Repertoire: The Haydn Symphony CRUSADE (No. 44)

Symphony No. 44 in E minor "Trauer" ("Mourning")
One of the jewels of Haydn's Sturm und Drang ("Storm and Stress") middle period, this passionate explosion of a piece opens new avenues of intense emotional expression.
Musical Examples courtesy of Naxos Records
Pick up a "Join The Haydn Symphony Crusade" T-Shirt at the ClassicsToday.com shop: shop.classicst...

[@christianwouters6764]

The entrance of the woodwinds in the adagio is wonderful, and again typical for Haydn, at exactly the right moment.

[@duncanmckeown1292]

Hard to be definitive with 104+ symphonies...but the "Trauer" is my vote for his greatest symphony. It is remarkable, and unforgettable.

[@fabiograssi670]

BTW, ONE HUNDRED THOUSAND OF THANKS FOR THIS CRUSADE!

[@adrianoseresi3525]

Your love and enthusiasm for Haydn’s music gives ME love and enthusiasm for Haydn’s music. Thank you!

[@miltonjohnston1683]

I remember being in a performance of this as a young horn player. It was on the day after the JFK assassination. It was quite an emotional performance. Really appreciated the power of this work.

[@cappycapuzi1716]

I heard the CSO perform this symphony last year. It's the only Haydn I recall them programming recently. EXTRAORDINARY music!

[@fabiograssi670]

The four note wolf howling of the horns in the 2nd section of the finale is haunting. I dream it to be played as much hoarse and savage as possible.

[@MilsteinRulez]

Thanks for this instalment of the HSC -- I enjoy all of them tremendously, and am very grateful to being introduced to some wonderful music I knew was there but never came around to really listen. It may be a minor aspect, but I beg to differ on the "diapason" explanation. Yes, it is the name of an organ stop, and yes, it does mean "all the way through". As a term of the art, though, it is the Greek name for the octave, meaning a run through all of the different tones. In canon lore, which loves to trade in learned terms, it just means "canon in the octave". There are canons in the diatessaron (fourth), in the diapente (fifth) etc.

[@DavesClassicalGuide]

Thanks for that additional clarification.

[@Sulsfort]

I liked the video right at the start. It's a pity, youtube doesn't allow you to double-like, because it's really great.

[@DavesClassicalGuide]

Thank you.

[@cyberprimate]

#44 wasn't in my list of great Haydn symphonies to get. Thank you.

[@petterw5318]

Amazing symphony and amazing video, as usual. Thinking abut the structure, is this the classical period Mahler 6? When it has the Scherzo second, of course: ominous first movement, fast, dramatic dance, a respite in the beatific slow movement, and the most intense drama in the finale.

[@DavesClassicalGuide]

That's a very valid comparison.

[@EdwarddeVere1550]

Haydn is a sculptor of forms to encapsulate his creative entities as they body forth from op 1 to op 103. The architecture evolves in perfect simultaneity with his emotional and mental complexity. Franzie is a very dangerous composer. No wonder the Brits called him the Shakespeare of music.

[@djbabymode]

I love the surprise fugal statements in the recapitulation of the first movement. I also love how long and developed the minuet is!

[@robertdandre94101]

the slow movement of this symphonies was played in september1809 (three month after the death of haydn ) at the occasion of a ceremony organized in the memory of haydn at berlin ( source,haydn,marc vignal, ed fayard)

[@DavesClassicalGuide]

Then they should have called it the "Commemoration Symphony!"

[@timstevensshh]

Thank you David I've leant so so much from this series. Since most of these nicknames are anachronisms it might be more fitting to nod at Haydn's legacy and adopt a knee jerk conjectual appellation. Based on the finale I rather fancy "Woton's rebuke" for this one. Of course it would end up being reduced to"Tadel" which is about as illuminating as "Trauer". Oh Well🙂

[@notrueflagshere198]

Wow! I really have no idea what you're talking about with that anguished moment in the 2nd movement. I'll have to try harder. I'm utterly insensitive to Haydn, at least beyond the Surprise.

[@DavesClassicalGuide]

Thanks for your willingness. Keep in mind that much of this is necessarily personal, and "the moment" is a function of the larger context. You have to get a feel for the composer's special language and how it expresses a range of feeling, and if that particular example doesn't strike you, then others probably will at some point.

[@im2801ok]

I've just discovered that Ernst Märzendorfer recorded the complete Haydn Symphony canon back in the 1960's (now on the Musical Heritage Society label), and read some positive reviews of the set. Have you related to it yet, Dave? If not, could you please share some of your thoughts about it?

[@DavesClassicalGuide]

I've already done that several times in these comments. It is thoroughly second rate.

[@im2801ok]

@@DavesClassicalGuide Much obliged! :)

[@vilebrequin6923]

There are many of the Maerzendorfer readings here on youtube. Try them out....I'm rather fond of them and they don't sound dated or second rate to me....​@im2801ok

[@petermerelis]

the 7 note motive in the final movement sounds the same in your example... I suspect the repeat instances end up sounding "correct" in 2/4 time with the upbeat first note after greater context is achieved by hearing the full exposition.

[@DavesClassicalGuide]

It doesn't to me--as I said, it's a psychological thing. For some it will and for others it won't.