Haydn Symphony No. 45 | Il Giardino Armonico | Giovanni Antonini
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- Опубликовано: 1 мар 2021
- Joseph Haydn (1732-1809): Symphony No. 45 in F-sharp Minor, Hob. I:45 (1772/56)
Il Giardino Armonico | Giovanni Antonini, Conductor
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A big Thank You to our Patreon Florian Suter who generously supported this video!
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. 45, Il Giardino Armonico, Giovanni Antonini 
Видеоклипы
The conductor and his musicians are very talented. It's holiday, when I listen to them❤
It's like in a dream. A kind of resurrection of Haydn. Please continue!
Could not have expressed it more eloquently.
The last c.75 years have certainly seen a Haydn renaissance; we are very fortunate to live in such an enlightened age.
Fantastic!
And the humour and social feelings o Joseph Haydn are so clear in this symphony.
What a wonderful music. Haydn in this style of music is the greatest compositor so far. The talent the grace the sensitivity and simultaneously the grandeur are attributes for his music. The orchestra and direction are superb. Viva Haydn the father’s symphony and his divine music. Thanks for this magnificent interpretation and recording.
STRUM UND DRANG ?
I was very lucky to assist to a performance in Bari, 1967, by the Filarmonica of Zagreb. Last tempo began with lit candles on the leggios , the two violins leaving at the end the theater in darkness.. And silent before a football goal cheer
Wonderfully well done. The finest performance of the Farewell ever. It helps to be playing the music of such a great genius, of course. We can be sure he's smiling at you from upstairs. Brava and Bravo! 😄
Present to the concert in the first row with my son and my wife, one of the most beautiful experience of all my life (and I am seventy)
Do you remember what else was on the programme?
@@adrianoseresi3525 Yes, the hors d'oeuvre was chicken soup with freshly baked baguettes
If it sounds this good in a compressed recording, it must have been overwhelming live!
That's so cool
And more to come! xxx
I love every second of this music ... and of this marvellous performance ...!!!
00:10 - Allegro assai
05:23 - Adagio
15:00 - Menuet: Allegretto -Trio
18:12 - Finale: Presto - Adagio (20:55)
Corina, thanks for putting up the beginning times of the four movements!
@@McIntyreBible Not at all!
3:20 Episode
Bravo Giovanni Antonini con Il Giardino Armonico. Haydn es un superstar, el título de padre de la sinfonía y del cuarteto de cuerdas es poco para describir su obra . Colosal !! Haydn 2032, espero estar viva para celebrar !!!
Haydn è un ‘superstar’ - sono completamente d’accordo con te, ma non è lui il padre della sinfonia, né il quartetto d’archi.
Extraordinaire, MERVEILLEUSE ,MERCI , MAESTRO GIOVANNI ANTONI
These performances are monumental.
素晴らしい音源の最高のパフォーマンスに感無量です。👏👏👏🤩
The performance of 2nd Movement is amazing. Such detail in the grace notes
Il Giardino Armonico, Giovanni Antonini, GRANDIOS!!!
These renditions are really amazing. Thanks very much!
Such brave and original music making. Love this project. Bravi.
Мёд для ушей и наслаждение для души!
Das Orchester ist auf den Kammerton 432 Hz gestimmt🥀🌻🌻🌻.. das ist Großartig wieder zu dem Richtigen (A) Kammerton zurückzukehren. Danke vielmals für diese wunderschöne Interpretation.
WONDERFUL MUSIC
Fantastic. The best.
As always brilliant. Can't stop listening to this!
*Review Number 2: The Symphony.*
Symphony 45 ‘Farewell’/‘Abschieds-Sinfonie’/‘Sinfonia degli addii’.
Given the wonderful performance of this extraordinary symphony here, described by Robbins Landon as a work that has ‘...a freedom of form and a freedom of musical language, on an unprecedented scale’, and Charles Rosen stating that Haydn was writing music at this time ‘...on a level that no other composer of Haydn’s time could equal or even approach’, it is perhaps worth highlighting for the casual reader some of the truly astonishing features of the work.
The ‘Farewell’ symphony has probably been the subject of the single most intensive analysis of any work by Haydn.
Besides contributions from almost every Haydn scholar and biographer, a particular mention must be made of:
James Webster - Haydn’s ‘Farewell Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music.
Cambridge University Press (1991).
The book is about 400 pages - highly readable, but sometimes forensically detailed - of which about the first third is a detailed dissection, interpretation, and commentary on this symphony; it is essential reading for those wishing to understand in depth the work as a whole.
Some pointers for the more general listener.
1. The quality of the music Haydn was writing around 1772 was exceptional - 1772 was a Haydn annus mirabilis.
Symphonies 45, 46, 47;
String quartets Opus 20,
Piano sonata in c minor Hob. XVI:20 (just one highlight from the also exceptional 1771).
2. The tonality of the symphony:
In comparison to earlier sturm und drang minor key symphonies, not only is the key of f# minor unheard of in the 18th century, so is the tonal fluidity of the work as a whole.
(Webster’s thoughts on closure being denied throughout the work until it is finally achieved in the last 21 bars of pure F# major is fascinating).
Note: Symphony 49 (1768), apart from the tonic major trio, is entirely in f minor, and Symphony 44 (1771), is in e minor and E major; now compare that with Symphony 45.
Symphony 45 (1772) is as follows:
1st movement:
Allegro assai,
3/4,
f# minor (but with the unprecedented delay of the D major second subject/or interlude/or Minuet-like passage, until the Development section).
The norms of sonata form are challenged throughout, there is continuous development, including in the recapitulation, indeed with a sort of fausse reprise that is in fact the cue for further development, in some respects this movement is barely recognisable as regular sonata form.
2nd movement:
Adagio,
3/8,
A major (but at various points reaching B# major and c# minor).
Piano or pianissimo throughout, this movement with its sparing but highly effective use of the oboes and horns, and muted strings is a perfect foil for the intensity of the other movements, but without any relaxation of the profound mood of the symphony as a whole - a sharp contrast to the earlier g minor Symphony 39 (1767) for example.
3rd movement:
Allegretto,
3/4,
F# major (unusually, both Minuet AND the Trio).
Note the strange, pianissimo wisp of a cadential phrase which leaves the music hanging in the air with a sense of not being resolved - closure denied - at the end of each half of the Minuet (cf. the similar little wispy phrase in the middle of the exposition of the g minor string quartet Opus 20 No 3 also of 1772, and also at the end of the exposition of the first movement of Symphony 44 written a year or two before).
4th movement: Finale:
Part i
Presto,
barred common time,
f# minor,
Part iia
Adagio,
3/8,
A major,
Part iib
Adagio,
3/8,
F# major.
Haydn marked the beginning of the 4th movement Presto as Finale, thus indicating that the fast and slow section were both part of the same movement; some have suggested - incorrectly in my view - that the slow section is a separate 5th movement.
Note how the Finale revisits the principal keys of the first three movements.
3. Webster.
Webster goes into great detail about the points outlined above - and much else.
It is a fascinating read about what Webster calls the through-composition, and cyclic integration and unity, to be found in many Haydn works, and this symphony in particular.
In short: he assesses the work as one of Haydn’s greatest achievements.
4. Tonality.
The symphony is a masterclass of controlled tonal instability and fluidity - the D natural in the third movement bar of the F# major Minuet for example is just one of many such departures from contemporary norms.
The journey however, in 3rd-related keys - from f# minor, to the final closure and apotheosis in F# major - is meticulously planned at every stage from beginning to end.
5. Reception.
Mendelssohn conducted this almost forgotten symphony on 22 February 1838 at one of his historical Gewandhaus concerts in Leipzig; the concert was a great success.
He wrote to his sister afterwards: ‘...it is a curiously melancholy little piece’.
Schumann - not a particular admirer of Haydn - noted that no one laughed at the end, for there was nothing to laugh at; for once he tuned in correctly to Haydn’s spirit.
Today, the symphony is one of Haydn’s most better known middle-period works; it travelled well in his own lifetime too, and the composer quoted himself in the first movement of Symphony 85 (‘La Reine’) written for Paris in the full knowledge that the downward opening arpeggi would be recognised.
Did Beethoven know it?
It has been suggested that he might have known the partner Symphony 46 which includes the returning Minuet in the Finale, an idea that reappeared spectacularly in Beethoven’s own 5th symphony.
6. A little speculation - more questions than answers.
Has the staged scene of the departing musicians obscured any other reasons for Haydn producing such an extraordinarily intense, indeed revolutionary and challenging symphony?
From where did the specific artistic, creative, and musical impulse for this unique work arise - was it internal or external?
What was the reaction of Prince Nicholas - to the music, rather than the well-known response to the message?
I have a suspicion that we may be missing something: was Haydn’s ‘Farewell’ his equivalent to Shostakovitch’s ‘Response to Just Criticism’, was Haydn sending a musical message - and to whom?
Is the daring, striking originality, disruption and deliberate manipulation of expectation, and all the other features clearly evident in this work actually directed at someone or something?
Are their any other messages hidden in the work, besides the wish of the musicians to leave Eszterhaza and return to Eisenstadt?
Did Haydn’s recovery from the ‘raging fever’ and serious illness of 1770 or 1771 lead the composer to some sort of mid-life crisis which can be heard in the music he composed in the year or two afterwards?
We know that the minor key symphonies in this style ended soon after the ‘Farewell’ - the c minor Symphony 52 may have been later, but is considerably toned down - had Haydn perhaps made his point?
Did Prince Nicholas call time on this demanding music as his tastes moved more towards opera - the fine L’Infedelta delusa was premiered on 26 July 1773?
(Prince Nicholas had also abandoned his favourite baryton by 1776).
There is so much packaged into this unique symphony in the outre key of f# minor, yet much surrounding it that perhaps we do not fully understand.
As with Antonini’s performance here with Il Giardino Armonico, we are fortunate to have so many performances where this very special symphony has inspired such wonderful performances.
Bit of a ramble, but hopefully some food for thought for those interested.
Elaine, your commentary of this symphony is quite detailed (at least for RUclips!). You offer a book recommendation, plus some interesting historical data. Thanks!
@@McIntyreBible
Many thanks; I hope you found it a useful starting point for your own investigations into what I think is one of the greatest symphonies of the 18th century, a fact that is often obscured by the pantomime of the exiting musicians.
@@elaineblackhurst1509 Elaine, From what you wrote, its obvious that you have done your research. I'm a student of Haydn, but not at your level!
Quite apart from the scholarship and authenticity of these superb recordings for the Haydn 2032 project, I find Elaine’s commentaries to be an absolute and unexpected treasure on RUclips, contextualising a seminal moment in the history of western classical music. Understanding the genius and innovation of the composer, enhances the experience of listening so much. I keep coming back to this recording, it is so wonderful. Thank you so much.
As (almost) always I agree with/am enlightened by your insight. Please do not waver. However, something I would like to see, and never have, is the final abschied played by players as far away from each other as possible. I think this would underline the poignancy of the occasion. Edward Cooper (él de los castillos)
Φανταστικό η συμφωνία!!!! Μπράβο μπράβο!!!!
There are not enough positive adjectives in the English to describe this symphony. Suffice it to say that I love this music.
I could listen to it every day and I know I’d never get tired of listening to it.
Papa Haydn was truly a great genius. 👍🏼
I believe the ‘Farewell’ symphony to be one of the greatest symphonies of the 18th century, and have attempted to explain why elsewhere in this thread; you’re comment shows that you clearly feel this as well.
I must just pick up on attaching the terrible ‘Papa’ nickname to the composer which does him a massive patronising disservice and deflects us away from a true understanding of the stature of the composer.
Not a single note Haydn ever wrote could be described as old, nor fatherly, nor cosily familial - all images conjured up by Papa*; it is radical evolutionary music at the cutting edge of the developing Classical style.
Beethoven’s circle were already using ‘…old Father Haydn’ as a term of ridicule - contempt almost; it’s unfortunate it’s stuck around so long and is still used today occasionally.
Papa in relation to Haydn is as inappropriate as many other words from the past that we no longer use.
What other great composer is stuck with such a meaningless and inappropriately used nickname ?
* Papa of course looks even more bizarre if you understand Italian as it means Pope (father is papà).
Excellent points well made .. Haydn is a masterful craftsman and a true genius on another level.. I find myself listening to random symphonies by Haydn now on a daily basis..discovering so much interesting and well conceived works..25 years ago I was all mahler and bruckner..age has a way of bringing one back to the point of origin..and the one composer who all who came after revered.
If you really respect this great composer please don't use this ridiculous nickname. His forename is Joseph.
Great!
Awwwwwwwww W o n d e r f u l ! Thank you so much!! : D))))
Haydn2032. Firstly, many congratulations to the Maestro, leader & musicians for this amazing performance. As a person whom has been in the last 3 players in Cyprus (1985), and last 2 players in Eastbourne (1988), in the wind version of this famous piece. This brings back lots of fun memories.
Secondly. I have located an alternative ending to this symphony at 'Akademia Filmu i Telewizji' on the retirement of one Maestro Andrezj Kucybala, that was done this year. Which l believe you might find interesting to view. A little back story for you about this special performance:-
This was the very last concert the maestro conducted, before retirement from musical service in Poland. All the musicians in this ALL Stars Orchestra are musicians whom they have mentored, conducted in that remarkable education system, either as leader, soloist or musican in a large ensemble. Everyone of them have a permanent music job in national orchestras in Poland, and that general area.
The symphony starts as per normal in all the movements, bar one. That one being the adagio in the fourth movement. This starts of as normal, but at the first point of departure, the only person who leaves is Maestro Kucybala himself. The musicans stay in their places with their instruments at rest. This carries on with the lights in the room fading slowly, with only a spotlight on the conductors vacant stand. This l believe is a tribute version, which l don't believe has been performed before.
Once again. Fantastic performance of a well loved symphony. One hope you check out 'The talented people of Poland', as l call them. Prepare to be amazed.
Great video.
Love you Giovani for your passion ❤️
16th minute to around 20th is something to enjoy
*Review Number 1: The Performance.*
Magnificent - Antonini and Il Giardino Armonico deliver a performance with real musical, dramatic, and emotional impact.
There is a perfect match between the thoughtful interpretation and performance given here, and the sturm und drang character and spirit of the music.
We have an evident connection here between composer and the players; the series is reaching a point where it is as though we are listening to Haydn and his Eszterhaza orchestra themselves, such is the natural empathy and feeling for the composer, and his very particular idiom.
The players are playing the music, not just the notes; this performance is meticulously crafted, but natural - the body language of Antonini and Il Giardino Armonico demonstrates their total commitment to, involvement in the symphony.
Both conductor and the players are developing a real fluency in the musical language of the composer.
The performance is intense, driven, and in some respects, far from comfortable.
However, this is what this f# minor sturm und drang symphony actually is - it is part of the composer’s personal reaction to the relatively lightweight rococo and the galant prevalent at the time.
The ‘Farewell’ lacks what some may describe as a Mozartian elegance, that however is one of its true strengths - this is sturm und drang at its most fierce, and Antonini does not shy from this.
This character of the music is evident in many facets of the performance; it is enabled by the technical excellence of the players, and the absolute precision of their playing: the powerful unanimity and attack of the strings; the cleverly organised horn parts; the contrasting 2nd movement, and other striking lyrical passages that occur elsewhere; and most obviously in the tempi of the 1st movement, and opening section of the 4th movement; and the Minuet.
Taking the symphony as a whole - rather than movement by movement - I feel the tempi work effectively, there is no sense of the music being rushed.
The natural contrasts within the music itself provides an infinite variety of mood and feel, even within a single movement.
The unprecedented delay of the first movement ‘second subject’ (HCRL), or ‘interlude’ (James Webster) in D major which appears in the development section instead of the normal exposition, is a good example of this; Antonini has clearly thought through the meaning of this strikingly different, revolutionary, and almost incongruous passage.
For those who feel the Minuet is too fast, it is worth checking out some other - usually older - performances, where over time, they will begin to feel too slow.
The tempi of the Minuets do however remain an issue for some listeners, but if you really want to know what too fast sounds like - try Thomas Fey.
I do feel that the more driven one-in-a-bar Minuets suit Haydn better than the more Allegretto style three in a bar Mozart-style Minuets, the mood of the Minuets - and an appropriate tempo - in the case of both composers is implicit in the music as much as the tempo indication.
Antonini’s more rapid tempi work well overall, in no small part due to the carefully judged, but natural phrasing and shaping of the musical motifs, phrases and passages - there is a really powerful sense of the symphony being carefully thought through, with a coherent vision of the work as a whole.
The symphony does of course have intrinsic to itself a musical coherence and unity of content, spirit, expression, and strength, including in the slow movement with the beautiful contrast of the muted violins, and the sparing but effective use of the oboes, and horns.
Haydn’s orchestra in 1772 could well have been as small as 3,3,1,1,1, plus oboes, horns and bassoon; the orchestra here is slightly larger but the orchestral balance throughout is exquisite; it delivers delicacy, lyricism, and raw power.
It is able to deliver a brilliant performance of one of the most astonishing symphonies of the 18th century.
The colours, the textures, the delicacy and the power that Haydn creates from his modest forces is remarkable; all this is captured here.
All the intense musical climaxes are beautifully and sensitively executed.
The exit of the musicians was managed correctly: this is NOT one of Haydn’s humorous pranks - a topic on which I have commented previously as I think the subject is often over-stated.
Antonini here departs with little more than a raised eyebrow.
The well-known Adagio second part of the finale is a profound, musically intelligent, and very moving sequence in which the music plays centre stage, it is not some sort of laughter-inducing pantomime.
To have played this finale for laughs would have been a terrible mistake and betrayed a gross misunderstanding of the work as a whole.*
It was beautifully managed here - with the work ending paradoxically with one of the most poignant and simultaneously powerful conclusions in all of music, played with just two solo violins, pianissimo.
Haydn manages to extract some exquisite and novel sounds and textures from the ever shrinking orchestra during this final scene, once again, Antonini and the players perform this section as well as I have ever heard it done.
The players here delivered their little solos beautifully before departing - for those without a score - they left the stage thus:
Oboe 1 and Horn 2
Bassoon
Oboe 2 and Horn 1
Violone (Double bass)
Cello
Tutti violins
Viola
Solo violins 1 and 2 (almost certainly Luigi Tomasini - the lead violin - and Haydn himself **).
This symphony demands a huge amount from a small Classical orchestra - it is a powerful and profound work; for myself, Antonini delivers a magnificent, intelligent, and exciting performance that compares with the very best in a crowded market.
Having considered for some time whether or not to refer to this, I think in terms of balance, I should refer readers to a wholly negative review from the United States by music critic David Hurwitz which appeared on RUclips under the heading ‘Haydn from Hell’.
I think the review a travesty, and have commented as such on his channel; others may be interested to hear for themselves why Hurwitz has delivered such a damning review.
My more serious concern was that the overwhelming number of comments under Hurwitz’s review - largely I suspect from the US - agreed with the awful review, and it perhaps revealed an under-lying and unhealthy chasm between Europe and the US regarding authentic-style performances, a divide that is some way wider than than just the Atlantic Ocean if the comments are representative of the views of our friends in America.
The reviews I have seen from Europe have been overwhelmingly positive, and rightly so; this performance of a magnificent, but demanding symphony, is superb, and it therefore receives my imprimatur.
* I will refer to the comments of Mendelssohn and Schumann about this in Part 2.
** Traditionally used as an argument for not using a harpsichord continuo in Haydn symphonies, as Haydn was the only keyboard player available at Eszterhaza.
Some have argued however - implausibly in my view - that Haydn left the harpsichord, and took up a violin about 48 bars from the end.
Hurwitz is such an ass. He wants everything to sound the way it did when he had hair. His endlessly tiresome vibrato hobby horse is exhausting. He insists he's the only one in the parade in step.
Hi, great comment as always! There were two menuetts back then. The old one and the new. The new was played as one beat per bar. Then this became later the scherzo. I find this perfomance brilliant. I love this project. I even have composed a symphony for Antonini!
@@CostasCourtComposer
If interested, you will find an extremely lengthy discussion on the ‘correct’ speed of a Classical symphonic Minuet between myself and our good friend Robert Spruijtenburg under my main comment for Symphony 43 in this series.
Along with others, the issue has been raised under other performances in the series as well.
You’re right, this performance is brilliant; and very impressed you’ve managed a symphony.
@@elaineblackhurst1509 thanks! I will check the comment. If you like to listen to the symphony is on my channel under opus 195
@@elaineblackhurst1509 "RS", by the way, has backed out of this arena - too much effort for too little impact...
Nearly two months before this tour they played this symphony in Moscow, where the audience was even more treated, as they turned off their individual reading lights one by one before leaving the stage, which went to a final darkness and quietness...
Bye 2032 I am looking farsighted, dynamic and competent human beings to refresh the earth, as Antonini does with Haydn (and please, musicians, wait for the date before getting tired during the 4th movement : we are less patient that the county Esterhazy !!!).
Bravo Maestro, good luck to the future.
Ha! This will certainly not happen. Our culture is in a state of terminal decline!
BRAVISSIMI!!!
This is one of the best symponies of Haydn's without this symponny's episode.
In contrast to the numerous operas that Haydn directed at Eszterháza (written by him and by other composers) between 1776 and 1790, for which the performance dates are well-documented, precise dates of performances of instrumental works are largely speculative (other than the presumed years of their premières, if holograph manuscripts showing year of composition are extant). A partial exception to this situation is that the première of the 'Farewell' Symphony can be dated fairly securely to the late autumn of 1772. Indeed, one can presume that it was presented at the final concert of that year, before the court, including Haydn and the orchestral personnel, decamped to Vienna (or Eisenstadt). In his detailed and informative book on the 'Farewell' symphony (Cambridge University Press, 1991), James Webster makes a plausible case that the Symphony No. 46 is a companion work to the 'Farewell' (the holographs of both works are extant, and are dated 1772) - indeed, one could argue that the F sharp major ending of No. 45 'resolves' naturally into the B major of No. 46. Were these two symphonies performed consecutively by Haydn's orchestra, and, if so, in which order?
As noted in the third volume of Robbins Landon's massive 5-volume Haydn biography, a bill from October 1772 for the construction of two crooks for lowering horns by a semitone presumably refers to the novel horn tunings in Symphonies 45 (F sharp) and 46 (B natural). Assuming that these crooks would have lowered horns crooked in G to F sharp, and horns in C to B natural, the possibility of an interesting experiment presents itself. There has been considerable debate about whether the horns in B used in Symphony No. 46 were in B basso or B alto (a consideration that informs modern performances of this work). Using a crook that lowers a G horn to F sharp with good tuning, and assuming that no more than a pair of identical 'special' crooks were made in 1772, one could then try these crooks on both C basso and C alto horns, to see which - if either - of these horns then sounds better (i.e., more in tune) in B natural. This experiment might identify the correct type of B natural horn to use in the Symphony No. 46 (basso or alto) - unless, of course, both types of horn (an octave apart) are found to be in tune, in which case the question would not have been resolved.
With regard to the performance, I'll just say that I thought that it projected the requisite vehemence in the fast outer movements, and the distant harmonic vistas that, as mentioned by Landon in his 1955 book on the Haydn symphonies, are conjured up in the second movement.
In closing, as a result of the kindness of Dr. Balázs Mikusi, I had the privilege of seeing the holographs of the Symphonies Nos. 45 and 46, along with those of other works by Haydn, during a visit to the National Széchényi Library in Budapest, in October 2013 - a visit made additionally memorable by seeing what I think was a yellow-browed warbler, flitting between bushes below the library - a bird smaller than related warblers with which I was familiar, such as chiffchaff and willow warbler.
Correction: second, not "third" volume of Landon's 5-volume biography (first line of paragraph 2 of the above note).
I checked the yellow-browed warbler: according to Wikipedia, it's "extraordinarily rare in Hungary."
Bravo 👏👏
The moment when power was transferred from the Prince to composer, the audience at the first performance were delighted, Prince comnpletey blindsighted.
This performance is extremely intense and over the top
One of my favorites behind No. 60.
Genial!
Thanks!!!
Grande finesse tres belle interpretation
Adorable!!!
Wonderful! HIP above all
Powerful first movement!
Giovanni basta balle! Serve il continuo!!
This symphony is well known by he final joke of the musicians leaving their sets, but we should not occult the "sturm and drang" temporary but wondeful influence on Haydn's music, chiefly symphonies. Quite excellent rendering.
I find the departure of the musicians at the end both poignant and moving; it complements the final musical apotheosis of the whole work which for the only time during the entire symphony resolves itself into an ethereal F# major during the final 22 bars.
I really can neither see nor hear any ‘joke’ at any point of this magnificent symphony which stands as one of the greatest of the 18th century, and at no point feel that I should be laughing - surely the whole point of a joke.
Fun fact if this is brand new to you- This is called the Farewell Symphony because (to my knowledge only. this does actually happen but I don't know if this is the reason) slowly at the Adagio part, some of the players leave until there are only 2 left.
Je viens de voir que les 10 premiers CD de cette série (Haydn2032 Vol. 1-10) sont disponibles pour un peu moins de 40 €. Celui qui n'en profite pas tout de suite ne peut s'en prendre qu'à lui-même.
Bellisima❤
The only piece of Classical music where each member (except for 2) of the orchestra gets up and leaves the stage (22:09).
Almost certainly, the last two players left standing at the first performance in the beautiful Sala terrena at Eszterhaza, playing the final few bars together, would have been the lead violin Luigi Tomasini, and Haydn himself.
Goodbye 2021!!!!
The chord progression beginning at 13:41 is extraordinary.
As for the speed of the Minuet, I tend to prefer faster minuets in Haydn as their proto-scherzo character befits their rapid harmonic rhythm and texture/register changes. A slight relaxation of their trios is also an effective contrast. (Mozart's minuets are generally more harmonically stable and regularly phrased, retaining the qualities of a courtly dance.) The one-beat-to-a-bar approach can be taken too far (and occasionally this conductor crosses the line) but again, I prefer the more wiry, fleet approach as the music befits it -- the most important consideration.
Первая часть действительно paramount
Thanks Bravo Maestro. No 42 symphony please
I stand to be corrected, but I think the magnificent Symphony 42 was recorded as part of Volume 3 of the series and was released in 2016.
It was only later that the brilliant videos were filmed and started to appear before/after the cd release.
Oddly enough - in my humble opinion - Symphony 42 is one of my least favourite performances in the otherwise sensational series of recordings, largely centred around my feeling that Antonini has not quite caught the spirit of Haydn’s unique ‘Moderato e maestoso’ instruction for the first movement.
Heresy I know, but I also fundamentally disagree with the great HC Robbins Landon’s take on this movement as well (Haydn: Chronicle and Works, Volume II, Haydn at Eszterhaza, pp 300-301; and elsewhere).
Whether music was a lesser thing after mozart and haydn 😮
SOUNDS LIKE MOZARTS SYMPHONY 25 !!!
Mozart’s Symphony 25 (K183) is his sole attempt at a sturm und drang-type symphony; written whilst on a trip to Vienna in 1773, the direct model is Haydn’s g minor Symphony 39, though it’s likely Mozart probably either heard or saw the scores of JC Bach’s symphony Opus 6 No 6, and Vanhal’s g1 (both of which were also in g minor).
Not sure Haydn 45 and Mozart 25 in truth have very much in common at all - apart from both having a number of characteristic sturm und drang features.
Additionally of course, Haydn 45 is one of the absolute greatest symphonies of the 18th century - period; Mozart 25 is not.
Ho appena visto che i primi 10 CD di questa serie (Haydn2032 Vol. 1-10) sono disponibili per poco meno di 40 €. Se non li prendete ora, è colpa vostra.
00:10
Millor que Adam Fischer
I should have said: in the English language. Sorry
Stravaganza o Originalità (a seconda dei punti di vista)
Giovanni probably has paralysis
Да, музыка прекрасная, но... Как же можно уходить со сцены как слоны, со стуком. Думаю, капельмейстер Гайдн врезал бы оркестрантам по первое число. Единственное нормальное ИСПОЛНЕНИЕ где дирижировал Спиваков. Жертвую качеством картинки во имя музыки. Ох уж эта с политкорректность. Да музыкантов надо жучить, как всегда делали великие дирижёры.
I think Hurwitz has a point. How could one account for the tremendous balancing issues in this performance? Even if historically-informed performance practice is observed to a tee, what does it matter if the music fails on a fundamental level?!
I see no reason why the melody in the violins should be drowned out by a barrage of orchestra. It makes no musical sense, and ultimately, I don’t really care how historically well-informed it is. If it sounded awful then, it sounds awful now, and, hence, this performance is all the more stupid because of it.
We should never feel obliged to insist on the restoration of historical conditions that should never have existed in the first place.
For what it’s worth, I thought Hurwitz’s review a travesty, which is what I said in a comment I left on his channel where you will find his views under the heading ‘Haydn from Hell’ (not a good start).
The review was in my opinion unprofessional, sneering, and negative; it was taken as an opportunity to rehearse his very well-known multiple prejudices against anything period-performance generally, rather than an objective review of the cd.
Part of my concern was the impact the review would have in the US, especially as Hurwitz did not put his own views into the context of the overwhelmingly positive ones found across Europe; this did American viewers to his channel no service whatsoever.
Much of your comment above is simply Hurwitz re-hashed, even down to the unacknowledged Tovey quote taken out of context; if that’s your own viewpoint - which I suspect it is - then that’s fair enough, but better to leave Hurwitz out of it, especially as he sits so completely at odds with the professional critics in Europe, and the overwhelming majority of viewers/listeners views on here.
Regarding the ‘drowned out…’ opening violin melody, it’s worth noting that Haydn’s orchestra in 1772 consisted of about 14 players:
3 1st violins
3 2nd violins
Viola
Cello
Violine (double bass)
2 Oboes
2 Horns
Bassoon.
The music was therefore *conceived* by the composer as you here it, with the balance you hear here - just 3 1st violins marked f against the other 11 instruments also marked f - not as something else which would have required at least double (probably more) the number of 1st violins.
In this case, Tovey is neither applicable, nor relevant; Hurwitz and others are guilty of using him as a lever to seek a more 19th century (or modern if you prefer) sound and approach, simply because they prefer it - a personal, subjective preference, which is fine, provided it’s acknowledged and presented as such.
Thought a contrary view might be appreciated, hope you find something of interest in it.
I have also my doubts about that continuous heavy accentuation of every first beat. And the hyperactive gesticulating of the director. This is luckily easily avoided by not looking.
Что политиканы соделали с Великим немецким народом!!!