Klasik Müzik - Haydn-Symphony 100

i think the oboes should move more.

Where do you suggest they go?

mahler had a specific calling for oboes and clarinets to play with their bells 'up'. i don't think haydn did.

i need allgreto for school :p

Presto, 6/8 19:20

Quite possibly my favorite Haydn symphony, and that's saying a lot. Excellent performance from start to finish that was quite worthy of the warm ovation it received. Thanks for the splendid upload.

Where’s the fire, Mariss? First movement is much too quick

Tempi are a matter the conductor decides. And people quibble about it all the time. In live performance, tempo is often spontaneous. Everyone is a critic.

What a wonderful sound!

Allegreto 8:02

Bravooooooooooooooooooooooooooooooooo.-

Wow it's Hyden... love it

Whether one personally accepts Hoboken numbers (#100) or prefers to be current is strictly a matter of preference. The newer numbers are far more helpful, especially when you consider that by the Hoboken system, the first 10 symphonies are actually numbered, 1, 37, 18, 2, 4, 27, 10, 20, 17 & 19.Now to the symphony at hand. Where is the ominous terror which Haydn extracted from his audiences with the second movement? He meant it to be an actual evocation of the horror of war, something which the audience could relate to, since England was at war at the time. Here, it was played more like a sunny afternoon in the park. The rest was good though.

Actually, I firmly believe that we each hear music in our own manner, form images subconsciously, and we simply cannot into the mind of the composer and hear works in the same way (all this of course with extensive listening experience understood).  I was first exposed to this work in my teen years, and as it was originally presented to me, I did hear the second movement as amiably lyrical, with a momentary diversion toward the end of the movement.  The percussion instruments aside from the timpani were completely submerged and de-emphasized. Now, this was a completely congenial impression that I received of it, I would not wish to in any way part from it, and I remind others that there is no right or wrong in any of this.  But I do say, to support the impression that I indelibly get from this movement, I would take the tempo a tad slower.

This numbering system used here has not been widely adapted, even if it reflects the latest musicological scholarship, and just confuses the overwhelming majority of listeners.

Thank you so much PapaHaydn for this work of Papa Haydn. Subscribed to you for the great love I have for this great and most underrated composer, as Sir Simon Rattle commented.

Today, May 31st, is the 207th anniversary of the death of Haydn in Vienna, which was then occupied by Napoleon, recently beaten by Archduke Karl von Habsburg in the battle of Aspern-Essling (May 21-22, 1809). This Military Symphony commemorates the two great Austrians.

I think the "Papa" should be done away with. This is an A list composer not some antique trinket uninteresting guy. I think the tempo of the performance was to slow in movements 1,3, and 4. A great symphony.

@William PerryI agree with you totally. I might add the  masses to the list of Haydn`s great achievements. It is also coming to pass, that he wrote some masterpiece operas.

I'll have to check out Haydn's operas. I'm not familiar with them. And don't forget besides the masses, his two oratorios - the Creation and the Seasons.

@William PerryOrlando Paladino is a masterpiece and sounds a bit like Figaro, although it was written first. Also try Il Mondo Della Luna which is very funny.

@shnimmucThank you for your references!

I used to hate the "Papa" term because it became almost a term of abuse used by critics in the 19th century who looked down on Haydn. But really it's like "The Godfather", Bruce "The Boss" Springsteen or Frank "Chairman of the Board" Sinatra. It shows he was considered the absolute top man by everyone in his day. So go out and use it - just remind the world that it means "Who's the Daddy? Haydn's the daddy"!

Peculiar how you persist in calling this Symphony Nº 103. The rest of the world sticks with the standard nomenclature, in which this work (the 'Military' symphony) is termed Nº 100. It is true that since that nomenclature was established there were two more early symphonies discovered: those are termed Symphonies 'A' and 'B' (or Hob. I/107 and Hob. I/108). Even if (for the sake of argument) one were to adopt your 'chronology', one would soon see that, as there are only two additional symphonies, one would call the Military Symphony Nº 102, not 103.

+Common Tater Well, maybe its confusing, but I try to be historically correct. You can see the correct number of Haydn's symphonies here:http://www.haydn107.com/index.php?id=22&lng=1

+PapaHaydn Try all you like, I think you're missing the point. Catalogs are used to make things accessible, and that is what the current listing of Haydn symphonies (in which the symphony numbers coincide with the numbers in Hoboken Catalog 1) accomplishes. As for the 'correct' number of Haydn symphonies, the list at haydn107.com includes a so-called symphony Nº 107, which is not a symphony in the generally accepted sense but rather the Sinfonia Concertante for violin, cello, oboe and bassoon (1792), Hob. I/105.

One encounters similar problems when dealing with Schubert's symphonic works (after the first six, anyway).  It is not merely a matter of chronology, but also what one would consider a symphony, whether completed or merely sketched and incomplete.  For my part, the Grand Duo is a full fledged symphony regardless of what Brian Newbould asserts, and I've gotten into heated debates over this issue, but I would simply say that the symphonic intent in this work is clearly there, even if Schubert never bothered to orchestrate it.  The eminent violinist and scholar Joseph Joachim, has admirably proved this point, even if one happens to disagree with some of the specifics of his realization.  Regarding Haydn's work, I will persist in referring to it as No. 100, as that is the way I've always known it and how it automatically comes to mind when I see the designation "Symphony No. 100."

+Common Tater please be quiet

extraordinaria sinfoniaa

Bonjour ; je ne mets pas en doute votre "nouveau" classement Hoboken : puis-je vous demander les références auxquelles vous faites si sûrement allusion ? Dans tous mes propres soucres, je ne vois aucune modification. Je vous remercie.

@Sylvain Paul Labartette This is about what I'm speaking ;) -> http://www.haydn107.com/index2.html

Mas essa entrada dos instrumentos de percussão no final do 4 mov.ficou muito emocionante hein...a platéia foi ao auge da emoção.Observem só a cara de surpresos deles kkkkk,muito bom.

Bravoooo!!!Magnifico!!!Nota 1000 pra essa orquestra...execução perfeita,regência dominante,composição maravilhosa,compositor experiente....com certeza esse video se tornou referencia da sinfonia 100 de Haydn.

Good performance.  The grand entrance of the Turkish Instrument Polka Band  at the end was extremely hokey and poorly executed rhythmically, but other than that, very musical.

ce n'est PAS la n°103 !! mais la n° 100 --> pouvez-vous corriger votre erreur ?!

As I said in other videos, I use the new and updated chronology on Haydn Symphonies. You have the old Hoboken chrono on the title aswell, "Hob. I:100". But no, its not the 100, its the 103 symphony who Haydn wrote :)

+PapaHaydn Why do you use this peculiar numbering method?? So what if it is the '103 symphony who Haydn wrote'? In common usage this symphony is titled n° 100. You just make things confusing.

the wind writing in the slow movement! Oh gosh. The oboe playing in this performance makes my heart smile!

First rate performance.  Sorry I can not say the same for the partial screen presentation.  The orchestra just doesn't fit into such a small box.

Very good performance, what a pity slightly too slow the finale, but a lot of fine nuances and a warm approach, go on like this Mr. Jansons!

I like this version. I feel like marching to this.  I especially liked the ending of the final movement as well.

Studying for my listening test for Dr. Brad DeRoche.