Haydn Symphony No. 28 | Il Giardino Armonico | Giovanni Antonini
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- Опубліковано 17 сер 2020
- Joseph Haydn (1732-1809): Symphony No. 28 in A major, Hob. I:28 (1765/66)
Il Giardino Armonico | Giovanni Antonini, Conductor
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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.
Tags: Joseph Haydn, Haydn2032, Symphony No. 28, Il Giardino Armonico, Giovanni Antonini
Thrilling, original, inventive... quintessentially Haydn! He had a signature sound from the start, and it's no wonder that he and Mozart shared an equal passion and understanding of great music.
Il Giardino Harmonico deserves high praise for a superb performance!
Once again, a performance by Antonini and Il Giardino Armonico by which all others must be judged; this is simply outstanding.
Three of the movements - except the Poco adagio - are characterised by an extraordinary rhythmic drive, high energy, and intensity rarely found amongst Haydn’s contemporaries; here delivered with spectacular results by Il Giardino Armonico who respond to Giovanni Antonini’s effective mixture of conducting each movement both alla breve (or one-in-a-bar), and/or counting the beats as per the time signature:
3/4 in the first movement: Allegro di molto;
2/4 in the second movement: Poco adagio;
3/4 in the Minuet and Trio;
6/8 (ie two beats) in the last movement: Presto.
The result is a powerful sense of forward momentum but with no feeling of being rushed.
This symphony is unmistakably Haydn: apart from the rhythmic vitality, the first movement’s stunning swerves in to the minor are highly effective, the intense working of the ‘Beethoven’ motif and other material is fascinating - development in Haydn is never restricted to the normal Development section but so often occurs from the outset.
The beautifully managed oboe solo in the first movement development is exquisitely balanced with the rest of the orchestra.
Additionally, there is a particularly strong feeling of the composer’s complete control of the formal structure of the movement (sonata form), and his ability to use it to deliver a powerful musical message.
In the second movement, Antonini manages perfectly the only movement which relaxes the rhythmic intensity of the other three. This movement feels more Andante here than Poco adagio, but perhaps the ‘poco’ allows this and in any case; 18th century tempo indications are perhaps more a reflection of character, mood, time signature et cetera than something supposed to fit within a 19th century metronome’s specific band of settings - the tempo works well here.
The opening legato strings of the Poco adagio in a lower register are contrasted with the staccato response in a higher register and this poses a question.
This is one of the movements scholars have nominated as the one to which Haydn was referring when he told both his early biographers Griesinger and Dies that one of his symphonies told the story of God meeting and speaking with a sinner; the other candidates of which I am aware are Symphonies 7, 22, 26 and the overture to Die Gotherath - but there is no consensus.
I am struck once again in the slow movement by Antonini’s ability to shape Haydn’s very unusual melodic lines and highly personal phrasing which are so very different from those of Mozart, and indeed most of his contemporaries. Mozart and Haydn spoke the same language, but with different accents and said different things!
Could any other composer have produced a Minuet such as this?
This very original and unusual movement with its striking use of bariolage in the Minuet and strange minor key Trio that seems to leave each insistent phrase hanging in the air was not to everyone’s taste; the well known Leipzig reviewer who labelled the Trio ‘silly’, reflecting a North German opinion of Haydn which could not quite work him out and struggled with some of his ‘originality’ and what they perceived as a distasteful mixture of the comic and the serious.
It’s interesting that CPE Bach in Hamburg heard some of these criticisms and felt the need to go into the press to defend Haydn.
Listening to this performance of the Minuet and Trio, it’s both easy and difficult to understand why some contemporary opinion should be so mixed.
Again, the pace of the movement works well for me and sits comfortably with the work as a whole; a more moderately paced Minuet is neither implied in the writing, and would sit uncomfortably in the context of this performance.
The gigue-like finale works well here and Haydn manages to inject some substance into the form - the swerves into the minor for example - but as the content and size of his symphonies grew, these 6/8 frolics, quite common in the earlier symphonies, became unsatisfactory conclusions and were replaced by more weighty movements that better balanced the other movements, in particular, the first.
As with the other theatrical symphonies, there is always the question as to whether it works as well as a symphony as it does as incidental music; in this case, it does.
This is a subject I will to which I will return when Symphony 63 is uploaded.
Symphony 28 is the sort of symphony that was marking out Haydn as a highly original, new and unique voice, as mentioned above, not entirely to everyone’s taste; but this symphony does stand out very much, indeed strikingly so when compared to symphonies of respected contemporary composers such as Dittersdorf et al.
As in previous performances by Antonini and his two orchestras, I feel we are hearing and feeling the works with the same impact they would have had on Haydn’s own audiences at Eszterhaza or in Vienna.
This symphony, even though I have known it since Dorati, sounds new, fresh, powerful, innovative, and satisfying - a powerful testament to the on-going success of the Haydn 2032 project.
Once again, many thanks to everyone involved in bringing us these very special performances; they are much appreciated by so many.
Great comment.
Kostas Papazafeiropoulos - Composer Thank you; glad you found it interesting and hopefully useful.
@@elaineblackhurst1509 of course it is useful. I have seen many comments of yours. Always to the point.
Thank you very much for your satisfying comment. I am also a big supporter of the "Haydn 2032" project, and I think that what this ensemble and its conductor are doing is the best gift for all lovers of these symphonic masterpieces. Long life to Antonini and Il Giardino Armonico!
Almost as much of a joy reading your excellent commentary and review as listening to this great performance of this wonderful symphony!
Thank you. And thanks to Il Giardino Armonico and Giovanni Antonini. I love Dorati’s interpretations and they were in large part responsible for my lifelong passion for Haydn’s music but these new performances are very special.
I recently bought the CD of this group's recording of this work, along with the "Roxolana" (title track) and the "Mercury" Symphonies and Bartok "Romanian Dances". I do enjoy the UA-cam performances, but I will buy this groups CDs until my life savings run out! These performances are life-changing!
Music like this could be possible: unbelievable!
The slow movement at 06:04 of this symphony is so delicious and so delicately performed...
What a marvellous life this must be, playing an instrument in such an orchestra. Every day listening and playing such wonderful music.
But the money is not so marvellous
@@bemolartaria Oh. Okay, I see.
@@bemolartaria ... except in those Europpen orchestras which are supported and subsidized by the state.
Wat een geweldige artiesten en wat een beleving. Een heerlijk dynamische dirigent die ‘de club’ aan een touwtje lijkt te hebben. Ik zag een sublieme samenwerking in het geheel. Fantastisch. Heb genoten. Dank hiervoor.
Sinfonia bellissima, mai prima eseguita così bene. c'è dentro lo spirito di Haydn. MA-GNI-FI-CI .
Soberbios ! Es un privilegio poder oir y ver las sinfonías del genio de Haydn con tan magníficos músicos . Bravo Giovanni Antonini !! Bravo Haydn2032!!
Hurrah! Hurrah! IGA again returns to raise our Haydn experience! Hurrah!
thank you so much for such fine conducting, playing, and performance! what a treat.
Pure joy ! I´m totally smitten with this orchestra / conductor . . . .
Wonderful video - to see players enjoying themselves in this setting.
Also prefer this tempo (1st mvmnt) to the slightly quicker one on their CD.
Thanks for posting this early gem, otherwise unknown to me - it's this video that got me interested in the project!
The trio is breathtaking
¡Me da mucho gusto que estén de regreso en esta plataforma digital: los hemos extrañado!
Deseo que sigan adelante con el proyecto Haydn2032 y lo lleven a feliz término.
Questa per me e' una sinfonia difficilmente assimilabile, ma qui l'ho potuta apprezzare di piu'.Bravi!
claudio8313 Il tuo commento è esattamente il motivo per cui il progetto Haydn 2032 è così importante; anche, quest’ è un esecuzione straordinario di una sinfonia molto interessante.
The intensity of the players versus the at times languid movements of the conductor always amuses me. I am a HUGE fan of this project. Thank you for giving these wonderful symphonies life! Not sure when I will be able to attend a live concert in London again, but your video helped sooth the pain of absence.
The high level of the musicians is so convincing that, even if sometimes the conductor seems to doze, at other times they are so completely together that it would be difficult to find another ensemble like this.
@@douglascook6378
You are quite right about the quality of Antonini’s two orchestras involved in Haydn 2032; I think crucially, it is also clear that these performances are properly prepared and rehearsed - where in fact, much of the conductor’s real work is done.
Along with the obvious passionate commitment to the project by everyone involved, this is becoming one of the great recording projects of all time.
@@douglascook6378 Antonini 'is' the driving impetus behind Il Giardino Armonico.... he's the reason the ensembles (and there have been many) under that name have come together, for decades now... their dynamism and understanding of sources is to a huge extent due to HIM. There is not an inkling of 'sleepiness' in Giovanni Antonini. You're comment I'm just going to attribute to misunderstanding due to lack of awareness of his life's work.
@@9UaYXxB I totally agree. IMO there is not a single moment in Maestro Antonini's conducting which could be described as "languid"
Wonderful, your work is awesome!
Beautiful as always!
💕 yes!
Magnifica versión!
This symphony represents a noticeable leap in maturity in Haydn's early symphonies, comparing this one to, say, no. 25 (1762?). Despite its intense, terse, wiry rhetoric, this piece seems more broadly conceived with genuinely contrasting subjects that are thematically related but used to shed a different light on their principals (see mvmt. 2), and the use of color-melody (Farbenmelodie) in the Minuet predates much later music. In the first movement, Haydn continues developing the themes in the recapitulation and the witty oboe solos are a welcome color change. The Trio implies a theatrical origin(?) and features Haydn's usual felicitous scoring. The Finale evokes the hunt, especially with its horn triplets, although dance-like in this case. Haydn contrasts between 2-part and 3-part counterpoint and the movement has an outdoors feel, as does much of this largely triple meter work.
Bravooo!!!👏👏👏👏
Amazing!
Все произведения Гайдна как одна большая симфония, состоящая из частей а их более ста. Привет из Киева.
Magnificent in every way. I would like to know where these were performed, as I’m sure others would, as well.
Impressive!!
Especially love the delicacy of the slow movement! (The minuet is a trifle too fast, however...IMHO)
This is an extraordinary early masterpiece (1765). The first movement is nearly entirely based on a short motif similar to the one in the first movement of Beethoven’s 5th symphony. Beethoven could have learned the extremely closely knit construction of that movement from Haydn’s piece. One wonders if Beethoven knew Haydn’s symphony n°28, but it’s rather improbable. Notice too the metrical ambivalence in the first bars: one is left in doubt if it’s in ternary or binary meter (the movement is notated in 3/4, but the first five bars feel like 6/8).
The minuet, marked “Allegro molto”, is the fastest of all Haydn’s symphonies, together with the one of symphony n°94, “Surprise” (1791), with the same tempo marking. Antonini takes it rightly at a dare-devil tempo of 69 bars per minute. However, for the trio he considerably slows down to 58 bars per minute, which is not in the style of the period: the minuet and trio were supposed to be played at approximately the same tempo, i.e. a slackening of the tempo should be “unnoticeable”. A slower tempo for the trio came up only later in the history of music: Beethoven requires it for the trio in the scherzo of his 4th and 7th symphonies (1806 and 1811-12), and likewise Schubert in his string quintet D. 956 (1828). I’m fully aware that in Haydn’s symphony n°28 the character of the minuet and trio, respectively, are very different and, therefore, to some degree require different tempos (H. C. Robbins Landon describes the trio as “a lost Balkan tune sounding from far across the puszta; it is Gypsy music and has in it the dark feeling of Eastern Europe”). Christopher Hogwood takes the minuet at 66 and the trio at 60, i.e. a mere 10% slower, which in my opinion works very well. On Antonini’s CD recording the tempo contrast is even stronger, as he takes the minuet at 72 (the trio still at 58). Moreover, on the CD he respects the repeat of both parts of the minuet after the trio, but not in the live concert on UA-cam. The minuet uses the effect of “bariolage”, i.e. the same note is played alternately on two different strings, which produce different tone colors. The entire finale of Haydn’s string quartet opus 50 n°6 (1787), “The Frog”, is based on this effect (supposedly the nickname derives from this tonal effect). By the way, in the trio of symphony n°28 I hear an appoggiatura in one of the lower voices on the first beat of every bar, which is not in the score.
The last movement in 6/8 is a kind of Tarantella or Gigue and has the same irresistible drive and is as closely knit as the first movement.
Antonini’s performance of this highly enjoyable masterpiece has tremendous and admirable drive in the fast movements, and beautiful poise in the slow movement.
But why does it need more than two years to post this video on UA-cam? The concert in Basel, Switzerland, which is on display here took place on May 17, 2018! We are still waiting for symphony n°63, “La Roxelane”, which was performed in the same concert.
Robert Spruijtenburg Just out of interest, I deliberately delayed viewing your comment until I had written my own which I have added this morning - I was curious to see how similar or different it would be! Lots of interesting thoughts as ever in your contribution, though some of the points I might have raised as a reply appear in my own comment.
I agree with you absolutely about the delay in uploading Symphony 63; the only other thing I would add is that there are a number of the earlier performances in the series which are also missing. If they could be packaged in the same format on this channel would also be appreciated, especially as some are now appearing on unauthorised (?) channels.
@@elaineblackhurst1509 Regarding the missing earlier performances in this series: once I wrote to Haydn2032 about this and the answer was that the concert on CD n°3 with symphonies 4, 42 and 64 unfortunately has not been filmed. I think it took some time for the Haydn2032 project to decide to post their concerts on UA-cam - perhaps motivated by the fact that others were starting to do it.
Thank you for your detailed comments below, to which I have nothing to add, perhaps with the proviso of "the composer’s complete control of the sonata form structure". I still hold it with Bruce Adolphe's pun "it's so-not-a-form" (pronounced with a NY accent): it's a procedure. But this would lead to an endless discussion which I would prefer to have around a beer in a nice pub...
Robert Spruijtenburg Thank you for the reference to Bruce Adolphe’s article which I have now read with interest; it contains some interesting and challenging thoughts, indeed truths.
You are quite right to mention the required accent; rather like the puns on ‘baroque’ being broke, ‘so-not-a-form’ is meaningless delivered in an English accent but becomes very witty with an American English delivery.
The only thing I would perhaps add is that in the hands of Haydn, Mozart, and Beethoven, in slightly different ways, all three composers were masters of the form (or procedure), not the servants - this was not always the case with their contemporaries and I think this makes a difference.
Sonata form (sic) opened up endless opportunities, including for new ideas, and was a structure in which all three felt challenged and stimulated rather than restricted; the form itself provoked musical thought, ideas and development.
In my original comment, it was this mastery, or control, which allows Haydn to do much of what Bruce Adolphe states in his piece.
On listening to this performance by Antonini, I was struck by the increased level of fluency, ease and confidence of Haydn’s writing within sonata form (and indeed in the other movements), all of which for me contributed to a feeling of a composer making bold, new statements in an increasingly more mature musical language.
As you say, every new thought opens up endless opportunities for discussion, but as I am about to start doing exactly what you suggested not to do here, I will stop, and think about ‘so-not-a-form’ a little further!
@@elaineblackhurst1509 I’m not aware of an ARTICLE by Bruce Adolphe: could you give me the reference? In earlier comments I referred to his LECTURE RECITALS at the Chamber Music Society at Lincoln Center, specifically those concerning Haydn’s string quartets opus 50 n°5, opus 50 n°1, opus 76 n°5 and opus 74 n°1. Illuminating are also his lecture recitals on Mozart’s string quintets K. 593 and K. 515, as well as on his piano quartets K. 578 and K. 593, because they demonstrate how completely different Mozart’s way of composing was from Haydn's: they are like opposite poles. I suggest you would start with the lecture on K. 515 where Bruce Adolphe brilliantly demonstrates Mozart's way of composing with a phrase for ordering a falafel - it's hilarious, but so to the point: one never forgets anymore Mozart's way of composing!
My reticence about discussing “sonata form” starts with the fact that Haydn, Mozart and Beethoven knew nothing about “sonata form”: that has been “codified” first, I think, by Czerny, and others who followed in the 19th century. A revealing detail is that Haydn, Mozart and Beethoven viewed those movements we call “sonata forms” as two part movements (demonstrated by the double bar after the “exposition”), whereas we view them as in three parts: exposition, development and recapitulation. What they knew about, however, was “procedures”, tonal, harmonic, rhetorical, etc., with the view to construct pieces with a dramatic, theatrical, evolvement. But their results are as different as one can think of, Beethoven being the most “teleological”, Mozart being the most “symmetrical” (the climax being in the middle, i.e. in the “development” section, and his recapitulations being basically a regular repeat of the “exposition” - this, at least, in his instrumental music; in his opera’s of course he follows theatrical lines). Haydn’s “procedure” I wouldn’t call primarily “teleological”, anyway not in Beethoven’s sense - his way is to pose or “invent” a “problem” at the start, which he then “solves“ in the course of the movement in a fully logical, rational way in all the aspects he discovers in his material “en route”. Additionally, his trademark is to raise expectations, which he then systematically denies, often with hilarious effect (the young French Zaïde Quartet made a recording of Haydn’s quartets opus 50 a few years ago, and in an interview they said they had to laugh all the time - obviously they really had understood something essential in the construction of those pieces). Schubert, again, is another matter altogether: his way certainly is not “teleological”, he rather moves in “circles”.
Since I started my “career” as a dilettante musicologist in 1971 with Charles Rosen’s “The Classical Style”, I have never really stopped reflecting on what “sonata form” is. After all those years it’s Bruce Adolphe’s view which suits me best: it’s a “procedure”, not a “mould”, which explains why within Haydn’s, Mozart’s and Beethoven’s oeuvre there are no two same “sonata forms” or, in 19th century terms, they are all “irregular” - I would rather say: the possibilities of forms are unlimited, created “sui generis” according to the “needs” contained in the material, a material invented with a specific evolvement in mind. Mind you: I don't expect you to go to the pub for a beer in order to respond to these reflections...
Robert Spruijtenburg I searched ‘Bruce Adolphe So not a form’ on Google: it threw up the OUPblog - Oxford University Press’s Academic Insights for the Thinking Mind, 27 September 2016, and there it was. The article is Bruce Adolphe’s succinct summary of the essential points from his lecture I presume.
As for the rest of your comment, there are some challenging thoughts (for which I am actually very grateful); I will take time to consider them, indeed one or two my initial instinct would be to dispute, so it will give me much food for thought!
(1765) L'esperienza acquisita nel corso di circa 30 sinfonie ha reso la penna di Haydn fluida; i temi nascono spontanei e sono sempre meno legati alle formule del barocco, dure tuttavia a morire. In questa opera che ritorna allo strumentale arcaico ( archi, oboi, corni e basso continuo) l'ispirazione è costante, ogni movimento reca tracce di originalità, le forme sono calcolate ed equilibrate come nei capolavori dell'età matura. E' uno dei prodotti migliori del primo periodo presso il principe Esterhazy. LDC
Hör mal und kaufe ein CD ! Damit es weiter gehe, ach mindestens für das Klima in 2032.
Oui, Français, achetons en ligne ou matériel, faut que cette aventure continue !
13:11, the Third Movement.
17.05.2018, Martinskirche Basel
Solare ed Originale
15:29, the fourth movement.
Лучшее пробуждение утром, без кофе, без женщины, без собаки, без новостей
Bravo. Mind boggling Haydn. Pity Antonini blocks the view of that pretty smiling violist.
Why are the violins holding their bows so far away from the frog, some of them are almost holding in the middle of the bow. Is this a stylistic choice or does it give a better leverage or am I just missing something?
surely the trio of the minuet is a Turkish or eastern european reference?
Let me me go back to 1766, today is pure madness.
Mozart conducting a symphony by Haydn!
А позже и кофе и женщина и собака и новости!!!
Why are so many male classical musicians incapable of combing their hair?
But some don't have any hair
I’ve listened to a lot of recordings of Haydn’s symphony no 28; including this particular version. But in the end i still very much prefer Christopher Hogwood’s recordings. Very articulate and precise.
i suppose we all have our differences in various recordings that are still available to buy whether it’s from presto classical or from amazon. In this particular video recording… there really is no need for a conductor.
Saturday pm 5th August 2023. Southampton England 🏴🇫🇷🇮🇪🇩🇪🇮🇳🇦🇹
Antonini et son orchestre toujours aussi étincelant; il est bien malheureux que les enregistrements sur CD soient si mauvais . Trop d'aigus ? enregistrement en studio ??