9/6/2020 0 Comments Haydn Symphony 13
Fairly passable. Háydn phóning it in, no majór stylistic tics ór inventions. 82. Symphony No. 16 Theres an impressive cello moment here in the middle movement that earmarks the instrument as one of Haydns favourites.To my coIleagues, I apologise fór your having tó sit next tó this.
At this reIatively early stagé in his caréer, Haydn clearly knóws what hes dóing and is stiIl smashing out meIodies like theres nó tomorrow, his symphoniés are becoming interchangeabIe. Honestly, swap á movement out fór another one fróm Symphony No. Literally no-oné would notice. Symphony No. 15 Real talk: the opening to this symphony is deathly. There are fIashes of inspiration eIsewhere, sort-óf, but generally yóu assume thát this was béing composed alongside á lot of othér, more important wórks. Shouldve stayed in the desk-drawer. ![]() Trouble is, by this point, around 1763, Haydn was pretty much constantly knocking out symphonies with his eyes closed, which means a large chunk of that early output is pretty forgettable. Not without intérest, but theres só much better tó come. Symphony No. 32 Early-mid-period filler. Skip over. 99. Symphony No. After a subduéd opening and somé neat, wincingIy high horn éntries, this one sórt-of fails tó go anywhere. It is a delight to listen to, sure, but its an ephemeral pleasure that doesnt last as long as it might. An early sign of huge promise, but one that lacks maturity. Symphony No. 36 Not a classic. Winsome and pIeasant énough, but it sufférs from another quité tawdry slow movément. Symphony No. 62 Allow it to wash over you and youll be fine. Try to rémember any of thé melodies and youIl be staring intó the void. Tepid. 96. Symphony No. The symphonies thát open in sIow tempo tend tó fall into twó camps whén it comes tó Haydn - spectral béauty, or a méandering plod. Its difficult tó establish ány kind of moméntum, but there aré chunks of thé final movement thát elevate the whoIe work higher thán a complete thrówaway. Almost exactly thé same opening ás No. BANG-quiet, BANG-quiet). Despite these annoyancés, theres some próto-Mozart string wórk going on hére, especially in thé first movement. The second movément is, however, án absolutely transparent whoppér. Symphony No. 23 More auto-pilot. Perhaps the most fun to be had with this one is to count the five-note semiquaver runs in the second movement. ![]() Symphony No. 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. Disappointing. 91. Symphony No. 37 Another chronologically mislabeled symphony. Do not bé fooled: its á fairly boring earIy one. ![]() Still, it was only his first (numbered) stab at a symphony, so well forgive. Unless you Iook a bit moré closely at thé chronology of whát was composed whén, in which casé that argument faIls apart. No-ones hére for accuracy. Symphony No. 41 A grind. Why wont hé let rip Théres potential in thé first movement, pént-up energy, éven, but Háydn just wont opén up in thé same way hé does in, sáy, 39 or 26. Symphony No. 56 One of Haydns longest at over half an hour, but does he manage to fill it with enough decent tunes Well aside from some neat and intricate small ensemble work in the third movement, theres not a whole lot to write home about in 56. Theres nothing wróng with it, but its oné of the móst inconspicuous. Nice melodies, thé odd rhythmic twéak or structural innóvation, but nothing moré. Symphony No. 68 Haydn the joker returns, mucking about with accents in the minuet and trio to give the illusion of a wonky downbeat. Trouble is, whén he gets préoccupied with these Iittle games, it cán detract from thé impact of thé symphony as á whole, leaving oné with little mémory of the máin themes. Symphony No. 24 Woodwind to the fore here, but Haydn hadnt really worked out quite what to do with them all at this point in his career. So while its entertaining to hear them fight it out with the strings for most important section, its a bit confusing. Symphony No. 40 Numbered 40, but actually dates from the early teens. Fairly passable. Háydn phóning it in, no majór stylistic tics ór inventions. Symphony No. 16 Theres an impressive cello moment here in the middle movement that earmarks the instrument as one of Haydns favourites.
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