(1764) Il titolo "il filosofo" non è di Haydn, ma compare già su partiture stampate quando egli era ancora in vita. E' perciò verosimile che il compositore abbia tollerato l'aggiunta fatta da un editore, autorizzando l'ipotesi che si tratti in realtà di uno dei caratteri morali che intese descrivere in alcune sinfonie. E se questa opera può definirsi "filosofica", è soltanto per via del primo tempo, un adagio particolarmente espressivo e contemplativo, ricalcato, come del resto tutta la sinfonia, sul modello della precedente. Da notare in primo luogo lo strumentale che comprende, al posto degli oboi abituali due corni inglesi. E' un felice esperimento sui timbri orchestrali, che Haydn inspiegabilmente non ripeterà più nel corso di tutta la sua carriera. LDC
Antonini ( come già confermato da una eccezionale musicofila) con la sua orchestra presenta un Haydn molto “ vero “. In questo suggestivo posto ci fa rivivere l’atmosfera musicale straordinaria che vi doveva regnare e che lo vide per tanti anni interprete geniale
@@elaineblackhurst1509 I read an article about the wonderful Symphony 34 which associated it with a comedy by Goldoni, Il Filosofo Inglese. I wonder whether it was in fact this symphony that was played (maybe at an interval ) in Goldoni's works as it has English Horns (uniquely amongst Haydn's orchestral works) and has the nickname The Philosopher. You seem to know more about Haydn than anyone else on the planet, so I would welcome your thoughts . It would be a wonderful (and new) Haydn joke and explain the unique scoring.
@@edwardhoward5525 Do you mean Symphony 22 (‘The Phiosopher’) ? Regarding the origin of this title - which was in use even during Haydn’s lifetime - the short answer is that nobody knows, and even the indefatigable HC Robbins Landon gave up; some commentators have attempted to shoehorn the symphony into an imaginary philosophical context, generally-speaking with miserable results. I think the most likely thing is that someone somewhere used the symphony as incidental music and the name stuck; the Philosopher in question appears to have been of Italian origin (il filosofo), but whatever, the title is spurious and contributes little to the understanding of the symphony. A similar thing occurred with Symphony 49 (‘La passione’) which occasionally appears as ‘Il quacchero*’, or variously ‘il quakero di buon’umore’ and then into other languages, the music manifestly absurdly being used for a play about a good humoured Quaker! Regarding Symphony 22, most of the ‘Philosopher’ legend is explained on the Haydn 2032 website which is a good place to checkout most of the latest info about Haydn symphonies, and as 22 has been recorded, the notes are to be found there. * A particularly colourful Italian word pronounced correctly ‘il koo-*ack*-air-oh’.
Good question! Nope, there are no levers in the bell of the horn. On the natural horn (without valves as both these horns are) the player uses their right hand to make pitch adjustments and to subtly affect the tone of the horn. The horn - early natural horn or modern valved horn - is a very difficult instrument to play well.
An early expression of Haydn's triumphant genius. It's good to hear that these guys can play calmly and reflectively. I wish the men would buy razors, though.
Sure. Maestro Haydn surely wouldn't have lead his Eszterhazy orchestra unkempt and unshaven. I read somewhere that this was even noted in his contract with prince Nikolaus.
@@christianwouters6764 Haydn was meticulous about his neat and tidy appearance from being a very little boy until he took to his bed a few days before he died. Haydn habitually wore a wig from his earliest years - he was the last great composer so to do - and felt awkward without it. Haydn’s obsession with neatness and cleanliness bordered on vanity; in old age, he even put on a ring every time he received visitors (clearly visible in the Hoppner portrait). Mozart took similar pains over his appearance, and I suspect that both composers took the trouble they did over their respective appearances to disguise the fact that neither were particularly attractive physically, and both had visible disfigurements of different sorts. As a matter of general interest cf Beethoven.
@@elaineblackhurst1509 In those days most people didn't make it beyond childhood and those who did bore lifelong scars of children's diseases like smallpox. I read somewhere that Mozart was marked by this.
(1764) Il titolo "il filosofo" non è di Haydn, ma compare già su partiture stampate quando egli era ancora in vita. E' perciò verosimile che il compositore abbia tollerato l'aggiunta fatta da un editore, autorizzando l'ipotesi che si tratti in realtà di uno dei caratteri morali che intese descrivere in alcune sinfonie. E se questa opera può definirsi "filosofica", è soltanto per via del primo tempo, un adagio particolarmente espressivo e contemplativo, ricalcato, come del resto tutta la sinfonia, sul modello della precedente. Da notare in primo luogo lo strumentale che comprende, al posto degli oboi abituali due corni inglesi. E' un felice esperimento sui timbri orchestrali, che Haydn inspiegabilmente non ripeterà più nel corso di tutta la sua carriera. LDC
The Prince was short of money and decided that an four violins per part is enough.
No he wasn’t, and no he didn’t.
1'50 '' - Wow! I think I've found the Philosopher in the last row of musicians, resting with his bassoon! Outstanding performance! Thanks for share
Giovanni Antonini is my newest favorite conductor. He really gives it (as the saying goes) "110%".
Antonini ( come già confermato da una eccezionale musicofila) con la sua orchestra presenta un Haydn molto “ vero “. In questo suggestivo posto ci fa rivivere l’atmosfera musicale straordinaria che vi doveva regnare e che lo vide per tanti anni interprete geniale
Elettrizzante esecuzione, complimenti al Giardino Armonico!
Wonderful!! This is the right way of performing Haydn!! Period instruments always!!!
Splendid in the best way: I think I'm beginning to like Haydn even more than before. Great thanks from the USA!
Glad you enjoyed it! :)
I discovered him few years ago. I think he’s the most underrated composer of 16th century. Should be played more often
@@sinivet
Joseph Haydn 1732-1809.
Eighteenth century in English;
settecento in Italiano;
16th century I think, nowhere.
@@elaineblackhurst1509 I read an article about the wonderful Symphony 34 which associated it with a comedy by Goldoni, Il Filosofo Inglese.
I wonder whether it was in fact this symphony that was played (maybe at an interval ) in Goldoni's works as it has English Horns (uniquely amongst Haydn's orchestral works) and has the nickname The Philosopher. You seem to know more about Haydn than anyone else on the planet, so I would welcome your thoughts . It would be a wonderful (and new) Haydn joke and explain the unique scoring.
@@edwardhoward5525
Do you mean Symphony 22 (‘The Phiosopher’) ?
Regarding the origin of this title - which was in use even during Haydn’s lifetime - the short answer is that nobody knows, and even the indefatigable HC Robbins Landon gave up; some commentators have attempted to shoehorn the symphony into an imaginary philosophical context, generally-speaking with miserable results.
I think the most likely thing is that someone somewhere used the symphony as incidental music and the name stuck; the Philosopher in question appears to have been of Italian origin (il filosofo), but whatever, the title is spurious and contributes little to the understanding of the symphony.
A similar thing occurred with Symphony 49 (‘La passione’) which occasionally appears as ‘Il quacchero*’, or variously ‘il quakero di buon’umore’ and then into other languages, the music manifestly absurdly being used for a play about a good humoured Quaker!
Regarding Symphony 22, most of the ‘Philosopher’ legend is explained on the Haydn 2032 website which is a good place to checkout most of the latest info about Haydn symphonies, and as 22 has been recorded, the notes are to be found there.
* A particularly colourful Italian word pronounced correctly ‘il koo-*ack*-air-oh’.
Maravilloso. La mejor versión
Masterpiece
Maravilla !!!
Muito bom, maravilhoso filósofo.
Great performance!
This piece reminds me of a specific mozart piece that I don't remember the name of
The finale of Hadn's Symphony No.22 probably makes you think of the rondo from Mozart's Horn Concerto No. 4 in E flat.
Wonderful, Again!!
I've always wondered why this French horn played has his hand inside the horn (16:15); is he pressing a lever in there?
Good question! Nope, there are no levers in the bell of the horn. On the natural horn (without valves as both these horns are) the player uses their right hand to make pitch adjustments and to subtly affect the tone of the horn. The horn - early natural horn or modern valved horn - is a very difficult instrument to play well.
@@michaelp62 thanks for telling me that guy. I appreciate it!
Спасибо за запись, это любимая моя синфония
Grazie e complimenti
An early expression of Haydn's triumphant genius. It's good to hear that these guys can play calmly and reflectively. I wish the men would buy razors, though.
Sure. Maestro Haydn surely wouldn't have lead his Eszterhazy orchestra unkempt and unshaven. I read somewhere that this was even noted in his contract with prince Nikolaus.
Haydn had difficulty finding good razors, as the story behind his op. 55 no. 2 indicates.
@@christianwouters6764
Haydn was meticulous about his neat and tidy appearance from being a very little boy until he took to his bed a few days before he died.
Haydn habitually wore a wig from his earliest years - he was the last great composer so to do - and felt awkward without it.
Haydn’s obsession with neatness and cleanliness bordered on vanity; in old age, he even put on a ring every time he received visitors (clearly visible in the Hoppner portrait).
Mozart took similar pains over his appearance, and I suspect that both composers took the trouble they did over their respective appearances to disguise the fact that neither were particularly attractive physically, and both had visible disfigurements of different sorts.
As a matter of general interest cf Beethoven.
@@elaineblackhurst1509 In those days most people didn't make it beyond childhood and those who did bore lifelong scars of children's diseases like smallpox. I read somewhere that Mozart was marked by this.