Haydn Symphony No. 24 | Kammerorchester Basel | Giovanni Antonini (Haydn2032, Vol. 11)
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- Опубліковано 10 лис 2023
- Joseph Haydn (1732-1809): Symphony No. 24 in D major, Hob. I:24 (1764)
Kammerorchester Basel | Giovanni Antonini, Conductor
I [Allegro] 00:12
II Adagio. Cantabile 05:40
III Menuet - Trio 10:43
IV Finale 13:50
Recorded at Theodorskirche Basel, May 19, 2019
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In the lead-up to the 300th anniversary of Joseph Haydn's birth in 2032, the Joseph Haydn Foundation in Basel is organising, producing and financing the performance and recording of all 107 of the composer's symphonies by Il Giardino Armonico and Basel Chamber Orchestra under the artistic direction of Giovanni Antonini, one of the most highly-respected specialists in baroque, early classical and classical music, with its project Haydn2032.
Learn more about the project Haydn2032 and check out our upcoming concerts:
www.haydn2032.com/en
Concerts in Basel are live streamed on UA-cam.
This symphony is part of Haydn2032 Vol. 11 "Au goût parisien":
outhere-music.com/en/albums/h...
#josephhaydn #haydn2032 #giovanniantonini #kammerorchesterbasel #symphony #augoutparisien
I love Adagio. Cantabile , the sound of the traditional flute. Beautiful! 💗
Symphony n°24 of 1764 is unquestionably one of Haydn's early symphonic masterpieces, together with n°30, 31, 29 and 28 of 1765 (most probable chronological order according to the "forensic" study of Sonja Gerlach, 1996) - a vintage period of Haydn's symphonic output. The first and last movements of n°24 are performed by Giovanni Antonini with a tremendous energy and drive: highly dramatic! The development section of the first movement is downright ferocious: "Sturm und Drang" avant la lettre. Antonini has a liking for holding fermatas as long as ever possible, as at the end of the first movement's development (bar 60), which enhances the dramatic effect of the recapitulation beginning unexpectedly in the minor mode and piano instead of forte (bar 61). In the last movement Antonini nicely brings out the dissonant basses in bars 21-25 (exposition) and 69-73 (recapitulation).
A small comment on the first movement. No composer in his right mind would repeat himself four times in a row without a good reason. So if Haydn does exactly that in bars 23-26 (and in the parallel place bars 75-78) the performers have to shape this passage in some creative way, otherwise it sounds as if the stylus got stuck in a LP groove. At that time there were very little dynamics written in the score (and the autograph of n°24 has come down to us) because the performers were familiar with the style and hadn't to be told how to shape the music. One obvious solution could be a crescendo over the four bars, i.e. an intensification, but one can imagine several other ways of creating some variety in this sequence, including embellishments - just doing nothing at all because nothing is specified in the score is against the style of the period. However, in none of all the recordings I know, including Antonini's, there is anything else than pure repetition - amazing.
According to H.C. Robbins Landon the second movement could have originated from Haydn's lost flute concerto in D. At the end of the movement there is a fermata for the whole orchestra (bar 53), after which the solo flutist correctly plays a cadenza (not written by Haydn), as was expected in the style of the period.
On the CD recording the horn players add embellishments in the repeats of the minuet's trio: it's hilarious! Like coming home drunk after a hunting party! Unfortunately, however, this idea (apart from a few little trills) obviously hadn't occurred to them at the time of the concert - a good motivation for buying the CD!
By the way, H.C. Robbins Landon observes that “in this Finale Haydn wrote a kind of farewell music which significantly turns up in the same key, and as a real “farewell” music, in the last act of “Le Pescatrici” (first performed at Eszterháza in 1770; composed the previous year). The orchestration is even the same, with the daring strings in semiquavers and the sustained oboes. 'Andiamo, partiamo', sings Mastricco in the opera. So there is something final in this music, also in Haydn's subconscious.” (“Haydn. Chronicle and Works - Haydn: the Early Years, 1732-1765”, Vol. 1, p. 568). Symphony n°24 was composed in 1764.
Life affirming music, superbly played. Thanks for this marvelous Haydn series.
Haydn at his best. glorious piece of music
Bravo! Antonini has dusted off the cobwebs of stale, older performances and given us Haydn as it was surely meant to be heard! Quite a revelation...and I've heard many Haydn performances in my time! He's the best.
1st movement
2nd movement
5:43 begins
3rd movement
10:47 begins
4th movement
13:53 begins
Браво ! Спасибо !
Have always enjoyed this one. Thank you for the beautiful performance.
Another masterpiece ... well played, well composed.
Superb as Always!!!😮❤😢🎉
You rock
Colossal
Drop a like‼️
I felt like I'm over the moon🎑
Incredible
😍😍😍
Finalmente per la prima volta si vede una grande esecuzione dal vivo di questa dimenticata ma bella sinfonia ma che rimane tra le mie preferite! In particolare Haydn nel primo movimento, come non mai, riesce a passare da un clima giocoso tipo filastrocca ad uno impetuoso, drammatico; due momenti umorali in antitesi, ma tutto si fonde in maniera perfetta e inebriante!
I don' t listen to Mozart anymore, but i can't do without Haydn, is it serious?
Pourquoi n'écoutez-vous plus Mozart ? Je suis curieux.
Bonne question, que je me suis aussi posée mais je n' ai pas encore trouvé de réponse satisfaisante. Mozart a été certainement le musicien qui m' a ouvert
les portes du monde classique; je l' ai beaucoup écouté, beaucoup et longtemps , jusqu' a ce que je m' aperçoive, assez récemment que sa musique
(j'ai honte de le dire) ne me touchait plus. Est - ce l' âge, l' évolution du goût, en fait je suis le premier surpris, un musicien de cette classe devrait être
une nourriture pour une vie entière. J' ai mis Haydn et Mozart en parallèle parce qu' ils parlent la même langue mais ne disent pas du tout les mêmes
choses, ce que j' aime chez Haydn c'est l' énergie, l' humour, la fantaisie, la bizarrerie quelquefois mais surtout sa manière très moderne de
composer. Ah au fait ne plus écouter Mozart ne signifie pas ne plus l' aimer et j' espère que mon coeur battra pour lui à nouveau.......@@marikomariko3992
@@jeanpierreallano4563 ( I write this in English because the content is beyond my French..😅 ). The evolution of taste is really interesting, because I am experiencing almost the other way around of yours. Beethoven is my God , which I assume will never change, but now I've been fascinated by Mozart's notes. His counterpoints sometimes give me goosebumps. Haydn is always a great pleasure to listen to, because of its characters you mentioned. I think one's evolution of taste is an integral part of his/her musical journey.
Irresistibile
Me too!
I prefer Haydn performed on modern instruments - and not standing up.