55 (‘The Schoolmaster’)Supposedly the nickname of this symphony comes from the second movement, which sounds like a schoolmaster wagging his finger and falling in love. Symphony No. And your discussions have clarified and expanded many of my views about art and music in particular. 36Not a classic. 58After the righteous anger and heartfelt melancholy of the 40s, the 50s seems to be Haydn’s rather less exciting comedown. Of all his compositions, the genre of symphonic continues to thrive to our modern age, such as Symphony No. There’s not a whiff of phone boxes or black cabs and it starts really quietly, so on a purely practical level it is an abject failure. Symphony No. 38 (‘Echo’)Basically a gimmick. 46 in B major (1772) Symphony No. 17 would be about the point where you’d consider giving up. 86. 76, though, there’s something deliciously unexpected about the melodies - lines go up where you expect them to go down, arpeggios rattle quite illogically at times, and soon you’re unsure whether to follow the bassoon or the strings. 92. The character changes sometimes violently here, veering from sprightly to angry within the space of a few horn stabs. Symphony No. Vitezslav Novak According to James Webster, this choice was unusual; indeed the Farewell Symphony is apparently the only 18th-century symphony ever written in this key. Long, uninventive and positively backwards-looking. So, for 21, he sets himself some rather nifty structural challenges, eschewing a traditional fast section in the opening movement and setting up the second movement as a colossal mirrored layout. Perhaps the most fun to be had with this one is to count the five-note semiquaver runs in the second movement. Symphony No. Symphony No. Symphony No. If you’ve a nimble string section, this will put them to the test immediately. Well, in no. This is all repeated and then that little turn in eighth notes is developed, mostly in inversion. ... UPDATE: This post has been particularly hit with a bad case of link-rot, so I am replacing all the original musical clips with new ones. It also features prominent brass passages for the horn. Fortunately, the music is cracking, full of verve and gumption. It all started with the premier in 1772. 45; 第45号交响曲 (海顿); Прощальна симфонія; Simfonia núm. Do not be fooled: it’s a fairly boring early one.90. Symphony No. Nice melodies, the odd rhythmic tweak or structural innovation, but nothing more. 104. 42. There’s nothing wrong with it, but it’s one of the most inconspicuous. Overall the symphony is a melancholy work. 1It opens with a nifty, nippy crescendo, but then doesn’t do very much at all. 89Another good one for the wind section, as Haydn grappled with an increased ensemble size. 2Here’s the key thing with no. Not top-flight Haydn, but severely enhanced by its unabashed brevity.54. 45 in F♯ minor, known as the "Farewell" Symphony (German: Abschieds-Symphonie; modern orthography: German: Abschiedssinfonie), is a symphony dated 1772 on the autograph score. Nice enough tunes, but using mutes on the second violins when they answer the unmuted firsts is a bit of a cheap gag, even for Haydn. Schubert, among others, became famous for his use of this harmony for special Romantic effects. Movements. A winner. Then the harmonic rhythm quickens and the third outlines tonic, V of iv, iv and the last Neapolitan Sixth/dominant/tonic. Does anyone really know how good it is? 102), so it was totally irrelevant. 96. 16. Haydn phoning it in, no major stylistic tics or inventions.82. 5After a subdued opening and some neat, wincingly high horn entries, this one sort-of fails to go anywhere. Forget the rest of the symphony - splendid as it is, it’s all about the first minute. Symphony No. Though the melodies are undoubtedly fine, they are also languorous, slow, and perhaps overly dainty.80. The Adagio in particular is a total smoothie, lithe and slippery in equal measure. Well, he picked wisely. 17. Sadly, this is the latter. Symphony No. 86Strident, daring and ultimately triumphant, like sneaking in under the barrier in a multi-story car park when the car in front has already gone through. Symphony No. Still, it was only his first (numbered) stab at a symphony, so we’ll forgive. You’ve heard these themes before, in one form or another. Here is how they look: The first kind is created by the grace notes at the very beginning. 42Amid some of the more tired numbers in the mid-period, 42 is actually pretty lively. Just look at the third movement - nothing but wind, and a sweet flute solo. *uncontrollable posh chuckle* And it’s gone on to become one of the moments that Haydn is best-known for, along with the ending to the ‘Farewell’. 28Aggressively good stuff all the way through. It’s another of his stylistic tics, little amusements that he incorporated no-doubt to entertain himself as much as the audience. 55. Symphony No. 76. 45 in the unusual key of F-sharp minor was composed in 1772. 84. 1 in G minor. Symphony No. "I've been reading your blog for nearly a year now, and as a college student new to the world of classical music I have to say it's been incredibly informative. Symphony No. Symphony No. Symphony No. 29. 22 in E flat major, "Der Philo... Haydn: Symphony No. Symphony No. Very pleasurable.20. 50. The third movement, Adagio molto e cantabile , was always the one I found the most difficult to understand. 4Confusing filler. 57. 61Like a bracing country walk with your father-in-law who you’re trying to impress but you’re aware is a licensed shotgun owner.31. A good first movement, plenty of winds in the slow and an ecstatic rondo to finish it off. Plenty of crunchy dissonance, quirky rhythmic ideas and spicy dynamics. 74You could accuse Haydn of being the king of plod, needlessly dragging things out for far longer than necessary by repeating them or marking them at slow tempos. OK, stop sounding the horns. Joseph Haydn was born in Rohrau, Austria in 1732, was known for composing works that had the ability to produce a quality of music that very little were able to imitate. 38. And then, right in the middle of the first phrase--actually the first chord we hear--is a D major harmony! 47 in G major, "Palindrome", Haydn: Symphony No. Smooth Classics with Margherita Taylor As for the nickname, this is more bonfire night than Mordor, so don’t worry about being traumatised.24. You can pretty much march around the room in a wig to this one for the duration. And a gesture as simple as that opening has huge consequences for the rest of the symphony - somehow, it makes it more reverential, more considered, more serious. Apparently, when it was first performed, a chandelier fell to the floor and ‘miraculously’ missed everyone in the audience. Or not. This one, a delicate little thing possibly intended to accompany a stage play, is a two-headed movement that switches constantly between wimpy and lumbering (in a good way). Pause. 50 is a total squelch. It’s not a genre-buster, but it has a wonderful feel. Sorry. I notice that my post on Bach vs Beethoven keeps attracting readers so that now it is one of the top ten posts. 32Early-mid-period filler. 8 (‘Le soir’)We can see the delicate but increasing influence of the classical period trickling into Haydn’s symphonies by this point, as he leaves Baroque structures behind. 20There’s a a wonderful momentum in the first movement, especially if you’ve got a particularly yearning woodwind section. Symphony No. 52The grumpy opening here immediately suggests that the melancholy of Haydn’s middle period had evolved a little. Look how happy I was about it: Over the ensuing several work days of Haydn-heavy interaction, I went a bit weird in the head. The first symphony on this CD is one of Haydn's best known works and the only one of Haydn's early symphonies to retain a continued place in the repertory from Haydn's life until the present. Symphony No. Again, and perhaps all too late in his career, it shows Haydn to be a suddenly serious fellow - something that Mozart and, in turn, Beethoven undoubtedly seized upon. Symphony No. It’s taken an extremely long time and it almost sent our writer mad, but we’ve created one of the most important documents in classical music. Symphony No. 35In No. Symphony No. Symphony No. Was it an 18th century superyacht or a dinghy? Well, it’s funny to musos, anyway. Perhaps, with his advancing years and with dozens of symphonies under his belt, he was finally comfortable with his work? This is the reverse of a dotted rhythm and is often described as a hiccup. Enjoyable fireworks, for sure, but it’s showstopper rather than a heartstopper. 10Once again showing Haydn’s penchant for brevity when necessary, this 15 minuter still only comes to life in the finale. 50 in C major (1773 and 1774) Symphony No. In F# major this is bVI, a major chord on the flattened sixth degree. Literally no-one would notice. 2. It’s still an enjoyable symphony, but mostly because the Germans call it ‘mit der Paukenschlag’ (‘with the kettledrum stroke’). 22 (‘The Philosopher’)One of the first times we hear Haydn’s ‘effects’ within a symphony. 84 (‘In nomine Domini’)Thanks to the massed orchestral forces at Haydn’s disposal during the time of his Paris symphonies, this is perhaps his windiest. Symphony No. 27Chronologically, this one was written much earlier than you’d think, given it’s numerical placing within Haydn’s canon. Symphony No. Aside from Haydn’s development of the Classical orchestra into a form very similar to that of the present-day Symphony Orchestra, Haydn created the musical form or structure of the symphony that largely held firm until the late 19 th century. The first is tonic/subdominant, the second dominant seventh/tonic. 30 (‘Alleluia’)So-called because of Haydn’s use of a Gregorian ‘alleluia’ motif in the first movement, No. 48. 11. There are three statements of a four measure motif. 83 (‘The Hen’)Literally nothing in this symphony sounds like a hen. 30. And the final movement is a whopping theme and variations, which takes the whole thing to over half an hour. Fairly passable. To my colleagues, I apologise for your having to sit next to this: NB: I didn’t bother with any un-numbered or newly-discovered symphonies. 8. 64. Symphony No. A ticking clock in the strings, questions asked and answered between sections, that kind of thing. 66If we were making a movie with the first movement of this symphony as a soundtrack, it would be a whimsical comedy starring Cameron Diaz as a beleaguered ‘always the bridesmaid’-type character. 73. It is one of Haydn’s best-known works, even though it is not one of the Paris or London symphonies and does not have a descriptive nickname. 43. Still, the epic drumroll that kicks this one off is a superb scene-setter. Symphony No. Symphony No. 3Uh-oh, time for an innovation! 37Another chronologically mislabeled symphony. Symphony No. It’s among the more interesting works of Haydn’s early-mid-period, and mostly because he seems to have committed to one character. 74, he proves that a little patience is worth it. ‘La Passione’ is perhaps Haydn’s most troubling symphony and, therefore, one of his most effective. 1. 36. Symphony No. So I have decided to update i... UPDATE: As this post is getting a lot of attention, I have gone through and updated all the clips as my original choices all disappeared. Symphony No. 64 is this: “The times change, and we change with them. 4. ", The "Farewell"Symphony, dating from 1772, could be Haydn's most well-known and popular symphony. Why won’t he let rip? The stay there had been longer than expected, and most of the musicians had been forced to leave their wives back at home in, , so in the last movement of the symphony, Haydn subtly hinted to his patron that perhaps he might like to allow the musicians to return home: during the final, each musician stops playing, snuffs out the candle on his music stand, and leaves in turn, so that at the end, there are just two. 102See Symphony No. Best place to spot that in this symphony is the finale, La Tempesta, which depicts a thrilling thunderstorm and places Haydn in that lineage between Vivaldi and Beethoven. 37. You can’t deny the emotional power of this symphony, and if you do, well, you’re just doing it wrong, aren’t you? It is a tad sluggish though, you might even call it dramatic and *whispers reverently* romantic. So forget that. Symphony No. The discussion about the division of the octave into major thirds in Coltrane's "Giant Steps" got me thinking about other inst... A commentor asked a good question about my last post : In the sense you (both) have used the term here, what exactly is an arrangement? ). 62Allow it to wash over you and you’ll be fine. 35, Haydn is definitely challenging the listener. outrageous. It was one of the works that helped Haydn's 4-movement symphony become the standard that would define orchestral music for generations. 17If you were to listen to Haydn’s symphonies in chronological order, no. SURPRISE! 63You know when Judi Dench turned up at the end of Shakespeare In Love for about 2 minutes and still managed to win an Oscar, despite doing very little apart from wearing some intimidating make-up? Symphony No. 45, "Farewell" (Jan. 19 & 20, 2018 at Knight Theater). Symphony No. Approved. 95Sounds a bit seafaring, maybe? Less than 10 minutes, no repeats, some pleasant themes and a small spotlight for the violas. Symphony No. Notice how it is accented by being placed on the downbeat and given a. 50After a run of some really strong symphonies throughout the ‘40s, no. It’s a tuneful, energetic romp with a pleasing Queen of Sheba-esque section in the first movement. Symphony No. No more conforming to tropes - it was time for a bit of innovation. 33The viola, of all things, comes to the fore here, as Haydn gives it its own voice in the first movement here. Symphony No. There’s a dignity, a quietness, a latent darkness even - all of the appropriate funereal emotions, basically. How? 77. 91. Except it’s not surprising because literally everyone knows it’s coming. A typical performance of the symphony lasts around twenty-five minutes. It’s entertaining, for sure, but the emotional through-line isn’t quite as clear as it could be. 88. Strings, 2 flutes, 2 oboes, bassoon, 2 horns, 2 trumpets, timpani. Learn vocabulary, terms, and more with flashcards, games, and other study tools. 6. Symphony No. 28. No-one's here for accuracy. But the real meat here is in the second movement, one of his loveliest Adagios and a bittersweet treat. The official reason is that some of the material was used for a play of the same name in 1775, but Haydn actually does sound pretty distracted here. 45 in F-sharp minor, … The choice of the key (F# minor) is unusual (Haydn would not compose another symphony in the minor mode until the Symphony in C minor, no. 73 (‘La Chasse’)Sound the horns! 100. Ambitious, but misguided. Symphony No. It was written for Haydn's patron, Prince, , while he, Haydn and the court orchestra were at the Prince's summer palace in, . 12You could describe the opening movement as a fun bit of fluff and everything after it composing-by-numbers, especially the ponderous second movement. 61. 18. And like a bear, it is a lumbering beast, a definite carnivore and dangerous to cuddle. Symphony No. Symphony No. The Surprise. Look, we’ve listened to 95 of these symphonies in a row. A little by-the-numbers, perhaps, but the numbers are quite good. If you find a recording that foregrounds the continuo in that closing Presto, this is a right belter. Symphony No. 34There’s a sense of melancholy here, something that was to seep into Haydn’s middle period with more intensity, but in No. Let’s put it mid-table. The first movement is urgent and agitated. 101. 67. Symphony No. 9A bit of an autopilot symphony. Symphony No. 26 (‘Lamentatione’)This symphony contains one of Haydn’s best openings: a nervy, restless flurry of strings that ushered in the composer’s interest in the ‘Sturm und Drang’ aesthetic. Not challenging technically, but to nail that lyricism is a rare and satisfying thing. Haydn's Allegretto tempo keeps the movement in the realm of the minuet as opposed to the quicker scherzo. 103 (‘Drumroll’)It only took 103 symphonies for Haydn to work out that there’s more than two ways to open a first movement. Almost exactly the same opening as No. Symphony No. Symphony No.45 in F-sharp minor Alt ernative. Symphony No. Symphony No. 13More evidence that Haydn loved the cello. This is probably due to a charming bit of "stage business" that ends the work. 96. Symphony No. 10 minutes of politeness.94. Later on, a fourth movement was added (commonly a minuet in trio). Imagine being hounded by an ex-lover who still has your bank details and has been completely inaccurate when dividing your possessions. 14. Symphony No. 48 in C major, Maria Theresia (1768/1769) Symphony No. It’s evidence that Haydn’s love of a good compositional game was established early and, if he didn’t get too bogged down, then it really works for the listener too.34. But, surprisingly, it’s no primitive beast. 85. The symphony is full of pomp and glitter. Well, thankfully, no. 66. 83. 53. 79Some of the symphonies in the 70s could be accused of mere showboating, a bit theatrical chest-puffery that doesn’t actually advance the form at all. 48 (‘Maria Therese’)The Holy Roman Empress Maria Therese was probably scared stiff by those opening horns. Haydn’s fourth movement of this symphony is formulated as a Sonata-Rondo movement. No 45 is one of the best-known of Haydn’s Eszterháza symphonies, largely because of the famous circumstances of its composition. It was a nickname that came into favor during Franz Joseph Haydn’s lifetime in the late 1700s, in the long period when he served as Kapellmeister for the Hungarian Court of Eszterházy. The first two outline two chords. 93. 94 (‘Surprise’) That super-loud chord in the second movement! UPDATE: This post is now over four years old, but it has risen to be the most popular post on The Music Salon. 5. It is also nicely symmetrical. 51 in B ♭ major (1773/1774) Symphony No. Listen to the oboe. The bookend movements here are strong, but the middle is a bit of a plod. The second movement is obsessed by three different kinds of Lombardic rhythms (known in some circles as the "Scotch snap"). 63. 49 (‘La Passione’)When a truly dark, complex work leaps out of a musical canon so often reliant on frolic and joy, it’s a big deal. 3. Symphony No. The prince and his court moved to the palace as usual for the summer of 1772, but this time he had decreed that no wives or families of the musicians were to visit them there. 59 (‘Fire’)Huge, huge fun. 62. 60 (‘Il distratto’)The nickname for this one basically means ‘The Distracted’, and it’s pretty clear why. 29OK, so there’s a weird thing about the melody in the third movement - basically, it’s supposed to be improvised by the harpsichord, but generally people don’t bother to put it in. Haydn — Symphony No. 19. Symphony No. It’s a simple, logical melody but, with the right performer, it’s easily the highlight of the whole symphony. 100 in G Major (1794) was written for Haydn’s triumphant return to the English capital. It should be required reading for anyone with love of, or interest in, classical music. But once you’re over that minor etymological hurdle, there are some winsome, outdoorsy melodies to tramp through, none of which will tax the brain or the ears too much. Angular, interlocking lines of melody wind around each other most attractively and inventively in the first movement, while the third features an impish trick - deliberately leaving one poor musician a quaver behind the pack to make the whole thing sound bowlegged and clumsy. 79 is Haydn back to his (conservatively) experimental old self once again. There’s like a billion of them. Extra marks for death-avoiding dramatic premiere. 78 as the final of three symphonies designed for London audiences, along with 76 and 77. Time passing makes mankind worse.” So yeah. 65It’s nice to note that Haydn’s slow movements get more interesting, daring and deep as the opus number increases. Symphony No. Audiences at the time might have expected to hear these special effects in the opera house, but not in a symphony. Well, it’s alright.72. In fact, you can hear a perfect example of it in the first movement of Beethoven’s Symphony … 35. Look, ENOUGH HORNS. There are flashes of inspiration elsewhere, sort-of, but generally you assume that this was being composed alongside a lot of other, more important works. 24Woodwind to the fore here, but Haydn hadn’t really worked out quite what to do with them all at this point in his career. Joseph Haydn's Symphony No. 72Scale exercises for horn, then some garbled tooting. 71Ah, sweet melancholy, you have returned! It’s all in F minor, it’s all morose, it’s all deep, it’s all sweetly shot through with meek sunshine. Haydn immediately starts breaking this down into little motifs. 23More auto-pilot. 40Numbered 40, but actually dates from the early teens. This symphony is a bit like that. The "Farewell" symphony, no. The new theme is in D major: After repeating this theme a couple of times, interspersed with a bit of the motivic working of the first theme, Haydn moves right into a very compressed recapitulation. 54As Haydn gradually worked his way around the orchestra, so his explorations into the properties of individual instruments became stronger. Symphony No. Symphony No. Symphony No. 91There’s some reworked material from Handel’s Ariadne of Naxos buried in here, which perhaps explains why it feels more like accompaniment without melody to begin with. But then it turned out that it actually happened at a different premiere (symphony no. 56. 56One of Haydn’s longest at over half an hour, but does he manage to fill it with enough decent tunes? I've written several posts on Chopin, including two where I discuss the Ballade No. Promising, but disappointing. By which we mean there are plenty of sneaky dissonances to enjoy, bumptious horns aplenty and a very sweet slow movement. Then we have a different kind of Lombardic rhythm in the violins in measure four. Symphony No. 49 in F minor is shrouded in ominous, gray clouds. Esterházy seems to have understood the message: the court returned to Eisenstadt the day following the performance. Reflect on your life’s failure to conjure anything quite as lovely as this. 77If you’re the sort of person who has a soundtrack in their head all the time, the minuet and trio of no. 95. Normally the minuet is the one place where nothing too outrageous happens, but not this one. Oh, and a nice slow movement. Then, for the first time in any of the Haydn symphonies we have examined so far, a real contrasting second theme appears--in the wrong place, of course! It’s difficult to establish any kind of momentum, but there are chunks of the final movement that elevate the whole work higher than a complete throwaway. This is a period of high quality in general, but there is little that stands out except the ones I've mentioned in my opinion. It is occasionally referred to as The Letter V referring to an older method of cataloguing Haydn’s symphonic output.. 60. Before you know it, the movement is over. In one place it can't seem to decide if it wants to be in the key of B minor or C major and comes to a half-cadence spelled as a kind of mixture of both: Just before we were pretty clearly in B minor, but in this passage Haydn moves one step higher. At this relatively early stage in his career, Haydn clearly knows what he’s doing and is still smashing out melodies like there’s no tomorrow, his symphonies are becoming interchangeable. 10. 41A grind. Symphony No. Haydn was keen on testing this already-tricky instrument, but here it feels a little like it was at the expense of decent melodies. That alone gets this symphony extra points. ", "This is the most consistently engaging and instructive music blog of which I am aware. Tolerably exhausting, like a strenuous playfight with an older sibling. Nah, not really. Try to remember any of the melodies and you’ll be staring into the void. 97Super-chromatic from the outset, it’s as if old man Haydn is drunkenly scrawling across the manuscript, a smouldering fag-end perched on a shelf, dangerously close to his glass of Riesling. Thus, this main theme, often called the rondo theme or reprise, starts the first big “A” section. 80Along with 79 and 81, a loose trilogy is formed with this symphony, which seems to revel in a bit more musical freedom than Haydn was used to. Symphony No. It’s good actually. 79. Oh how they must have laughed, those 18th century boffins, as they caught wind of Haydn’s little game. Very satisfying. 49. Within the last year, I've started exploring the western classical tradition and your writing here has been a recent springboard to so much good music! 96 (‘The Miracle’)So basically this is another nicknamed symphony where the nickname has literally no bearing on the symphony. 87. Must’ve been a long one. The winding strings, the delayed resolutions… ugh, ALL OF IT. Symphony No. A highlight in the early symphonies thanks to its restless energy and uncomplicated tunes. The second movement, adagio, is contrasting, beautifully restrained, and quietly powerful with a large royal flourish at the end. After some ‘fun’ commissions that tested the limits of jollity, it’s nice to have Haydn return to those dark, emotional sounds, like Morrissey hitting the studio after a long holiday with Kool & The Gang. 9. 78. 69 (‘Laudon’)By the time he got to no. By which time you’d probably be in the middle of a battle. 102. Symphony No. 94 in G Major, orchestral work by Austrian composer Joseph Haydn, so named for the “surprise”—a startlingly loud chord—that interrupts the otherwise soft and gentle flow of the second movement. Trouble is, when he gets preoccupied with these little games, it can detract from the impact of the symphony as a whole, leaving one with little memory of the main themes. We never actually get a C chord. He described them as “very easy, and without too much concertante – for the English gentlemen.” Translation = English people aren’t clever enough for ‘La Passione’.40. Still, it’s what you might call a hallmark Haydn symphony, a step up from mere filler but not among the top flight. With the opening of no. Symphony No. 74. Well… aside from some neat and intricate small ensemble work in the third movement, there’s not a whole lot to write home about in 56. The Symphony No. Symphony No. It is likely that the symphony was nicknamed ‘The Clock’ because of the continuous quavers in the second movement. Symphony No. As it stands, though, it’s a fairly blustery work, with the Largo standing out as the key achievement here - solemn, morose and in tune with that delightfully emo tempo marking. Symphony No. Surprise Symphony, byname of Symphony No. Symphony No. Symphony No. . 88. 82 in C major, "The Bear", Haydn: Symphony No. Symphony No. 47 in G major, The Palindrome (1772) Symphony No. 46. Symphony No. Franz Joseph Haydn composed Symphony No.101 in 1793 during the Classical period. Title Farewell ; Sinfonia No.45 Name Translations Симфония № 45; symphonie nº 45; Symphony No. ", Beethoven: Symphony No. The second movement is, however, an absolutely transparent whopper. 65. Skip over. Symphony No. This is a period-type structure rather than the sentence-type structures we have seen most often previously. There’s even some musical dragging here, as Haydn hobbles the minuet with incessant dotted rhythms.75. 44. Thanks for your devotion and hard work on this blog. Aggressively good stuff all the way through. The tale of how the symphony was composed was told by Haydn in old age to his biographers Albert … Disappointing. Symphony No. A typical performance of the symphony lasts around twenty-five minutes. Symphony No. Nearly all the symphonies, string quartets, and sonatas of Haydn, Mozart, Beethoven, and countless other composers begin with a first movement in sonata form. An early sign in Haydn’s career that he knew how to craft tension, to elicit wonder and ecstasy, all with a gentle crescendo. 58. 31 (‘Hornsignal’)Undoubtedly one of his finest openings - those clanging horns are so prominent, so enthusiastic, so bold. There’s a bit of ploddy syncopation in the second movement to get your pulse back to a sentient level, but aside from that there’s little to get truly excited about. 19Wistful and bracing at the outset, then a little dismal in the middle, then back to being bracing at the end. 103. 7 (‘Le midi’)The afternoon, eh? So we propose a new nickname: ‘The really good’. ", "Your "blog" is priceless to me and many others.". 67There’s a nervous energy to no, 67, almost a rediscovery of a past vigour. 30 is a sign that the composer was beginning to rely more heavily on external influence, not just merely trying to bodge tunes together as best he could. Finale: Presto, 2/2 - Adagio, 3/8 (F# minor and A major, then F# major) The second movement uses just the two horns in A and the third movement, in the outrageous key of F# major, uses two in F#. 87Weirdly, after being guilty of phoning it in for quite a lot of these symphonies, the latter stages of Haydn’s career saw some of the most energetic works emerge. Symphony No. But I will say the the second movement of symphony number 5 is a gem. The. Later on this same passage recurs with an G# major chord and a diminished seventh on A#. Symphony No. The … 46Because so many of Haydn’s symphonies begin with a declamatory, jaunty melody, it’s a job to separate them into subtle emotional categories. It’s filled with surprising, new sounds- most notably the “Turkish” exoticism of the triangle, crash cymbals, and bass drum. 99A symphony of amazing moments, rather than a complete thematic success. 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