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・ Symphony No. 22 (Haydn)
・ Symphony No. 22 (Hovhaness)
・ Symphony No. 22 (Michael Haydn)
・ Symphony No. 22 (Mozart)
・ Symphony No. 22 (Myaskovsky)
・ Symphony No. 23 (Haydn)
・ Symphony No. 23 (Michael Haydn)
・ Symphony No. 23 (Mozart)
・ Symphony No. 24 (Haydn)
・ Symphony No. 24 (Michael Haydn)
・ Symphony No. 24 (Mozart)
・ Symphony No. 25
・ Symphony No. 25 (Haydn)
・ Symphony No. 25 (Michael Haydn)
・ Symphony No. 25 (Mozart)
Symphony No. 26 (Haydn)
・ Symphony No. 26 (Michael Haydn)
・ Symphony No. 26 (Mozart)
・ Symphony No. 27 (Haydn)
・ Symphony No. 27 (Michael Haydn)
・ Symphony No. 27 (Mozart)
・ Symphony No. 28 (Haydn)
・ Symphony No. 28 (Michael Haydn)
・ Symphony No. 28 (Mozart)
・ Symphony No. 29 (Haydn)
・ Symphony No. 29 (Michael Haydn)
・ Symphony No. 29 (Mozart)
・ Symphony No. 3
・ Symphony No. 3 "Symphonie Liturgique" (Honegger)
・ Symphony No. 3 "Universe"


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Symphony No. 26 (Haydn) : ウィキペディア英語版
Symphony No. 26 (Haydn)

The Symphony No. 26 in D minor, Hoboken 1/26, is one of the early Sturm und Drang Symphonies written by Joseph Haydn. It is popularly known as the Lamentatione.
== Background ==
Haydn wrote the symphony for Easter week. H. C. Robbins Landon has dated it to 1768 (possibly 1769). In the absence of the original autograph, it is impossible to verify the date of composition although this dating is consistent with the work's appearance in the Entwurf Katalog (Haydn's own catalogue of his works). An earlier tradition suggested the symphony had been written for Christmas (at the time a much less significant religious holiday), but the oldest original extant manuscript indicates clearly that the symphony was indeed intended for Easter celebrations.
It is an early example of the Sturm und Drang style that characterised much of his symphonic output to 1774 or 1775.
Because of its association with Easter week, Haydn incorporates a melody derived from an old plainsong chant of the Passion of Christ, interpolating (as the second theme) this familiar liturgical setting to contrast with the furious opening theme. The same lament is also picked up in the second movement, reinforcing the symphony's link to the Passion through evocation of a melody that would have been familiar to audiences of the time.

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