Joseph Haydn - Symphony No. 46 in B major "Il filosofo" (Il Giardino Armonico, Giovanni Antonini)
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- Опубликовано: 25 июл 2024
- From the Esterházy Palace, 2014
Italian conductor Giovanni Antonini performs Haydn with his orchestra Il Giardino Armonico
Click here to watch the full concert: bit.ly/wMUSIC-LaPassioneHaydn
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Joseph Haydn - Symphony No.49 in F minor, Hob.I:49
0:00 I. Adagio
7:40 II. Allegro di Molto
14:26 III. Menuet e Trio
18:11 IV. Presto
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If Haydn were alive today I think he'd be well-pleased with the performance of his symphony by Giardino Armonico!
One commercial interruption after another. Beautiful music.
Stupenda sinfonia! Il primo movimento dà diversi spunti, all’ascoltatore che cerca le tracce che portano verso Beethoven, ma non solo. Si resta ammirati dall’equilibrio formale di questa sinfonia. Haydn riesce a esprimere genialmente sia il disordine che l’ordine
While this symphony is nominally in the very unusual and bright key of B-major, Haydn spends much of his time in b-minor and related keys. This is a dark work with sudden leaps into minor modes and forceful writing with high horns and oboes in the extremes of their registers, low and high.
This symphony is also an interesting early example of thematic transformation: the tail of the opening theme is used the remaining 3 movements, but slightly changed. To make the thematic relation clear, Haydn even quotes the Minuet in the last movement, presaging Beethoven's Symphony no. 5. This is an impressive bit of rhetoric, as the thematic materials of each movement are both highly individual, yet bear close relation. Fascinating work -- one of his finest of the period!
That's Sturm und Drang for you.
I find Schumann's 2nd similar in this way
Great tempi - great hornplaying!!
A sublime realization of...
This is a confusing video. The symphony is indeed No 46 in B major of 1772, as stated on the title. 'The Philosopher' is No. 22 in E flat major, written some eight years earlier in 1764. The text below the title refers to Symphony No 49 in F minor, 'La Passione', written in 1768.
A nice performance, but the high horns are wrong, much as I like them. There were no such things as horns crooked in B in 1772, so Haydn had a blacksmith make a small piece of tubing that slotted into the crook of a C horn, to lower it one semitone. (The extra bits of tubing were also used in the 'Farewell' symphony, to lower G horns to F# horns.) Sadly, this must have been a low (basso) C horn, as high (alto) C horns don't have crooks at all, that's why a C alto horn is the highest there was then.
This is an interesting comment, about the B alto horns. I've just asked Olivier Picon about this issue (he is a well-known natural horn player; he plays on Antonini's CD recording of symphony n°39, but not in the concert which is on display on RUclips).
He says the matter is much more complicated, and he sent me an article about the historical instruments: see below. Furthermore, what speaks against the B basso horns, Olivier Picon says, are various awkward voice crossings, which do not occur with B alto horns.
Ulrich Hübner: Early crooks on the horn
Abstract of the presentation held at the Historic Brass Society Conference, New York, July 2017
What are horn crooks? We have records of them going back to the very early years of the 18th century, and excluding the
special case of the cor solo for a moment, the answer in our times is easy: we all know the pieces of conical tubing bent
into a circular shape and of varying lengths, sometimes prolonged by cylindrical couplers. For playing, one of these
pieces is connected with the other part of a baroque or classical natural horn, the so-called corpus. Only the two parts
together build a playable, complete instrument, in which the crooks with their different lengths determine the different
basic tonalities of the horn. Several generations of researchers and musicians have established this view as being valid
for the entire 18th century. Replicating itself from one publication to the next, this image of the crook became common
knowledge and is widely mirrored in the types of instruments currently used in the field of historically informed
performance practise.
Looking from the 17th century without awareness of the later developments, there is another, much more logical
explanation: at that moment crooks were already well known for trumpets and trombones. They are not an integral part
of the instrument they belong to, but just an additional length of cylindrical tubing. Built as a prolonged tuning bit in
circular shape, they are placed between mouthpiece and instrument only for changing the tonality of the harmonic
series, not for making the trumpet or trombone complete and playable. What other than cylindrical crooks for
prolonging a complete instrument would an instrument maker of these days have considered, when thinking of a system
for changing the tonality of the newly developed horn?
Completely overlooked by researchers and musicians so far, this separate family of crooks has to be seen as an
important missing link on the way from the early hunting horn to the widely known „classical“ natural horn with tuning
slide and a full set of conical crooks. Its existence puts fundamentally into question a lot of what we thought to know
about the history of our instrument in the 18th century. The „baroque“ and „classical“ instruments in our gig bags do
their work for playing the music of those epochs, but have very little to do with the equipment our colleagues used at
their time: The currently omnipresent composite instruments, made from conical crooks and corpus, did not yet exist.
Throughout most of the 18th century the horn was an instrument with fixed leadpipe. Soloists preferred the archaic,
huntinghorn-like simple instrument in one tonality, as iconographical and written sources clearly show. For orchestral
use, cylindrical crooks were used on the same model. For accessing all wanted tonalities, one basic instrument was not
enough: it had to be made in different sizes like small-medium-large, or as an example in tonalities, C alto - G - D. The
first step away from this system of changing tonality then was the „Inventionshorn“, introduced close after the middle of
the 18th century. Still equipped with a fixed leadpipe, in this model again cylindrical crooks were inserted, but in the
middle of the body of the instrument. Only towards the end of the 18th century was the system developed, which we
today call terminal crooks. Probably starting in England as the Master-and-Coupler version at the end of the 1760s, it
was in the end an overwhelming success, and knowledge of the old crooks was lost.
A recent research project of the Bern University of the Arts shed new light on them. In a first step, all cases of
misdatings and later alterings were excluded. Proper attention and value was given to the existing relevant examples in
instrument collections. Written and iconographical sources were carefully reevaluated. In the end, it was not only for
the baroque period that all traces of composite instruments or conical crooks disappeared. Searching for an exemplary
horn for the music of Mozart and Haydn, the project started with the idea of an instrument without tuning slide, but with
conical terminal crooks. As a big surprise, we had to postpone the arrival of this model towards the end of Mozart's life.
Exemplary only for Beethoven's Vienna and later, a new genealogical order of the evolution of the horn in the 18th
century was appearing, which could have enormous impact on further studies, as well as on performance practise.
New York, 13.7.2017
© Ulrich Hübner, 2017
classical fans too low T
Fantastic
As noted below, the "Philosopher' symphony (you know, the one with English horns replacing the oboes) is No. 22. And the information in the description is of the 49th. All of this can be edited by the creator, who, if he/she wants to be taken seriously as such, ought to seriously consider doing so.
Clearly, whoever uploaded this is interested in ad placement and nothing else.
Sturm und Drang symphony
Wonderful piece, dare I say Haydn was more inventive than Mozart. As Haydn said, I was on my own at Esterhazy so had to be original
Much of his music has me in tears.
I think a key difference prior to Mozart leaving Salzburg was his audience; Mozart’s difficulties with the Archbishop are well known, and I think Mozart composed a number of his works before 1781 for an audience who treated the music as little more than background incidental music.
The contrast with Haydn at the same time was stark; Prince Nicholas was an educated and musical patron who was passionate about music.
Haydn was therefore constantly under pressure to create new works of a far higher standard than required of Mozart, who unlike Haydn - who was in sole control of the music arrangements at Eszterhaza - was just one of a number of musicians and composers at Salzburg, Michael Haydn and his father being obvious examples.
These background details perhaps in part explain your point about being inventive.
The other part of it is that the two composers compositional styles are different: there is far more contrast in Mozart, but far more thematic and motivic development - ie inventiveness - in Haydn (and in the next generation, Beethoven as well).
The closing parts of the Fourth Movement are unusual!
Accurate timings are:
second movement 7:29
third 14:56
finale 17:09
Also the title of the second movement is not "II. Allegro di Molto". It is "Poco adagio".
Thanks for the upload.
20:49, the conductor and the lead violinist exchange looks!
ホルンの音色が心地よい。
14:50, Third Movement.
17:06, Fourth Movement.
14:51, Third Movement.
7:24, Second Movement.
Pretty nice symphony for a rather uncommon key. The horns were crooked like in many performances of the symphony. Still, I like it.
23:04, it's customary for the conductor (Giovanni Antonini) after the performance to shake the lead violinist on his left; but in this case he attempts to do it, but the violinist doesn't extent his hand. Could there be some friction between the two?
Maybe, he vanished in later performances.
@@petercrosland5502 I think that lead violinist has a puffed up attitude. Lead musicians have always been known for this; not all of them, but the majority of them.
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