![]() In addition, we have had ground-breaking musicians in our past few generations. Just as Haydn was a ground-breaking composer in the world of his day. You can even hear the, at times, distorted mic and guitar from over-driven microphones. With the first cut on the record being “School Days”, you can hear how the backbeat heavy driving drums, and electric guitars would have been akin to the experience of a full symphony orchestra. Chuck Berry’s “After School Session” might be a good example. The wall of sound that a symphony orchestra of the size needed to perform a piece of this nature might have been like going to an early rock concert. Listening to Haydn’s first symphony with eyes closed, imagine being among the first audience to ever hear this piece performed live! Right out of the gates, it comes at you with Presto in movement 1, unlike many of his, as well as others compositions subsequent Allegro, exciting, lively, and energetic, it almost seems as though he may spend all of his effort on the first movement, but follows it up with a brief respite in the Andante, and then another dizzying Presto to top it off. Able to both define a style, as well as push both himself, as well as those of the up-and-coming in the jazz world at the time. Louis Uptown Toodle-Oo” to his more raw, and difficult record with a young Charles Mingus, and Max Roach, “Money Jungle”, show his maturity, and un-relenting tenacity as both a composer, arranger, as well as band leader. Haydn’s progression brings to mind that of another composer of more modern times who was also without comparison, Duke Ellington.Įllington’s metamorphosis from New Orleans “Hot Jazz”, such as “St. From his early, almost high-baroque works, into his light-hearted energetic forays into his middle period, through the “Sturm und Drang” era, and into his more mature works, such as Symphony No. Haydn’s individuality was a key component to his immediately recognizable style, and never failed to yield surprises regarding how much his sound changed over the course of his career. Combining accordion, fiddle, and acoustic guitar or mandolin, with drums, electric guitar, turntables, keyboards, and bass, they churn out a blend of styles that you can’t help stomping your feet to.Īlso containing a gypsy-esque influence, Leonard Cohen’s “Dance Me to the End of Love”, from 1984’s Various Positions, is very much inflected with the sound of Romani music. ![]() “Gypsy Punks”, Gogol Bordello, is a hybrid of reggae, punk rock, electronic, pop, and gypsy music. In between the call and response of the upper and lower strings and contrapuntal movement of the two there’s a few seconds of raucous, foot-stomping goodness.Īlthough not uncommon to hear such influences in todays multi-cultural mashup of styles, there are a few standouts. In the 4th movement of his 4th String Quartet Op.20 one can hear the strains of Gypsy music. Haydn was unique, in that, in his time as music director he was for all intents and purposes isolated from many of his peers and as a result his music was refreshingly different than many of the other composers of the period. Although, most likely due to his employers wealth and connectedness, his music was widely distributed through much of Europe. Hired as the court musician by the wealthy Esterházy family, he was isolated from other musical influences of the time until his later years. Like many of the other Classical period Composers, Haydn wrote easy to remember melodies, flexible rhythms within the songs, repetitive structures, and helped introduce the first chorus, along with the first chamber groups.Ĭredited with being the first composer to write for string quartet, and a full symphony orchestra, Haydn had a unique sound, and style. Joseph Haydn, (31st of March 1732-31st of May 1809) was born in Rohrau, on the Austro-Hungarian border, to Mathias, and Maria Haydn.
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