# Top 30 movements from Haydn's Symphonies



## Arsakes

Yes, You read it right. It's not an easy work to listen to those symphonies, but I have most of them and I find these 30 movements very enjoyable. You do not need to hurry, you can post some of the movements that you remember and complete your list later.

For me from most favorite to less:

I. Symphony No. 96 in D major - I. Adagio - Allegro
II. Symphony No. 97 in C major - I. Adagio - Vivace
III. Symphony No.60 in C major 'Il Distratto' - I Adagio-allegro di molto
IV. Symphony No.83 in G minor 'La Poule' - I Allegro spiritoso
V. Symphony No.88 in G major - I Adagio-allegro
VI. Symphony No.92 in G major 'Oxford' - I Adagio-allegro spiritoso
VII. Symphony No. 104 in D major - I. Adagio - Allegro
VIII. Symphony No. 103 in E flat major - I. Adagio - Allegro Con Spirito
IX. Symphony No.44 in E minor 'Trauersymphonie' - I Allegro con brio
X. Symphony No.48 in C major 'Maria Theresa' - I Allegro

XI. Symphony No.92 in G major 'Oxford' - II Adagio
XII. Symphony No.53 in D major 'L'Imperiale' - I: Largo-maestoso-vivace
XIII. Symphony No.60 in C major 'Il Distratto' - II Andante
XIV. Symphony No.59 'Feuersinfonie' - II. Andante o piu tosto.Allegretto
XV. Symphony No.44 in E minor 'Trauersymphonie' - IV Finale, presto
XVI. Symphony No.50 in C major - I Adagio e maestoso-allegro di molto
XVII. Symphony No.38 in C major 'Echo' - I Allegro di molto
XVIII. Symphony No. 96 in D major - III. Menuetto (Allegretto)
XIX. Symphony No.35 in B flat major - I. Allegro di molto
XX. Symphony No.45 in F sharp minor 'Abschiedssymphonie' - I Allegro assai

XXI. Symphony No.82 in C major 'L'Ours' - I Vivace assai
XXII. Symphony No.40 in F major - I Allegro
XXIII. Symphony No.14 in A major - I Allegro molto
XXIV. Symphony No. 104 in D major - IV. Finale - Spirituoso
XXV. Symphony No.26 in D minor 'Lamentatione' - I. Allegro assai con spirito
XXVI. Symphony No.49 in F minor 'La Passione' - II. Allegro di molto
XXVII. Symphony No.73 in D major 'La Chasse' - IV La Chasse, presto
XXVIII. Symphony No. 101 in D major - II. Andante
XXIX. Symphony No.63 in C major 'La Roxelane' - I Allegro
30. Symphony No.46 in B - IV. Finale. Presto e scherzando


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## Ramako

Ahhhhh  I nearly missed this thread.

Hang doing this in a well considered way, here goes:

1. Symphony 43 - mov 4
2. Symphony 44 - mov 4
3. Symphony 99 - mov 2
4. Symphony 44 - mov 3
5. Symphony 43 - mov 1
6. Symphony 99 - mov 1
7. Symphony 104 - mov 1
8. Symphony 104 - mov 4
9. Symphony 103 - mov 4
10. Symphony 44 - mov 1
11. Symphony 39 - mov 1
12. Symphony 43 - mov 2
13. Symphony 43 - mov 3
14. Symphony 45 - mov 1
15. Symphony 45 - mov 2
16. Symphony 44 - mov 2
17. Symphony 45 - mov 3
18. Symphony 45 - mov 4a&b
19. Symphony 104 - mov 2
20. Symphony 93 - mov 2
21. Symphony 93 - mov 4
22. Symphony 100 - mov 3
23. Symphony 53 - mov 4
24. Symphony 53 - mov 2
25. Symphony 56 - mov 1
26. Symphony 57 - mov 1
27. Symphony 61 - mov 1
28. Symphony 22 - mov 1
29. Symphony 26 - mov 2
30. Symphony 46 - take your pick, probably mov 4

Ok, not entirely correct, but the first few are, and they are the most important anyway.


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## Arsakes

Any one else?

You can put your top 10 or 20 if it's too hard for you.


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## Ramako

Arsakes said:


> Any one else?
> 
> You can put your top 10 or 20 if it's too hard for you.


Ah the true mine of wealth that is the Haydn symphonies, unjustly passed over... The Haydn symphony is my single favourite genre of classical music. Where Quality and Quantity are no longer mutually exclusive


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## principe

This is the worse way to indulge in Haydn's Magnum Opus (the same may apply to his String Quartets, Piano Trios and the Piano Sonatas). 
A marvel of a Symphony like e.g. the one in G major (he was very keen with this "happy" tonality) no.94 (the "Surprise") cannot be understood, appreciated and further investigated, unless it is listened in its entirety. Of course the less than four minutes Finale is a full of humour movement that could be enjoyed as such, but it makes almost no sense without the rest of the Symphony. The same for the slow movement. Magnificent piece, but it hardly works by itself. Besides the relationship of the tonalities between and within the movements give a completely different sense to the whole work.
So, try to focus on which Symnphonies you should approach rather which movements.
A tip: Choose the ones in the same tonality and compare the result: How they are developed; how they sound; in which way they are different and so on. A good example: Try the three more famous in G major: No.88, 92, 94. Bernstein has recorded them together (on DG) and it's great fun and a...good lesson.

Principe


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## Ramako

principe said:


> This is the worse way to indulge in Haydn's Magnum Opus (the same may apply to his String Quartets, Piano Trios and the Piano Sonatas).
> A marvel of a Symphony like e.g. the one in G major (he was very keen with this "happy" tonality) no.94 (the "Surprise") cannot be understood, appreciated and further investigated, unless it is listened in its entirety. Of course the less than four minutes Finale is a full of humour movement that could be enjoyed as such, but it makes almost no sense without the rest of the Symphony. The same for the slow movement. Magnificent piece, but it hardly works by itself. Besides the relationship of the tonalities between and within the movements give a completely different sense to the whole work.
> So, try to focus on which Symnphonies you should approach rather which movements.
> A tip: Choose the ones in the same tonality and compare the result: How they are developed; how they sound; in which way they are different and so on. A good example: Try the three more famous in G major: No.88, 92, 94. Bernstein has recorded them together (on DG) and it's great fun and a...good lesson.
> 
> Principe


A good idea on the different keys, although at the moment I am listening to them all numerically, so it will have to wait. However, although I almost always listen to the symphonies as a whole, this does not stop me from having favourite movements within. At the end of symphony 100 second movement for example, I am always sitting waiting with practically breathless excitement for the slightly ridiculous but really extremely entertaining minuet. I would be sitting waiting for movement 4 of 44, but I am totally mesmerised by the third movement. The opening of the last movement of the Mercury is like a spear, or a ray of light, or a... I could go on, it is so many things.

Movements do work by themselves, but are given much greater depth by context.. Yes, it's best to listen to the whole things, although it makes a much bigger difference in say Mahler, but that doesn't stop us having this highly exciting thread. Having to pick and choose 30 of them actually allows much greater variety, since it stops the same repetition of the London and Paris symphonies, farewell etc.


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## clavichorder

I have focused way too hard on the first movements of symphonies 40-53 for a while, and not branched out. 53 has an incredile 1st movement, and 45 and 51 and exceptionally well constructed and fun to listen to all the way through. 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. But I will say the the second movement of symphony number 5 is a gem. The finale to the 1st is also a gem. I'd have to go through them again though.

88, 96, and 101 are my favorite later symphonies.


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## principe

The structure and form of the major works of Haydn dictates also how to evaluate or categorise his movements.
Normally, if not exclusively, the First movements are all in Sonata form, which was, is and remain the brightest invention and the greatest achievement in Classical Music. So, the First Movements in the Symphonies, String Quartets, Piano Trios or Piano Sonatas have a different and greater weight, interest and value.
The Slow Movements vary in the form (Variations, etc.), the development and style, normally, however, depicting the emotional weight of the work.
Minuets are iventive, creative and with some moderate sense of rhythm. They are built almost exclusively in the rather easy form of the actual menuet theme, a Trio and the reprise of the original theme. 
The Finales have, most of the time in few minutes, all the inventiveness, creativity and abundance of humour Haydn had to provide. If we have to choose the most enjoyable, favourite, humorous, jovial, uplifitng movements, the Finales are the first and exclusive choice. However, they won't work (they would do little sense without their complete "environment". For example, what's the point of the Finale of the glorious Symphony no.88, as an independent piece of music?)
Therefore, I believe that, if one had to make a sort of list of favourite movements of Haydn's Symphonies, he/she could categorise them based on their nature and form (First Movements, Slow Movements, etc.). Otherwise, it is like putting together apples and oranges and...anything else.

Principe


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## Ramako

principe said:


> Otherwise, it is like putting together apples and oranges and...anything else.


As are all these polls.

Are you saying that each movement is not a coherent whole?
Are you saying that it is physically impossible to listen to them by themselves?
Are you saying that it is morally wrong to do so?
Are you saying that it is impossible for one section of a work to be better than another?

Because if not then I don't see what the problem is.

People are entirely aware that listening to the whole symphonies is the best way to go about it, but that doesn't stop them from having a favourite movement.


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## principe

To answer (or clarify) each of your questions, Ramako:
a) The "coherence" of each movement is related to the rest of them. Each movement is like the Chapter of a book or the Act of a Play. It's a bit superficial to say I prefer this Act or this Chapter from Macbeth, for instance.
b) It is not "physically impossible to listen to them...", but how often do we see, in any concert, to perform individual movements as such. Even as encores, performers refrain from using them, because simply they do not function...well.
c) It is not "morally wrong"; it is Musically wrong!
d) The issue is not whether a "section" of a work is "better" than another, since, as I mentioned, each movement is quite _different_! That's why we cannot "choose" _any_ movement from _any_ Symphony, String Quartet, etc. and put them together in a "homogenised" list.
As I said, possibly, one may have to pick up the favourite First Movements, the beloved Slow ones, etc.
My disdain for "lists" of all kinds is that they distract, lead astray, etc. than contributing to the further and more profound approach of works that require repeated listening in their entirety.

Principe


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## Ramako

principe said:


> To answer (or clarify) each of your questions, Ramako:
> a) The "coherence" of each movement is related to the rest of them. Each movement is like the Chapter of a book or the Act of a Play. It's a bit superficial to say I prefer this Act or this Chapter from Macbeth, for instance.
> b) It is not "physically impossible to listen to them...", but how often do we see, in any concert, to perform individual movements as such. Even as encores, performers refrain from using them, because simply they do not function...well.
> c) It is not "morally wrong"; it is Musically wrong!
> d) The issue is not whether a "section" of a work is "better" than another, since, as I mentioned, each movement is quite _different_! That's why we cannot "choose" _any_ movement from _any_ Symphony, String Quartet, etc. and put them together in a "homogenised" list.
> As I said, possibly, one may have to pick up the favourite First Movements, the beloved Slow ones, etc.
> My disdain for "lists" of all kinds is that they distract, lead astray, etc. than contributing to the further and more profound approach of works that require repeated listening in their entirety.
> 
> Principe


These lists are a bit silly, however they are fun if one is willing. What's more they can be informative - I will listen to 96 again because Arsakes put it top, but I wouldn't have if he'd put the whole symphony down. I will be listening to what made him like the first movement so much.


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## principe

I can understand your last point, Ramako. However, if I tell you that the 97 is a more interesting, a better whole Symphony, possibly one of the very best before the last big six, are you going to be intrigued to find out why? And if I inform you that more scholars, analysts and experts on Haydn tend to agree that the 102 is his greatest one, would you be interested to go for it? Possibly yes and, I can assure you, both the fun and the rewards might be more substantive and lasting.
Cheers!

Principe


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## clavichorder

You have some interesting ideas about Haydn symphonies, principe, I'm glad to have a real expert on Haydn symphonies around on this forum, we've been missing that for a long time.


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## brianwalker

Ramako said:


> Ahhhhh  I nearly missed this thread.
> 
> Hang doing this in a well considered way, here goes:
> 
> 1. Symphony 43 - mov 4
> 2. Symphony 44 - mov 4
> 3. Symphony 99 - mov 2
> 4. Symphony 44 - mov 3
> 5. Symphony 43 - mov 1
> 6. Symphony 99 - mov 1
> 7. Symphony 104 - mov 1
> 8. Symphony 104 - mov 4
> 9. Symphony 103 - mov 4
> 10. Symphony 44 - mov 1
> 11. Symphony 39 - mov 1
> 12. Symphony 43 - mov 2
> 13. Symphony 43 - mov 3
> 14. Symphony 45 - mov 1
> 15. Symphony 45 - mov 2
> 16. Symphony 44 - mov 2
> 17. Symphony 45 - mov 3
> 18. Symphony 45 - mov 4a&b
> 19. Symphony 104 - mov 2
> 20. Symphony 93 - mov 2
> 21. Symphony 93 - mov 4
> 22. Symphony 100 - mov 3
> 23. Symphony 53 - mov 4
> 24. Symphony 53 - mov 2
> 25. Symphony 56 - mov 1
> 26. Symphony 57 - mov 1
> 27. Symphony 61 - mov 1
> 28. Symphony 22 - mov 1
> 29. Symphony 26 - mov 2
> 30. Symphony 46 - take your pick, probably mov 4
> 
> Ok, not entirely correct, but the first few are, and they are the most important anyway.


Where is 103 mov 1? It is nearly identical with 104 mov 1. Arsakes rationally put them next to each other in his list.



Arsakes said:


> VII. Symphony No. 104 in D major - I. Adagio - Allegro
> VIII. Symphony No. 103 in E flat major - I. Adagio - Allegro Con Spirito


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## Ramako

brianwalker said:


> Where is 103 mov 1? It is nearly identical with 104 mov 1. Arsakes rationally put them next to each other in his list.


Well, it is good, but I prefer 104, and I don't find them that similar... 103 has a repeat of the slow introduction for starters! and is more 'popular' in the allegro bits. I always find 104 mov 1 leads from the finale of 103. Anyway I was not considering deeply; it should probably make the list.


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## Plato

I also think that the symphonies should be listened to in their entirety, but I have my favorite movements anyway 

That's my list (I include concertos and sonatas)
1. symphony 96 - andante
2. piano concerto No 11 - un poco adagio
3. sonata No 33 - andante con moto
4. symphony 6 - adagio-allegro, especially adagio 
5. symphony 43 - allegro 
6. symphony 6 - menuet&trio
7. symphony 27 - andante: siciliano
8. symphony 64 - allegro con spirito
9. symphony 49 - allegro di molto
10. symphony 39 - allegro assai
11. symphony 80 - adagio
12. symphony 47 - allegro
13. piano concerto No 11 - vivace
14. symphony 29 - allegro di molto
15. symphony 11 - adagio cantabile
16. concerto in D major for cello - allegro moderato
17. symphony 84 - largo-allegro
18. symphony 44 - finale.presto
19. piano trio No 41 - adagio
20. symphony 21 - presto
21. symphony 14 - finale
22. symphony 54 - adagio assai
23. symphony 70 - finale. allegro con brio
24. symphony 73 - andante
25. symphony 73 - adagio-allegro
26. symphony 101 - andante
27. symphony 103 - adagio-allegro con spirito
28. symphony 98 - adagio-allegro
29. symhony 101 - andante
30. symphony 83 - vivace assai

Well, by writing it I come to the conclusion that I love nearly everything in Haydn!


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## Cosmos

*Only* *30?*


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## Pugg

Cosmos said:


> *Only* *30?*


My thoughts exactly


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## kartikeys

Am I allowed to share links here? 
I have my list of favourites in downloadable format.


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## BoggyB

I've recently finished listening to all 106 of Haydn's symphonies (although I confess I skipped numerous movements after a couple of minutes). I've made myself a CD with the following tracks, which constitute my top ten from the POV of this thread.

No. 24: I. Allegro + II. Adagio
No. 34: I. Adagio
No. 54: I. Presto
No. 89: I. Vivace + II. Andante con moto
No. 101 "The Clock": I. Adagio - Presto + II. Andante
No. 103 "Drumroll": I. Adagio - Allegro con spirito + II. Andante più tosto allegretto

Based on searching of this forum and other places, it seems that I'm a bit of a freak with the double-digit choices in this selection. My favourite composers are Bruckner and Beethoven, so I wonder if that has any bearing.


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## Pugg

BoggyB said:


> I've recently finished listening to all 106 of Haydn's symphonies (although I confess I skipped numerous movements after a couple of minutes). I've made myself a CD with the following tracks, which constitute my top ten from the POV of this thread.
> 
> No. 24: I. Allegro + II. Adagio
> No. 34: I. Adagio
> No. 54: I. Presto
> No. 89: I. Vivace + II. Andante con moto
> No. 101 "The Clock": I. Adagio - Presto + II. Andante
> No. 103 "Drumroll": I. Adagio - Allegro con spirito + II. Andante più tosto allegretto
> 
> Based on searching of this forum and other places, it seems that I'm a bit of a freak with the double-digit choices in this selection. My favourite composers are Bruckner and Beethoven, so I wonder if that has any bearing.


Nice first post, welcome aboard


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## BoggyB

Thanks! (And thanks again so I can exceed the 15 character lower-limit for posting, tee hee.)


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## Pugg

BoggyB said:


> Thanks! (And thanks again so I can exceed the 15 character lower-limit for posting, tee hee.)


You are learning quick :tiphat:


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