{"id":8349,"date":"2008-09-04T02:34:36","date_gmt":"2008-09-04T06:34:36","guid":{"rendered":"http:\/\/www.philpaine.com\/?p=8349"},"modified":"2018-08-12T03:36:02","modified_gmt":"2018-08-12T07:36:02","slug":"haydns-symphonies-a-and-b-2","status":"publish","type":"post","link":"http:\/\/www.philpaine.com\/?p=8349","title":{"rendered":"Haydn\u2019s Symphonies \u201cA\u201d and \u201cB\u201d"},"content":{"rendered":"

Since I found a set of scores for Haydn\u2019s first fifty sym\u00adphonies (pub\u00adlished in Ger\u00admany, and appar\u00adent\u00adly with\u00addrawn from the Mannes Col\u00adlege of Music in New York City some\u00adtime in the 1960s), it behooves me to lis\u00adten to them with score in hand. I\u2019m not sure why the first two are not num\u00adbered, but labeled \u201cA\u201d and \u201cB\u201d, but I pre\u00adsume it\u2019s because their attri\u00adbu\u00adtion is doubt\u00adful. \u201cB\u201d cer\u00adtain\u00adly sounds like Haydn. \u201cA\u201d is plod\u00adding and mechan\u00adi\u00adcal, and could have been com\u00adposed by any\u00adbody. The role of the com\u00adpos\u00ader in the first half of the 18th cen\u00adtu\u00adry was rather like that of a rave dj. He was expect\u00aded to \u201cspin\u201d what\u00adev\u00ader was at hand, and much mate\u00adr\u00adi\u00adal was recy\u00adcled from his own (or oth\u00aders\u2019) out\u00adput. Nobody kept track of who com\u00adposed what, except as an after-thought. Com\u00adposers where con\u00adstant\u00adly fired and rehired by patrons, and hop\u00adping from one prince\u00adly court to anoth\u00ader cre\u00adat\u00aded oppor\u00adtu\u00adni\u00adties for pur\u00adloin\u00ading works, or rehash\u00ading one\u2019s own. When nec\u00ades\u00adsary, baroque music could be man\u00adu\u00adfac\u00adtured in min\u00adutes, by assem\u00adbling cook\u00adie-cut\u00adter pat\u00adterns. Some baroque com\u00adposers, like Giuseppe Torel\u00adli, seem to have \u201ccom\u00adposed\u201d more music than could be played end-to-end over their life\u00adtimes. Some\u00adone used to the mod\u00adern idea of a \u201csym\u00adpho\u00adny\u201d would bare\u00adly rec\u00adog\u00adnize these pieces as such. Lat\u00ader on, Haydn him\u00adself, and the young Mozart, would cre\u00adate the com\u00adplex form of that name, by expand\u00ading the orches\u00adtra\u00adtion and cre\u00adat\u00ading struc\u00adtur\u00adal uni\u00adty beyond the mere lump\u00ading togeth\u00ader of vague\u00adly sim\u00adi\u00adlar pieces. The sym\u00adphonies of this peri\u00adod were what we would call \u201csuites\u201d today. But that doesn\u2019t mean that they couldn\u2019t be intel\u00adli\u00adgent and entertaining.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Since I found a set of scores for Haydn\u2019s first fifty sym\u00adphonies (pub\u00adlished in Ger\u00admany, and appar\u00adent\u00adly with\u00addrawn from the Mannes Col\u00adlege of Music in New York City some\u00adtime in the 1960s), it behooves me to lis\u00adten to them with \u2026<\/p>\n

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