I have listened to these symphonies since the Dorati version came out on disc in 1972. Haydn2032 is glorious and is so needed to honour the genius of Haydn. Giovanni Antonini brings such passion and energy to these performances. What a gift to have these performances available like this. I love the music of Mozart, Beethoven and Schubert but Haydn has a special place in my heart.
I could have written your comment. But perhaps not as eloquently. I discovered the first (!) sixty symphonies in the 70's. There were glorious recordings by Leppard and the ECO and Marriner and the ASMTF. A most regrettably underrated composer to this day.
Ich stimme Ihnen allen zu. Haydn the BRILLIANT!!! Unglaubliche Inspiration!!! I N C R E D I B I L E !!!!!!! Der letzte Satz ist ein metaphysischer Schock !!!!
Once again, straight in as a chart topping, number one performance. This is a brilliant symphony - you need to listen more than once to ‘get’ the contrapuntal mastery hidden throughout this masterpiece: - the canon using the first two notes of the first movement piled on top of each other in the development; - the double counterpoint in the second movement with different parts of the orchestra playing different but related ‘tunes’ often as an accompaniment to each other; - the triple fugue finale - listen to the three subjects/ideas thrown around the band, all cleverly fitting together making an exciting whole. Beautifully and passionately played, stylishly conducted; a privilege to be able to watch and listen to such a wonderful performance.
L'energia , gioia e brillantezza nell'esecuzione di Haydn di Giovanni Antonini con il Giardino Armonico è UNICA!!! Orchestra di dimensione corretta, nulla di bombastico ma una grande magica energia. Fantastico. La bellezza dello spirito italiano nella musica.
Pier Paderni Sono d’accordo al 100% - davvero fantastico. Inoltre, suonano la musica con conoscenza, comprensione ed amore. Questi esecuzioni d’Antonini ed i suoi due orchestre mi piacciono più di tutti. Viva lo spirito italiano nella musica!
Deze dirigent is werkelijk fantastisch. Het orkest hangt aan zijn handen en de expressiviteit is zelf voor een toehoorder aanstekelijk. Wat een voorrecht voor orkest en leider gezamenlijk zo’n prestatie neer te zetten!
Everything is in the proper place everything is enjoyable. The performers and the director show an amazing freshness. Bravo! Bravo! Glory to papà Haydn!The best friend of Mozart!
Не знаток,не ценитель классики,но прослушав одну лишь симфонию,хочется слушать и смотреть,именно в исполнении именно этого оркестра,на столько эмоциональное исполнение.БРАВО!
This was a beautiful, unforgettable performance, capturing all the nuance, intrigue and even humour of this composition. I really hope you will do the "early London" symphonies - 76, 77, and 78 - I think your vision for Haydn's work would make those three in particular come alive in a new way.
What an increible joy. The pandemic, I think, has allowed us to listen to so many of Haydn's syphonies. And- watching Antonioni conduct is mesmerizing, especially in Haydn's Symphny 22. What a wonderful combination.
Jacob Opper Outside of the Baroque composers, I feel that Haydn has benefitted perhaps more than any other composer from the impact of hearing his symphonies - and other works - played by specialist period orchestras.
@@elaineblackhurst1509 I totally agree. It's pure joy to listen to these enthusiastic musicians play. Crisp sound not smothered by dozens of strings. Antonini is so much fun to watch.
Jacob Opper You’re right, and it’s not just the fact it’s period instruments, but that Antonini and his two orchestras are time after time giving us such fantastic, committed and stylish performances - they are playing the music, not just the notes. The single most important feature of this series for me is that I feel I am hearing each symphony with the same sort of impact it would have have had on Haydn’s contemporaries. This whole series, even after the work of Bruggen, Goodman, Harnoncourt, Hogwood, Kuiken, Pinnock, Solomons, Weil, et al, is a revelation.
During Haydn’s visit to Oxford during his first trip to England in July 1791, he received the rarely awarded honorary Oxford D. Mus. from the University (which astonishingly, Handel never received). Haydn became extremely proud of this Doctorate, and it became normal to refer to him as Dr Haydn. Haydn continued to use the title sometimes back in Austria, and he would have raised an eyebrow over you referring to him as Mr Haydn!
@@1janak362 I think not; whilst the term might have been used in the 18th century as a term of endearment by a tiny number of people, its original sense is not properly understood today, and even amongst Beethoven’s circle, Papa was already being used as a term of ridicule, even contempt, and usually with the addition of the word - used pejoratively - ‘old’. My objection to the use of this silly, meaningless, and demeaning nickname is actually clearer if you put it into English, and into context, such as the story recounted by Ries about Beethoven’s friends laughing at the trick they had played on ‘…old Father Haydn’ about who had completed some of Beethoven’s counterpoint exercises. The term ‘Papà’ was an early 19th century invention, a caricature of the historical person that bore no relation to the complex musical personality of a very great composer. It is odd that Haydn is almost the only great composer stuck with such a silly, patronising, and condescending nickname that obscures his true stature. As I mentioned in my earlier post, Haydn was extremely proud of the Oxford Doctorate precisely because it did acknowledge and reflect his status and abilities. Whilst he would have accepted Papà from a very small number of people with whom he had a close relationship, he would never have accepted it in connection with his music; he would not appreciate the name being used casually today by people not entitled to use it.
@@1janak362 You’re probably right; the problem is that it’s not funny anymore because it’s been repeated thousands of times on UA-cam. I must lighten up x100!
18 dicembre 1779 - Questa sinfonia secondo le parole del Robbins Landon, "giganteggia" grazie alla consistenza delle forme musicali più serie e complesse e di un "humor" tutto haydniano. Non vi è nulla che ricordi l'idilliaca sinfonia n.67, o l'eroismo folcloristico del "Distratto" (n.60) o la magia della "Rossolana" (n.63): siamo in pieno clima dottrinale. Haydn tributa un inno alle tecniche più severe dell'arte musicale: il canone e la fuga. Sono i passaggi obbligati del compositore alle prime armi e, nello stesso tempo, i punti di arrivo per i maestri del contrappunto. E l'inno Haydn lo intona senza rinnegare se stesso, nel suo stile disadorno, giunto a perfetta maturazione. I sentimenti suscitati da questa sinfonia, unica nella produzione dell'autore, non sono perciò molto diversi dalla pienezza spirituale, dalla gioia che pervade l'animo dopo l'ascolto di un'altra sinfonia di quegli anni felici,. LDC
Superb all round, looking forward to listening to more. Never heard this before, wish our classical radio stations would play more of these” middle “ symphonies.
Such pure inventive genius! When he gets rolling with rhythmic surprises and melodic delights, Haydn almost eclipses Mozart. Fact is, they're both in the Pantheon of Heaven. Bravo and brava to Il Giardino Harmonico!
You are quite right, however this magnificent symphony simply illustrates the huge differences between Haydn and Mozart, and why it is better not to weigh the two composers in any qualitative scales; barely a single note from first to last could be mistaken for Mozart - it is quintessentially Haydnesque. As for Il Giardino Armonico, spot-on again, what a fantastic performance - and indeed, bravi, bravissimi tutti.
The only composer Mozart looked up to was Haydn. Mozart even dedicated six string quartets to Haydn. I read somewhere that Haydn was considering becoming a priest in his early days. I am sure glad he decided against it.
@@1janak362 I am not sure that Haydn ever seriously considered becoming a priest, though his mother possibly would have liked that to happen. Additionally, Haydn was rather too fond of women; besides being married - probably the worst marriage of any composer - he maintained a mistress at Eszterhaza (Luigia Polzelli) from 1779 until 1790, and almost certainly had other women in England, and possibly Vienna as well. I don’t therefore think a celibate priesthood would have appealed to him, especially as he explicitly spoke about the charms of women more than once. The only alternative career that I think was a possibility for Haydn was that of a singer, but fortunately, prompt action from his father prevented him around 1747 falling victim to the knife which was poised to preserve his fine singing voice for the rest of his life by making him a castrato.
I find the opportunity to see the musicians in these videos increases my appreciation of Haydn's music. conductor Giovanni Antonini is an interesting personality. One of the violinists reminds me of the actress Vanessa Redgrave. There is a very likeable young drummer, and a remarkable older cellist.
вот хороший пример как дирижер "зажигает" оркестр. Оттого оркестр прекрасно исполняет произведение Гайдна,тоже, кстати, весьма приятное по звучанию. Слушая, получаешь представление о том далеком времени. У Гайдна более 100 симфоний. Это настоящий классик симфоний. Привет из Киева.
An exhilarating performance, if at times just a fraction hard-pressed for me, occasionally snatching fragments of punch from some of the cadences. I particularly love the alertness and commitment of the players. The camera doesn't give the trumpeters their due, oddly focussing on the woodwind or horns at the most splendid trumpet outbursts.
What a fugue!! Haydn NEVER fails to dissatisfy -- one of the very few composers I can so with unabashed subjectivity. Give me the complete works of JS Bach and Haydn for the 'desert island' scenario and I'd be a satisfied camper ;)
I timpani sono stati distrutti in un grave incendio a Eszterhaza nel 18 novembre 1779, circa un mese prima della prima esecuzione di questa sinfonia (18 dicembre). Haydn ha aggiunto le parti timpani un po’ più tardi.
Yep. Beethoven sounds like he spent years copying the best of Haydn and Mozart and added a little more daring in between because he didn't give a shit! Father of Romanticism. Lol. More like Co father.
I have listened to these symphonies since the Dorati version came out on disc in 1972. Haydn2032 is glorious and is so needed to honour the genius of Haydn. Giovanni Antonini brings such passion and energy to these performances. What a gift to have these performances available like this. I love the music of Mozart, Beethoven and Schubert but Haydn has a special place in my heart.
In mine, too!
@@LoveJoyPeace378 Ditto. 🎵💛 🎵.
I could have written your comment. But perhaps not as eloquently. I discovered the first (!) sixty symphonies in the 70's. There were glorious recordings by Leppard and the ECO and Marriner and the ASMTF. A most regrettably underrated composer to this day.
Love love love Haydn. Such nobility a d simple charm in his music that can’t be found elsewhere
Ich stimme Ihnen allen zu. Haydn the BRILLIANT!!! Unglaubliche Inspiration!!! I N C R E D I B I L E !!!!!!! Der letzte Satz ist ein metaphysischer Schock !!!!
Once again, straight in as a chart topping, number one performance.
This is a brilliant symphony - you need to listen more than once to ‘get’ the contrapuntal mastery hidden throughout this masterpiece:
- the canon using the first two notes of the first movement piled on top of each other in the development;
- the double counterpoint in the second movement with different parts of the orchestra playing different but related ‘tunes’ often as an accompaniment to each other;
- the triple fugue finale - listen to the three subjects/ideas thrown around the band, all cleverly fitting together making an exciting whole.
Beautifully and passionately played, stylishly conducted; a privilege to be able to watch and listen to such a wonderful performance.
Thanks for the listening guide!
:ឭ|
L'energia , gioia e brillantezza nell'esecuzione di Haydn di Giovanni Antonini con il Giardino Armonico è UNICA!!! Orchestra di dimensione corretta, nulla di bombastico ma una grande magica energia. Fantastico. La bellezza dello spirito italiano nella musica.
Pier Paderni
Sono d’accordo al 100% - davvero fantastico.
Inoltre, suonano la musica con conoscenza, comprensione ed amore.
Questi esecuzioni d’Antonini ed i suoi due orchestre mi piacciono più di tutti.
Viva lo spirito italiano nella musica!
Never heard this symphony sound so great before.
Deze dirigent is werkelijk fantastisch. Het orkest hangt aan zijn handen en de expressiviteit is zelf voor een toehoorder aanstekelijk. Wat een voorrecht voor orkest en leider gezamenlijk zo’n prestatie neer te zetten!
Amazing Haydn, one the giants
Een van meest bijzondere symfonieën van genius Haydn, schitterende uitvoering. Dat beloofd wat in 2032
Everything is in the proper place everything is enjoyable. The performers and the director show an amazing freshness. Bravo! Bravo! Glory to papà Haydn!The best friend of Mozart!
Спасибо, Маэстро!
Не знаток,не ценитель классики,но прослушав одну лишь симфонию,хочется слушать и смотреть,именно в исполнении именно этого оркестра,на столько эмоциональное исполнение.БРАВО!
Music becomes even more essential,under the Il giardino armonico affection.!!
The minimalistic main the of the first part is practically nothing. But what a joy to listen to Haydn's inventiveness in playing with nothing!
I am obsessed with this recording! Can listen to the finale times and times. Somewhat incredible!
Pure delight. Giovanni Antonini you just lifted my spirits. Grazie.
This was a beautiful, unforgettable performance, capturing all the nuance, intrigue and even humour of this composition.
I really hope you will do the "early London" symphonies - 76, 77, and 78 - I think your vision for Haydn's work would make those three in particular come alive in a new way.
What an increible joy. The pandemic, I think, has allowed us to listen to so many of Haydn's syphonies. And- watching Antonioni conduct is mesmerizing, especially in Haydn's Symphny 22. What a wonderful combination.
Antonini.
A Great Haydn Symphony No70 ,The music Instruments are different and interesting ,Enjoying the Music as always ,✨💥🎺🎶🎶🥰🎶✨
Amazing!!!
Love period instruments. So fresh sounding.
Jacob Opper
Outside of the Baroque composers, I feel that Haydn has benefitted perhaps more than any other composer from the impact of hearing his symphonies - and other works - played by specialist period orchestras.
@@elaineblackhurst1509 I totally agree. It's pure joy to listen to these enthusiastic musicians play.
Crisp sound not smothered by dozens of strings. Antonini is so much fun to watch.
Jacob Opper
You’re right, and it’s not just the fact it’s period instruments, but that Antonini and his two orchestras are time after time giving us such fantastic, committed and stylish performances - they are playing the music, not just the notes.
The single most important feature of this series for me is that I feel I am hearing each symphony with the same sort of impact it would have have had on Haydn’s contemporaries.
This whole series, even after the work of Bruggen, Goodman, Harnoncourt, Hogwood, Kuiken, Pinnock, Solomons, Weil, et al, is a revelation.
@@elaineblackhurst1509 You know your stuff. Thank you.
Wonderful music. Great dynamic playing. I think that Haydn would be pleased!
This orchestra has a magnificent sound!
Magnificent symphony! Thank you Mr. Haydn.
During Haydn’s visit to Oxford during his first trip to England in July 1791, he received the rarely awarded honorary Oxford D. Mus. from the University (which astonishingly, Handel never received).
Haydn became extremely proud of this Doctorate, and it became normal to refer to him as Dr Haydn.
Haydn continued to use the title sometimes back in Austria, and he would have raised an eyebrow over you referring to him as Mr Haydn!
@@elaineblackhurst1509 But the title that best suits him is neither "Mr." nor "Dr." but "Papa'"
@@1janak362
I think not; whilst the term might have been used in the 18th century as a term of endearment by a tiny number of people, its original sense is not properly understood today, and even amongst Beethoven’s circle, Papa was already being used as a term of ridicule, even contempt, and usually with the addition of the word - used pejoratively - ‘old’.
My objection to the use of this silly, meaningless, and demeaning nickname is actually clearer if you put it into English, and into context, such as the story recounted by Ries about Beethoven’s friends laughing at the trick they had played on ‘…old Father Haydn’ about who had completed some of Beethoven’s counterpoint exercises.
The term ‘Papà’ was an early 19th century invention, a caricature of the historical person that bore no relation to the complex musical personality of a very great composer.
It is odd that Haydn is almost the only great composer stuck with such a silly, patronising, and condescending nickname that obscures his true stature.
As I mentioned in my earlier post, Haydn was extremely proud of the Oxford Doctorate precisely because it did acknowledge and reflect his status and abilities.
Whilst he would have accepted Papà from a very small number of people with whom he had a close relationship, he would never have accepted it in connection with his music; he would not appreciate the name being used casually today by people not entitled to use it.
@@elaineblackhurst1509 You take everything too seriously! It was only meant to be a joke.
@@1janak362
You’re probably right; the problem is that it’s not funny anymore because it’s been repeated thousands of times on UA-cam.
I must lighten up x100!
Haydn 2032: a big, beautiful, powerful project: congratulations!
Art at its intellectual best! Feast for the mind, joy to the heart!
18 dicembre 1779 - Questa sinfonia secondo le parole del Robbins Landon, "giganteggia" grazie alla consistenza delle forme musicali più serie e complesse e di un "humor" tutto haydniano. Non vi è nulla che ricordi l'idilliaca sinfonia n.67, o l'eroismo folcloristico del "Distratto" (n.60) o la magia della "Rossolana" (n.63): siamo in pieno clima dottrinale. Haydn tributa un inno alle tecniche più severe dell'arte musicale: il canone e la fuga. Sono i passaggi obbligati del compositore alle prime armi e, nello stesso tempo, i punti di arrivo per i maestri del contrappunto. E l'inno Haydn lo intona senza rinnegare se stesso, nel suo stile disadorno, giunto a perfetta maturazione. I sentimenti suscitati da questa sinfonia, unica nella produzione dell'autore, non sono perciò molto diversi dalla pienezza spirituale, dalla gioia che pervade l'animo dopo l'ascolto di un'altra sinfonia di quegli anni felici,. LDC
Eccellente interpretazione!
Superb all round, looking forward to listening to more. Never heard this before, wish our classical radio stations would play more of these” middle “ symphonies.
Pure delight. Bravo.
Bellissima!!
Wonderful! Thanks.
Such pure inventive genius! When he gets rolling with rhythmic surprises and melodic delights, Haydn almost eclipses Mozart. Fact is, they're both in the Pantheon of Heaven. Bravo and brava to Il Giardino Harmonico!
You are quite right, however this magnificent symphony simply illustrates the huge differences between Haydn and Mozart, and why it is better not to weigh the two composers in any qualitative scales; barely a single note from first to last could be mistaken for Mozart - it is quintessentially Haydnesque.
As for Il Giardino Armonico, spot-on again, what a fantastic performance - and indeed, bravi, bravissimi tutti.
The only composer Mozart looked up to was Haydn. Mozart even dedicated six string quartets to Haydn. I read somewhere that Haydn was considering becoming a priest in his early days. I am sure glad he decided against it.
@@1janak362
I am not sure that Haydn ever seriously considered becoming a priest, though his mother possibly would have liked that to happen.
Additionally, Haydn was rather too fond of women; besides being married - probably the worst marriage of any composer - he maintained a mistress at Eszterhaza (Luigia Polzelli) from 1779 until 1790, and almost certainly had other women in England, and possibly Vienna as well.
I don’t therefore think a celibate priesthood would have appealed to him, especially as he explicitly spoke about the charms of women more than once.
The only alternative career that I think was a possibility for Haydn was that of a singer, but fortunately, prompt action from his father prevented him around 1747 falling victim to the knife which was poised to preserve his fine singing voice for the rest of his life by making him a castrato.
WOW Il Fugato !!!!🤩🤩🤩
El gran talento de Haydn, totalmente presente en esta breve sinfonía ...
I find the opportunity to see the musicians in these videos increases my appreciation of Haydn's music.
conductor Giovanni Antonini is an interesting personality. One of the violinists reminds me of the actress Vanessa Redgrave. There is a very likeable young drummer, and a remarkable older cellist.
I eagerly await the next Alpha release in this series, and can only hope I live long enough to hear the entire series to completion.
I love it. Thank you.
Magnificent Haydn! Played gorgeously! Bravo!
вот хороший пример как дирижер "зажигает" оркестр. Оттого оркестр прекрасно исполняет произведение
Гайдна,тоже, кстати, весьма приятное по звучанию. Слушая, получаешь представление о том далеком времени. У Гайдна более 100 симфоний. Это настоящий классик симфоний. Привет из Киева.
God bless you praying for you and your country.
Greeting from Masha, she coming from Kiev and pianist (19 years old) and was 14 months with us and lives now near the Amsterdam conservatory.
An exhilarating performance, if at times just a fraction hard-pressed for me, occasionally snatching fragments of punch from some of the cadences. I particularly love the alertness and commitment of the players. The camera doesn't give the trumpeters their due, oddly focussing on the woodwind or horns at the most splendid trumpet outbursts.
Timpani (Drums): Michael Juen
and
Trompets: Andreas Lackner & Thomas Steinbrucker
Cembalo (Harpsichord): Riccardo Doni
There is no harpsichord continuo used in this series of Haydn symphonies.
What a fugue!! Haydn NEVER fails to dissatisfy -- one of the very few composers I can so with unabashed subjectivity. Give me the complete works of JS Bach and Haydn for the 'desert island' scenario and I'd be a satisfied camper ;)
懐かしい…この曲大好き
Antonini - the tai-chi conductor.
Haydn2032!
I love the old Hogwood-cycle so much, but this... this Project really is awesome. Fischers recording comes close though...
Это мог создать только гений
11:50, the Third Movement.
14:07, the Fourth Movement.
5:05, the Second Movement.
Chi è ai timpani? Non c'è scritto. È bravo.
Sì! - Timpani: Michael Juen
I timpani sono stati distrutti in un grave incendio a Eszterhaza nel 18 novembre 1779, circa un mese prima della prima esecuzione di questa sinfonia (18 dicembre).
Haydn ha aggiunto le parti timpani un po’ più tardi.
Could we know who are the trumpets and the tympani?
Haydn sinfonia, n, 90, 92.
Looks like Fred Armisen conducting haha
The only downside of this symphony is its brevity.
There are plenty of works (not by Haydn whose music I revere) of which you can say the opposite.
Regrettably Leonard the Great nor Holy Herbert recorded it as far as I know.
Yep. Beethoven sounds like he spent years copying the best of Haydn and Mozart and added a little more daring in between because he didn't give a shit! Father of Romanticism. Lol. More like Co father.
The feeling of conquest, accomplishment and joy at 3.03-31.08 could be expressed better, it is diminished by too soft a legato...
view points...again
Too many changes in dynamic in the fugue.
view points again
There are parts that are meaningless from the point of view of musical composition and classical style, repetitive, useless and deadly boring.
11:50, the Third Movement