

The grand master of classical music. J. Haydn. I listen to his pauken mass almost everyday.

[@edwardweaver1467]

You forgot the H.

[@HHL-qt2xb]

Greatest music ever made (IMHO). So brilliant in its own right- and the "foundation" for so many of the incredible composers that followed...

[@patrickhackett7881]

Try Haydn's string quartets. Opuses 1, 2, 9, 17 are immature divertmenti. Opuses 20 and 33 revolutionized the genre. From then on, Haydn's quartets are masterpieces.

[@elaineblackhurst1509]

@@patrickhackett7881 I get your point, and Haydn’s Opus 20 is one of the most important breakthroughs in the history of western classical music - in short, it defined what was to be a string quartet. Regarding the earlier opera, there is nothing ‘immature’ anywhere in Haydn and they are all worth repeated hearing, though you’re right that these earlier quartets - in spite of some exceptional works - sit next to those of Opus 20 and 33 rather as do Beethoven’s first two symphonies next to the Eroica.

[@richardcleveland8549]

Listening to these again . . . and again and again; they're always fresh, with the exuberance of his joy at being in London.

[@foveauxbear]

Aren't they just amazing works?

[@richardcleveland8549]

@@foveauxbear They are. My rule of thumb for decades has been this: Haydn NEVER disappoints! I love his work, but I think the Londons are my favorites of his entire body of work. But who knows . . . had he not been immured in the wilds of Hungary for so long, his work might have been entirely different. One of the Great Musical Imponderables!

[@elaineblackhurst1509]

Richard Cleveland I get your point, but no Eszterhaza means no Symphonies 6, 7, and 8; none of the ‘sturm und drang’ symphonies, no piano sonatas in A flat (Hob. XVI:46), or c minor (Hob. XVI:20); no string quartets Opus 20, 33, 42, 50, 54/55, 64; no early masses; none of the operas (musically actually better than usually credited); et cetera. Haydn himself was clear that his isolation at Eszterhaza forced him to be original and we should be grateful for that; being somewhere else was not a sine qua non for him producing something better though you are right that it might have been different. I think it’s worth pointing out that very little music originating in Europe’s major cities is much heard today: JC Bach in London, Gossec in Paris perhaps, and Frederick the Great stifled anything in Berlin which became a backwater dominated by Quantz, Graun, and Benda. Even innovative musical cities like Mannheim produced composers such as Stamitz (father and sons), Richter, Holzbauer, and Cannabich and like. Almost all these composers mentioned, are today either forgotten, rarely played, or musical curiosities. That said; I think you are right about the huge stimulus and challenge Haydn felt when he went to London; by 1790, when Prince Nicholas died and Salomon said ‘...I have come to fetch you’. Haydn had tired of the routine - largely operatic - at Eszterhaza, and was ready for a change. It was a challenge he rose to as you say, but had Prince Nicholas died ten years earlier...

[@richardcleveland8549]

@@elaineblackhurst1509 I know what he said about the isolation in the Hungarian countryside and what it forced him to do, and that he seemed grateful for it (did he wear one of the red and green uniforms himself??) - and perhaps those years WERE what set him apart from his contemporaries and kept his name and music alive when, as you say, so many of them repose now on the dusty shelves of musical history. That he was a genius is beyond all doubt . . . wherever he composed.

[@elaineblackhurst1509]

Richard Cleveland You’re quite right; the astonishing thing - a great paradox in fact - was that until 1790, Haydn was simultaneously one of the most isolated of composers at Eszterhaza for most of the year, whilst being the most celebrated and famous composer across Europe. Regarding the uniforms: I think in the early years, Haydn’s uniform as Kapellmeister was powder/light blue - initially vice-Kapellmeister until 1766 when his predecessor died. The orchestra’s uniform was red trimmed with gold which Haydn might have worn when playing violin or harpsichord in the orchestra. I say ‘might’ as the Haydnhaus museum in Vienna claims that he did, but as explained below, we have clear evidence that this was not always the case. The problem is that there is an extant portrait of a performance at Eszterhaza of Haydn’s opera ‘L’Incontro improvviso’ (1775), where these uniforms can be seen clearly; Haydn is at the harpsichord surrounded by the continuo group, though he notably stands out as the only player in the whole orchestra who is *not* wearing the red and gold uniform (though there is also a continuo theorbo player, or something similar, who is wearing all black). In 1945, when the Soviet forces arrived at Eszterhaza at the end of WW2, unfortunately, they made a bonfire of the contents of the palace that lasted for days. One of the things definitely destroyed was one of the earliest portraits of Haydn which shows him wearing the blue uniform mentioned; fortunately, the portrait had been photographed previously. The destruction of the libraries, scores, music, instruments, documents - and so much more - is just one of many, and certainly one of the most important of such irreplaceable musical losses suffered during WW2 These details and others are laid out in Volume 2 (Haydn at Eszterhaza) of HC Robbins Landon’s enormous five volume biography of the composer ‘Haydn: Chronicle and Works’.

[@andreysimeonov8356]

Haydn's music really fills the soul with joy and happiness! Great perormance by Jochum and the LPO!

[@PepperWilliams_songcovers]

Haydn was a genius! Who's still listing in August of 2022......213 years after his death?

[@ZenonLopezwallace]

There is not death, we just take off .. may God have mercy on us..

[@omegamale7880]

May of 2024 here!!!

[@CaminoAir]

September 2024.....still sounds marvellous.

[@IrizarryBrandon]

Jan 2025

[@hospitality5522]

Never out of fashion.

[@honda412000]

I was never a big fan of Haydn as most of his music seemed to me as made in haste just to satisfy his mentors. Well, this recordings, the quality of the sound and the extraordinary quality of the rendition by the mythical Jochum and the LPO made me change my mind a bit. I still feel that Mozart is a good bit above Haydn in inventivness and talent but I heard all of these Londonien symphonies with undisguisable pleasure and will listen to them again. Please pay attention to the last movement of 98th. Have you ever heard anything more joyfull and fun? It's just delicious. I could hear it forever.

[@elaineblackhurst1509]

honda412000 If you try to understand the *differences* rather than look for the *similarities* between these two composers, then you will appreciate both, in the way that Mozart and Haydn understood and admired each other at the time. Fans of either composer will be disappointed if they look for what they like about one composer in the other - they are more different than most people think. You already are close to understanding why Haydn thought Mozart the greatest composer he knew; now try to understand equally why Mozart rated Haydn so highly - you can’t lose.

[@honda412000]

@@elaineblackhurst1509 Similarities are boring and I usually shun them. I know that Haydn was the musical sensation in his time, living a confortable life, the father of the symphony and other musical forms and someone that Mozart looked up to (he was 24 years younger) and influenced him in the earlier stages. I don't dislike Haydn music but I find most of it dry, sometimes boring, lacking in emotion and frequently predictable. Mozart lived only 35 years and had a very difficult life but managed to produce 600 works, many of them rich with all sorts of emotions, novelty and imagery. I can not even imagine what he could accomplish if he had a life as long and happy as Haydn had. For some reason Haydn said about Mozart that there would'nt be another like him for the next 100 years. Anyway the beauty of art is that anyone is free to like or dislike anything. I even admit that I'm not a frequent listener of Mozart as my musical preferences are more centered in the 19th and 20th centuries. Music is pure emotion and can make you laugh or cry if you feel it deep inside yourself.

[@elaineblackhurst1509]

honda412000 Composers and their music are rather like foods, some you appreciate, some you don’t. From your comments above about Haydn, it would seem that you are missing more than you are hearing. There are some factual inaccuracies in your comment as well: for example, a huge amount of Haydn’s music was *not* written for ‘mentors’ at all, but intended for publication all over Europe - Beethoven oddly, had a far more limited ‘aristocracy only’ circle of patrons. Additionally, and most obviously, there is about as much evidence for the existence of a ‘Father of the Symphony’ as there is for Father Christmas, and Haydn himself is as certainly not the one as he is not the other.

[@Rickriquinho]

This music is always new.

[@marcelotobarduran6630]

El gran Maestro...Me ha encantado siempre. Ahora en mi madurez musical lo aprecio aún más.

[@shnimmuc]

Haydn and Mozart are equals in that they were different. Even now that Haydn operas are making their way into the operatic world, one gets a better look at his universal talent. (it should be remembered that many of his operatic works had to be reconstructed after the Esterhazy fire.)

[@suhkiyoul7160]

Thank for your selection for Hayden. He was generous and genius !

[@brynjarhoff-lr6hw]

Nice to remember my recording with London Phil.Orchestra. It was a day to rember! Topp orchestra!

[@DNBon.an808]

Listen to this weekly and today was the first time i had my subtitles on. What a wonderful surprise to have all those Haydn facts pop up!

[@hoalexander4024]

Eugen Jochum is one of my favorite conductor of symphony orchestra. I recognize his the best is Bruckner' symphonies. This gold album is also good.

[@andrewashdown3541]

This is the first version I ever heard - hearing No.97 changed my perception of Haydn entirely, the scales dropped from my eyes and thereafter I sought to hear all the symphonies (only possible on Decca) and eventually his entire oeuvre

[@classicalmusicreference]

You'll certainly enjoy our selection of Haydn's recordings : kzbin.info/aero/PL3UZpQL9LIxO-kfxI5EgerTMB-ijyPbCL

[@jeanclaudejulien2314]

Il n'y a pas de génération spontanée. L'audition de ces symphonies londoniennes permet d'apprécier tout ce que Beethoven doit à son prédécesseur Joseph Haydn.

[@fredvacher3998]

Et Schubert!

[@pawkie2]

I had the opportunity to hear Dr Robert Greenberg's explanation of what classical symphonies are about. Suddenly the sun came out and a whole new era of music is revealed. Basically many are written in sonata form which means two contrasting themes joined by a whirlwind which takes the listener from one theme to the other; then the themes are individually developed and possibly even merged. I apologize to the musicians for my over simplification and omissions but hope some like myself will start to enjoy the brilliant turbulence which is the transition between themes.

[@classicalmusicreference]

Thanks Paul.

[@elaineblackhurst1509]

Robert Greenberg’s knowledge and understanding of the music of the Classical period in my experience is something of a curate’s egg.

[@nico_flautista]

This channel is great! Thanks for sharing this wonderful collection!

[@classicalmusicreference]

Thanks man Enjoy :-)

[@EdoardoFittipaldi]

Thank you! I was able to listen to all of them in a row. Who dare say that Haydn is boring?

[@classicalmusicreference]

:-) Now The Paris Symphonies^^ kzbin.info/www/bejne/oKHPmX19qtpretk

[@elaineblackhurst1509]

Edoardo Fittipaldi …you have just done so, and consequently helped to perpetuate both the calumny and the myth.

[@Wouize]

Maitre Jean-M POLLINI,Avocat :Excellentes, ces symphonies dites" Londonniennes " de Bon Papa HAYDN ;On est vraiment sur les hauteurs !!!Mais n'est ce pas normal avec HAYDN, sous la baguette de EUGEN JOCHUM !!!

[@elucile]

Maitre !

[@peteradomaitis639]

Wunderbare Musik und danke fürs hochladen.

[@pigsbishop99]

These works were described on the sleeve notes of Sir Colin Davis's set as 'Wonders of Western Art'. They're more than that though.

[@szymex2yt]

I love listening to this music at work. Even though my colleagues look at me in a sort of strange way :-)) Greetings to all the listeners :-))) Uwielbiam słuchać tej pięknej muzyki w pracy. Nawet, jeśli niektórzy koledzy DZIWNIE na mnie patrzą :-)))) Pozdrawiam wszystkich słuchaczy.

[@classicalmusicreference]

Bravo, ta muzyka jest piękna. Ona zasługuje na znane.

[@MrRokentin]

Te quejas? o presumes? ¬¬

[@andrewthorpe9793]

i love classical music and often have listened when I should be doing something else.Great excuse!

[@philliphamilton3591]

Thank you for this posting......beautiful!

[@pepehaydn7039]

Two genius at their best: Haydn and Jochum. Jochum is my favourite conductor and Haydn my favourite composer along with Bruckner. Jochum made me understand both Haydn and Bruckner and led me to enjoy their music like nobody else. Jochum is art, craftmanshift and teaching simultaneously, exactly as Haydn and Bruckner are.

[@eastwood1941]

Agree absolutely! Jochum's Bruckner symphonies are the best, especially the 8th.

[@portman8909]

I find Bruckner to be tiresome and boring.

[@pepehaydn7039]

The first time I was in Wien I was 22, we visited the Belvedere and I remember having said to my girlfriend and his brother: “I dislike Bruckner, he is only trumpets”. Three years thence I Bruckner was my favourite. It was a short of revelation: I was studying for admittance in a hospital as a cardiology trainee and, one nigh, listening to the boring fourth movement of the Romantic, ohhhh I UNDERSTOOD!!!!

[@golfan1000]

Thank you for this wonderful series!

[@stephensussman7468]

Once again, agree with your selection of this as a reference recording. Jochum has always been one of my favorite conductors... for me, along with Fricsay and Kubelik, they have always been the most consistently satisfying conductors on D.G.G. Here the playing by the LPO under Jochum is filled with a supreme example of a successful implementation of the many different types of balances necessary to make a recording timeless. Thank you !!!

[@classicalmusicreference]

Thanks Stephen for your comment :-)

[@dabedwards]

Haydn was so prolific and inventive, that it's inevitable that he sometimes hit on a musical idea or sequence of notes used by later composers (or earlier), and it's fun to try to pinpoint these. 00:05:22 The Blue Danube? 00:07:15 Beethoven 6th Symphony, last movt 02:01:56 God Save the Queen (echo of the past) 03:47:44 Schumann 3rd Symphony 1st movement (very different pace etc) 04:14:47 Beethoven 7th, 2nd movt Only suggestive to me perhaps....his music is a vast universe with little pre-echoes of the future

[@jduff59]

He was the King of Pop for that time, in a manner of speaking. He was also generous with his time and helped out a few of the younger composers, and his influence is apparent in many Romantic era greats. Haydn's time in London also made him a well-to-do gentleman in his later years. The rare exception of the time, when getting rich wasn't the norm. 120 symphonies (regardless of length) is a colossal feat and he didn't sacrifice quality for quantity (in my opinion). Proper bloke Haydn was.

[@elaineblackhurst1509]

02:51:43 Radetzky March.

[@dabedwards]

@@elaineblackhurst1509 Very good! And Haydn's is the better tune, I think....

[@elaineblackhurst1509]

@@dabedwards It is!

[@lindagross8112]

Haydn is and always will be one of my favorites. This is a wonderful work with the Londons all together. Need to catch some shut eye, but just can't leave it yet. Many thanks.

[@classicalmusicreference]

you welcome :-)

[@tepmich]

Eugen Jochum zeigte sich als großartiger Dirigent !!! Tepper Michael.

[@garamiglm2026]

Beautiful !..Masterpieces...Thank you

[@apollosaturnv17iss75]

My favorite composer of all time, because of the overall sublime output of this great man!

[@Teddy_Toto]

Haydn's Symphonies are some of the most underrated works on the planet. I've never understood why. Haydn, like Beethoven, develops and matures as he progresses. And the 'London' symphony has every bit as much gravitas as any Beethoven symphony.

[@canman5060]

I don't think so.Haydn's late symphonies are the landmark development of late Classical era.They are given even higher credibility than Mozart's last three symphonies.The young Beethoven just started and often disagreed with Haydn his teacher.Remember.Haydn was awarded the honorary doctorate degree in Music from Oxford University in Britain.

[@canman5060]

Yes.Particularly the finale of the London symphony.The strength and gravity of this movement can only be surpassed by Beethoven's first revolutionary symphonic achievement 'The Eroica' which is not only the longest but the most challenging to perform at that time.

[@pmlouisjuste]

I agree. I dont really think that Haydn is discredited at all, especially as regards his late symphonies, his string quartets and his oratorios, which are masterpieces. But IMHO his greatest achievements are not a impressive as Mozart's. I think of the Requiem, the last operas, the piano concertos etc. He's in a class of his own and just deeper to me.

[@TheVaughan5]

@teddy toto. Yes, symphony no.104 is one of the major works of the classical period in music. This recording is a real find for me, though very young at the time, I still remember attending a concert of the late Haydn symphonies with the L.P.O. conducted by Eugen Jochum.

[@dabedwards]

Agreed! There is endless delight, surprise and wit to be found in his music. His benign, philanthropic, sensitive but sane personality shines through. Of the three giants Mozart, Haydn and Beethoven, he is the one I would most like to spend time with! Oh, the wit, the delicious wit -- from extreme silliness to gentle self-effacing jokes. And yet he can move you profoundly, and fascinate you with his dazzling melodic invention. Rarely does he achieve the stern-faced heroism of Beethoven or the anguished brilliance of Mozart, but his music is the equal of theirs and infused with a sublime optimism. Part of the problem with his reputation may lie with the typical pattern of a live concert, where a Haydn symphony (being relatively short) is often placed in Part 1 before the interval, and scarcely ever given the "heavyweight" slot of Part 2, as a Brahms or Beethoven symphony typically is.

[@류순열-h6i]

아름다운 연주곡 잘 들었읍니다~감사합니다~🎵🎻🎺📯🌿🍀☘🌹🌹☘🍀🌿❤❤

[@romefgran647]

La música clásica, ese alimento espiritual que nunca puede faltar en una mente abierta a las maravillas creadas por el ser humano

[@RudolfRauscher]

""Excellent"" - ""Grandios"" - ""Wunderbar"" - Wunderschön"" !!! ""Himmlisch schön"" !!!

[@classicalmusicreference]

:-)

[@vartanikiman2648]

master and father of symphonies

[@elaineblackhurst1509]

Yes to the first appellation; No to the second.

[@tepmich]

Um das Tierprinzip in sich selbst zu überwinden, muss ein Mensch seine Seele mit der Musik von Haydn durchdringen !!! Tepper Micchael.

[@somporn-ownercoggin]

Absolutely beautiful 🙏❤

[@patrickhackett7881]

Usually I do not like the slow movement in symphonies too much. But in these symphonies, the slow movement is usually the best.

[@ulrichschmidt5559]

The same holds true for me when I listen to Bruckner's symphonies: the slow movement is usually the best. Also in my opinion very fine examples of really great slow movements in symphonies are: Beethoven's 3rd and 7th, Mahler's 5th and Tchaikovsky's 5th. Give them a try, they are all here on KZbin!

[@patrickhackett7881]

@@ulrichschmidt5559 I was relatively new to classical music when I posted that comment, and I appreciate slow movements now.

[@elaineblackhurst1509]

@@patrickhackett7881 In music of the Classical period(c.1740-1800) it is normally the slow movements that separate the ‘A’ list composers (Mozart and Haydn) from the ‘B’ and ‘C’ listers (everyone else).

[@catolicosolitario8292]

Haydn é um gênio! Sala de concerto e música de corte é o clima de Sua música.

[@VaggosWho]

Just Amazing! 2:21:49 reminds me the intro of Beethoven's Piano Concerto No5, 1st Movement :)

[@neryfernandoarangodomingue7280]

Simplemente fantástico (just fantastic)

[@Gongoriyou]

Great contribution. Thank you.

[@ИгорьЛистопад-с6г]

Гайдн - сила! Мощная, свободная музыка в стране, где тебя любят и почитают. Не стеснён нищетой и завистниками. Как важна атмосфера для творчества!

[@TheJacrespo]

Surprise : Finale (42:10). It is a musical Orgasmus with all sorts of orchestral effects and imaginative development resources in the most fashionable and resolutive way.

[@PauloCesarMaiadeAguiar]

Fantastic complete works from HAYDN. Many thanks for to share this dear Fantastic really Divine

[@classicalmusicreference]

You’re welcome :)

[@robertmcqueen289]

Wonderful to hear haydn's creative 12. These stand out as Haydn had competition in London, one Ignace Joseph Pleyel. Who was a friend and former pupil who became director of music in Strasbourg cathedral years before, coming to London just escaping the start of the french revolution. Pleyel was a serious contender in London music at the time.

[@elaineblackhurst1509]

Robert McQueen You’re right that Pleyel - and a number of other composers, musicians and performers - were wheeled out either at rival concert series, or sometimes at the Salomon and other London concerts between 1791 and 1795 which featured Haydn as top billing; Haydn wiped the floor with the whole lot of them, without exception.

[@robertmcqueen289]

@@elaineblackhurst1509. Absolutely correct. But, it didn't stop Papa Haydn & Pleyel having tea in public places afterwards talking about each others concerts. This annoyed Salomon at the time. In fact, Haydn considered Pleyel such a good friend, that he let him publish his works, especially the string quartets when Pleyel became a music publisher. Haydn was truly a friend to quite a few of what today are called 'The forgotten composers'. Thank you for your reply. Gratefully appreciated.

[@elaineblackhurst1509]

Robert McQueen Haydn was extremely kind, generous, and helpful to many of his composer colleagues and friends throughout his life, even when they were set up as rivals as happened in London; he rarely had bad words to say about any of them - but see some exceptions below - in the manner of Mozart. Haydn knew Pleyel very well before London: from 1772 until 1777, aged 15 to 20 he was a pupil of Haydn, he lodged with Haydn at Eisenstadt, went to Eszterhaza, and had works performed there.. Pleyel probably composed the the overture - and some other bits - to Haydn’s marionette opera ‘Die Feuersbrunst first performed at Eszterhaza in 1776 or 1777 during his time with Haydn. Besides his well known friendship with Mozart, he went out of his way to help Beethoven in a number of ways such as for example, lending him money, writing to the Elector of Bonn on Beethoven’s behalf, and taking him with him to Eisenstadt in the summer and autumn of 1793. The only two exceptions of which I am aware were firstly, when the composer Myslivicek told one of Haydn’s early biographers Carpani, that on hearing a symphony by Sammartini that ‘I have found the father of Haydn’s style’. When challenged with this, Haydn said that he did not value Sammartini’s music and that he was ‘a scribbler’, he went on to say that he only recognised CPE Bach as his prototype (he occasionally mentioned that he learned much from Porpora too with whom he lodged, and acted as a valet and accompanist in his earliest days in Vienna, post-St Stephens). The only composer who really got under Haydn’s skin was the Viennese composer, violinist and church musician Leopold Hofmann; in fact, he has the dubious distinction of being practically the only musician Haydn is definitely known to have positively disliked. Amusingly, after slating Hofmann in a letter to his publisher Artaria, in which, amongst other things he castigated three of Hofmann’s newest songs as ‘street songs’, with ‘neither ideas, expression, nor, much less melody appear’, he actually re-set all three songs in a fit of pique to show how it should be done. PS. Ditch the demeaning ‘Papa’ bit; Haydn would be appalled at people using it so casually, and as he would see it, disrespectfully. (Beethoven’s circle had already started using ‘…old Father* Haydn’ as a term of ridicule and contempt in the 1790’s). Maestro, or Dottore (Doctor), after the honorary D. Mus (Oxon) awarded to him in 1791 would have been appreciated far better. * It looks and sounds far worse put into English, but is actually closer in tone to what ‘Papà’ has come to mean today.

[@richardcleveland8549]

After reaching the end of the Londons, I've decided that, taken in their entirety, I'd rather listen to Haydn's symphonies than those of any other composer, although there are many individual works by other composers that strike my fancy. Praises be to the Princes Esterhazy, and Viva Papa Haydn!

[@classicalmusicreference]

Listen now ''Parisiennes'' :-) kzbin.info/www/bejne/oKHPmX19qtpretk

[@richardcleveland8549]

Ah, dear CM, I did - a week or so before I found the Londons; also wonderful. Haydn had SUCH a gift for symphonies.

[@cjschroeder7511]

John is 3rd and see who can be the 4th 30th to do

[@cjschroeder7511]

Yry the best

[@cjschroeder7511]

Mom said you are not

[@saintleger858]

Magnifique, merci pour ce cadeau !

[@joseluisperdigon5263]

This video is gold!

[@carmenbeatrizpisciuneri6430]

Gracias por subirlo 🎶🇦🇷

[@hansrichardnohrer2834]

Danke gute einspielüng

[@kelleydupuis1059]

I used to have this set on CD. Good to be able to enjoy it again.

[@galas062]

thank you....and thank you for your channel....

[@classicalmusicreference]

:-)

[@miguelcruz-pm9px]

esta música ha de escucharse en el paraíso

[@richardcleveland8549]

Ah, back to the Londons again as I work from home during the pandemoniumic . . . music "to soothe the savage breast . . ." and balm for the soul. Grace notes for the day.

[@JoseMedina-sv8uy]

I love Haydn and Jochum.

[@nico_flautista]

Wonderful collection! I love! Thanks for sharing

[@classicalmusicreference]

:-)

[@jauscielinginclusive3873]

Great morning music. BRAVO BRAVO