The short comment first: this is the finest performance of this symphony either live or recorded that I have ever heard. Words seem almost superfluous: this conductor and orchestra have the deepest understanding, musicianship and ability to allow Haydn’s music to speak to us today as it did to his contemporaries, and with the same impact. This performance is so stunningly good that it is worth explaining why I think this. This early symphony was almost certainly written for performance in church on Easter Sunday 1765. The nickname comes from the Gregorian Holy Week plainsong chant which is embedded throughout the first movement; its 18th century form, it would have been familiar to every listener in Haydn’s audience. The music is of the highest originality and meticulously crafted, with the Alleluja theme appearing from the outset of the first movement in the 2nd violins and oboes/horns with 1st violin figurations around it. In the development section, there is a long sequence of the first four notes of the theme repeated in different parts of the band, then complete as an oboes/horns solo in the recapitulation - it is all very effective. The middle movement andante is a sort of divertimento/concerto with a beautifully played flute solo; with it’s dotted rhythms, it rather resembles a march. The unusual Minuet finale with two trios - ABCA+Coda - taken at a measured one-in-a-bar is perfectly paced, does not sound rushed and has a real dramatic sense of forward momentum. The move from C major to F major, then - unusually - to A minor before back to C major, is here beautifully and dramatically paced with effective use of dynamics to highlight the climaxes. Haydn’s symphonies sometimes seem almost to have hidden stories or meanings behind them - God speaking to the sinner, the ‘Farewell’ or ‘Surprise’ symphonies are obvious examples; what is so striking about these performances as here, is that it sounds like Antonini and his players are telling these stories. With its liturgical, almost sacred tone - rather like the chronologically later Symphony 26 - this Symphony was a hit from the start; Haydn re-used the theme in the Baryton trio number 64 (Mozart also used the Alleluja theme in his canon K533). A few general points and thoughts: The slightly larger band Antonini uses, with a larger bass section including a bassoon, is one factor for me lifting these performances above many rival versions - the music has a new depth and power sometimes missing elsewhere. In addition, tempi are perfectly judged, the music is dramatically shaped, the musicians properly rehearsed and clearly committed to and loving what they are doing; this results in properly prepared performances of the highest artistic integrity which are delivering revelatory results. I’ll repeat what I have written before: these performances are setting new standards in this repertoire. The flute playing only in the second movement and first trio remains a mystery: did Haydn expect it simply to sit out the other sections, or did it perhaps double the first oboe, or perhaps most likely, the flautist played another instrument in the other movements? A harpsichord as part of the continuo - advocated by some early music specialists - would not have added anything to this performance and would indeed have been intrusive; this symphony demonstrates clearly why it is unnecessary and Antonini is right to dispense with it in this series of recordings. An additional consideration regarding the use of the harpsichord continuo in performances of symphonies in the mid/late-mid 18th century is that perhaps it was used in chamber sized performances where the strings numbered only one (or two) to a part. Similarly, some performances in churches may well have supplemented the tiny string contingents with an organ continuo! Did Haydn intend the Minuet finale - with its two trios rather than the normal one - to be played as a rondo ie ABACA+Coda? I ask this question as the switch of key from the first to second trio, ie from F major to A minor almost never happens in Haydn, nor in Mozart either (the experimental tonal wanderings in Haydn’s later works such as the Opus 76 string quartets are something from a very different world). Played as a rondo, the second trio would move from the tonic minuet to the relative minor trio which was much more common. This music is quintessential Haydn; not a note of it sounds like Mozart, nor indeed any other contemporary composer. We are so fortunate to be able to witness this on-going series that is, through their brilliant performances, opening up new insights into perhaps the least understood of the greatest composers.
Do you have a blog where you critique performances? Definitely start one and link me! I am your first reader.What a review. I have played piano for nearly 20 years but have recently taken an interest in listening to classical/romantic period music. I am learning a lot about the structure of musical pieces, expositions and development and how by learning about the piece I can appreciate it more. Haydn is BLOWING my mind in this way hahah. Your deconstruction has added even another layer to it. I need to read more! Write more!
Andrew Murphy Thank you for your kind comments; perhaps I should consider writing a blog of some sort! Whilst I enjoy almost all music from Byrd to Berg, I do have a particular interest in and some knowledge about what may be termed the Classical period c.1750 - 1800 (sic). I like to share this learning to highlight aspects of music that may be hidden to more casual listeners with the aim of increasing their enjoyment and understanding. I have written extensive comments on almost all the ‘Haydn 2032 Antonini’ project symphony performances, some have turned into fascinating discussions as you will see if you check them out. This series, which you have obviously now found - to which you have hopefully subscribed - is quite simply, an artistic project of the highest artistic calibre and well worth following. More widely, I have added replies to TH-cam comments on a number of mostly ‘Classical’ composers, usually to correct factual errors, or where people have presented opinions (which are fine) as facts: ‘Sounds like Haydn...’; ‘The Paris symphony is Mozart’s greatest symphony...’ (which it is not!). If interested in my thoughts, you will find them on many Haydn performances - symphony, quartet, piano sonata, opera, mass etc. Likewise a large number of works by CPE, JC Bach; many minor composers of the age such as Boccherini, or Vanhal, and so forth. I have recently added some very particular thoughts to clear up some misconceptions about Beethoven’s Opus 1 No 3 piano trio, and also his 1st symphony. Perhaps you are right; they might be more useful in one place!
I enjoyed reading your commentary, thank you for the write-up. My recollection of reading about early Haydn (years ago) is that there was a flautist in the employ of the Esterhazy court who was a fine player and whom Haydn wished to retain. Unfortunately, he was not a favorite of the prince and was let go at some point for a minor infraction of some sort. (I'm not at all certain I'm remembering this correctly.) Haydn may have written such extended solos for this player as a not-so-subtle hint to his employer.
Iggy Reilly Thank you for your kind comment; I am pleased that you found it helpful and this Haydn 2032 project is particularly fortunate it that it has a number of interesting and knowledgeable contributions which enhance both our understanding and enjoyment of this revelatory series of wonderful works. Regarding the points in your response: From his appointment in 1761 - as Vice-Kapellmeister initially - until the death of Prince Nicholas in 1790, Haydn as Kapellmeister was responsible for the behaviour and discipline amongst the musicians and did indeed have to deal with a number of incidents such as you mentioned - infractions both minor and major! Normally, when he wanted to, he was able to in effect, bailout the musicians; the main problem was often not the Prince, but the Prince’s estates’ manager, Peter Ludwig Von Rahier who had been appointed in 1763. Rahier was an army officer who had been involved in the Seven Years War (1756 - 1763), and he ran the whole Eszterhazy operation with military efficiency and discipline; in many respects, he was exactly what the Eszterhazys needed to run what was in effect, a country within a country. The Eszterhazys were powerful, and the wealthiest aristocratic family in the Habsburg Empire with lands so extensive that the Prince was effectively a sovereign; they minted their own coins, had their own soldiers, had their own justice system and courts, and even had their own executioner! These details, and many more, can be found in HC Robbins Landon’s monumental five volume biography of the composer, ‘Haydn. Chronicle and Works’ in the first chapter of Volume II (Haydn at Eszterhaza). However, Rahier, the highest paid Eszterhazy employee, was a despotic and a much feared figure with a peremptory and uncompromising manner; he severely tested Haydn’s diplomatic skills. Inevitably, Rahier occasionally came into conflict with the court Kapellmeister, but Haydn usually, managed to get his own way eventually where the musicians were concerned, but by no means always; in this respect, Haydn was fortunate in that had easy and daily access to the Prince. It was often Rahier who actually dismissed any errant musicians and it was Haydn who then had to try to get them reinstated as indeed happened in 1775 for example, when Rahier dismissed Haydn’s brother Johann for some minor breaking of the rules. Regarding solo passages and indeed whole movements, they are not uncommon in Haydn’s Eszterhaza works and are very varied as these few examples will show (there are others): - Symphonies 6, 7, and 8 - Le Matin, Le Midi, Le Soir - have solo passages for almost every instrument,* - Symphony 38 features the oboe in the trio of the minuet and finale; - Symphonies 24 and 30 have solo flute movements; - Symphony 13 a solo cello movement; - Symphonies 72 and 31 feature most instruments but particularly the four horns, and 51 has a double horn concerto slow movement. - Solo passages are found also in later works written in London, Symphony 95 has a cello solo in the trio of the minuet for example and Haydn wrote himself the little fortepiano solo flourish in Symphony 98. There are many other examples of these solo passages occurring randomly in symphonies, and rather more than you will find for example, in Mozart’s symphonies. * Did Haydn ever intend to write a ‘La Nuit’ symphony to make a set of four - as in Vivaldi’s ‘Le Quattro Stagioni’? A speculation to which I will return when Antonini performs the trilogy.
@@elaineblackhurst1509 Thank you, excellent sleuthing and research and I enjoyed reading about Rahier, a name unknown to me until now. Thanks again! Yes, Haydn's symphonies are often more interesting than Mozart's per form, orchestration, and even content. He was always experimenting and I'm hearing something new each time I re-listen and for his leaner sound (as opposed to Mozart's richer counterpoint), there is a wiry energy that never disappoints.
Haydn: Symphony No. 30 in C major, "Alleluja" 00:20 I. Allegro 05:35 II. Andante 11:53 III. Finale: Tempo di menuet, Più tosto allegretto 15:23 IV. Applause
"Alleluja" (1765) Il nome è giustificato dall'impiego del tema gregoriano dell'Alleluja cantato a tutt'oggi durante la Messa. Non è escluso che la stessa sinfonia fosse destinata a una celebrazione religiosa o civile, come è il caso di molte altre sinfonie in do maggiore di Haydn. In quest'opera breve, per la quale il compositore utilizza, per l'ultima volta, la forma tripartita, fondendo minuetto e finale in un movimento solo, sono evidenti i segni di una maturità conquistata nel corso di un lungo cammino. Come la sinfonia n.29, e pur differenziandosi profondamente da questa, l'Alleluja contiene musica di rara bellezza. LDC
Complimenti all' ottima esecuzione! Non capisco come mai la grandezza di Haydn sia offuscata dai geni di Mozart e Beethoven.....o io sono fuori dal coro?
Certamente. Scusa la risposta ovvia. Anch’ io amo tantissimo Haydn. Ma poesia musicale non è pari ai due. In fondo la vita quotidiana e musicale del nostro si è svolta in “ tranquillità “ la sua essenza “ religiosa” viene fuori nella Creazione e in molte messe! Non credi?
@@matteovasta5952 Si e' vero. Haydn ha trascorso molti anni in tranquillita' sotto la protezione della nobile famiglia Esterhazy. Pero' non del tutto. Per esempio a Fertod ebbe una corrispondenza tormentata con un'amante e negli ultimi anni li dentro chiuso nel palazzo la solitudine lo tormentava fino a renderlo il contrario di quello che si dice sul suo carattere allegro, gioviale ed espansivo. Certo non si puo' paragonare Haydn con Mozart e Beethoven; sono tre cime, ma a me personalmente soprattutto nelle sinfonie piace di piu' Haydn. Le sue sinfonie sono a mio parere come delle pellicole che in maniera diretta descrivono le vicissitudini e le sensazioni di quel periodo; dalla tribolazione con l'impeto dello Sturm Und Drang alla pace con la soavita' degli Andanti o Adagi. Un Grande
I am not a trained musician so my comments fit in a layman's terms. I find the first movement to be exuberant even with the strong hint of Gregorian chants embedded in the music. Antonini seems to have the respect of his ensemble and the music is simply divine considering it might have been written for the Easter holiday. I can see why Esterhazy was quite content to keep him in his fold.
Meglio il Giardino Armonico. Nell’assieme il suono è un po’ “ pesante “. Gli archi cosiddetti antichi non sono facili ad offrire un suono facilmente gradevole. Oggi la diffusione senza una vera cultura non produce forti emozioni.
@@eugeniomarcocasu8089 grazie. Sono 50 anni che ascolto dischi e compact e video. Si è sviluppato automaticamente la possibilità di apprezzare differenze.
![F.HERO Ft. JSPKK x ลำไย ไหทองคำ x M-PEE - ไม่สนิทบิดหมด (Thai Riders Anthem) [Official MV]](http://i.ytimg.com/vi/kPJZ0UihBfk/mqdefault.jpg)
The short comment first: this is the finest performance of this symphony either live or recorded that I have ever heard.
Words seem almost superfluous: this conductor and orchestra have the deepest understanding, musicianship and ability to allow Haydn’s music to speak to us today as it did to his contemporaries, and with the same impact.
This performance is so stunningly good that it is worth explaining why I think this.
This early symphony was almost certainly written for performance in church on Easter Sunday 1765.
The nickname comes from the Gregorian Holy Week plainsong chant which is embedded throughout the first movement; its 18th century form, it would have been familiar to every listener in Haydn’s audience.
The music is of the highest originality and meticulously crafted, with the Alleluja theme appearing from the outset of the first movement in the 2nd violins and oboes/horns with 1st violin figurations around it.
In the development section, there is a long sequence of the first four notes of the theme repeated in different parts of the band, then complete as an oboes/horns solo in the recapitulation - it is all very effective.
The middle movement andante is a sort of divertimento/concerto with a beautifully played flute solo; with it’s dotted rhythms, it rather resembles a march.
The unusual Minuet finale with two trios - ABCA+Coda - taken at a measured one-in-a-bar is perfectly paced, does not sound rushed and has a real dramatic sense of forward momentum.
The move from C major to F major, then - unusually - to A minor before back to C major, is here beautifully and dramatically paced with effective use of dynamics to highlight the climaxes.
Haydn’s symphonies sometimes seem almost to have hidden stories or meanings behind them - God speaking to the sinner, the ‘Farewell’ or ‘Surprise’ symphonies are obvious examples; what is so striking about these performances as here, is that it sounds like Antonini and his players are telling these stories.
With its liturgical, almost sacred tone - rather like the chronologically later Symphony 26 - this Symphony was a hit from the start; Haydn re-used the theme in the Baryton trio number 64 (Mozart also used the Alleluja theme in his canon K533).
A few general points and thoughts:
The slightly larger band Antonini uses, with a larger bass section including a bassoon, is one factor for me lifting these performances above many rival versions - the music has a new depth and power sometimes missing elsewhere.
In addition, tempi are perfectly judged, the music is dramatically shaped, the musicians properly rehearsed and clearly committed to and loving what they are doing; this results in properly prepared performances of the highest artistic integrity which are delivering revelatory results.
I’ll repeat what I have written before: these performances are setting new standards in this repertoire.
The flute playing only in the second movement and first trio remains a mystery: did Haydn expect it simply to sit out the other sections, or did it perhaps double the first oboe, or perhaps most likely, the flautist played another instrument in the other movements?
A harpsichord as part of the continuo - advocated by some early music specialists - would not have added anything to this performance and would indeed have been intrusive; this symphony demonstrates clearly why it is unnecessary and Antonini is right to dispense with it in this series of recordings.
An additional consideration regarding the use of the harpsichord continuo in performances of symphonies in the mid/late-mid 18th century is that perhaps it was used in chamber sized performances where the strings numbered only one (or two) to a part.
Similarly, some performances in churches may well have supplemented the tiny string contingents with an organ continuo!
Did Haydn intend the Minuet finale - with its two trios rather than the normal one - to be played as a rondo ie ABACA+Coda?
I ask this question as the switch of key from the first to second trio, ie from F major to A minor almost never happens in Haydn, nor in Mozart either (the experimental tonal wanderings in Haydn’s later works such as the Opus 76 string quartets are something from a very different world). Played as a rondo, the second trio would move from the tonic minuet to the relative minor trio which was much more common.
This music is quintessential Haydn; not a note of it sounds like Mozart, nor indeed any other contemporary composer.
We are so fortunate to be able to witness this on-going series that is, through their brilliant performances, opening up new insights into perhaps the least understood of the greatest composers.
Do you have a blog where you critique performances? Definitely start one and link me! I am your first reader.What a review.
I have played piano for nearly 20 years but have recently taken an interest in listening to classical/romantic period music. I am learning a lot about the structure of musical pieces, expositions and development and how by learning about the piece I can appreciate it more. Haydn is BLOWING my mind in this way hahah. Your deconstruction has added even another layer to it. I need to read more! Write more!
Andrew Murphy
Thank you for your kind comments; perhaps I should consider writing a blog of some sort!
Whilst I enjoy almost all music from Byrd to Berg, I do have a particular interest in and some knowledge about what may be termed the Classical period c.1750 - 1800 (sic). I like to share this learning to highlight aspects of music that may be hidden to more casual listeners with the aim of increasing their enjoyment and understanding.
I have written extensive comments on almost all the ‘Haydn 2032 Antonini’ project symphony performances, some have turned into fascinating discussions as you will see if you check them out.
This series, which you have obviously now found - to which you have hopefully subscribed - is quite simply, an artistic project of the highest artistic calibre and well worth following.
More widely, I have added replies to TH-cam comments on a number of mostly ‘Classical’ composers, usually to correct factual errors, or where people have presented opinions (which are fine) as facts: ‘Sounds like Haydn...’; ‘The Paris symphony is Mozart’s greatest symphony...’ (which it is not!).
If interested in my thoughts, you will find them on many Haydn performances - symphony, quartet, piano sonata, opera, mass etc. Likewise a large number of works by CPE, JC Bach; many minor composers of the age such as Boccherini, or Vanhal, and so forth.
I have recently added some very particular thoughts to clear up some misconceptions about Beethoven’s Opus 1 No 3 piano trio, and also his 1st symphony.
Perhaps you are right; they might be more useful in one place!
I enjoyed reading your commentary, thank you for the write-up. My recollection of reading about early Haydn (years ago) is that there was a flautist in the employ of the Esterhazy court who was a fine player and whom Haydn wished to retain. Unfortunately, he was not a favorite of the prince and was let go at some point for a minor infraction of some sort. (I'm not at all certain I'm remembering this correctly.) Haydn may have written such extended solos for this player as a not-so-subtle hint to his employer.
Iggy Reilly
Thank you for your kind comment; I am pleased that you found it helpful and this Haydn 2032 project is particularly fortunate it that it has a number of interesting and knowledgeable contributions which enhance both our understanding and enjoyment of this revelatory series of wonderful works.
Regarding the points in your response:
From his appointment in 1761 - as Vice-Kapellmeister initially - until the death of Prince Nicholas in 1790, Haydn as Kapellmeister was responsible for the behaviour and discipline amongst the musicians and did indeed have to deal with a number of incidents such as you mentioned - infractions both minor and major!
Normally, when he wanted to, he was able to in effect, bailout the musicians; the main problem was often not the Prince, but the Prince’s estates’ manager, Peter Ludwig Von Rahier who had been appointed in 1763.
Rahier was an army officer who had been involved in the Seven Years War (1756 - 1763), and he ran the whole Eszterhazy operation with military efficiency and discipline; in many respects, he was exactly what the Eszterhazys needed to run what was in effect, a country within a country.
The Eszterhazys were powerful, and the wealthiest aristocratic family in the Habsburg Empire with lands so extensive that the Prince was effectively a sovereign; they minted their own coins, had their own soldiers, had their own justice system and courts, and even had their own executioner!
These details, and many more, can be found in HC Robbins Landon’s monumental five volume biography of the composer, ‘Haydn. Chronicle and Works’ in the first chapter of Volume II (Haydn at Eszterhaza).
However, Rahier, the highest paid Eszterhazy employee, was a despotic and a much feared figure with a peremptory and uncompromising manner; he severely tested Haydn’s diplomatic skills.
Inevitably, Rahier occasionally came into conflict with the court Kapellmeister, but Haydn usually, managed to get his own way eventually where the musicians were concerned, but by no means always; in this respect, Haydn was fortunate in that had easy and daily access to the Prince.
It was often Rahier who actually dismissed any errant musicians and it was Haydn who then had to try to get them reinstated as indeed happened in 1775 for example, when Rahier dismissed Haydn’s brother Johann for some minor breaking of the rules.
Regarding solo passages and indeed whole movements, they are not uncommon in Haydn’s Eszterhaza works and are very varied as these few examples will show (there are others):
- Symphonies 6, 7, and 8 - Le Matin, Le Midi, Le Soir - have solo passages for almost every instrument,*
- Symphony 38 features the oboe in the trio of the minuet and finale;
- Symphonies 24 and 30 have solo flute movements;
- Symphony 13 a solo cello movement;
- Symphonies 72 and 31 feature most instruments but particularly the four horns, and 51 has a double horn concerto slow movement.
- Solo passages are found also in later works written in London, Symphony 95 has a cello solo in the trio of the minuet for example and Haydn wrote himself the little fortepiano solo flourish in Symphony 98.
There are many other examples of these solo passages occurring randomly in symphonies, and rather more than you will find for example, in Mozart’s symphonies.
* Did Haydn ever intend to write a ‘La Nuit’ symphony to make a set of four - as in Vivaldi’s ‘Le Quattro Stagioni’?
A speculation to which I will return when Antonini performs the trilogy.
@@elaineblackhurst1509 Thank you, excellent sleuthing and research and I enjoyed reading about Rahier, a name unknown to me until now. Thanks again! Yes, Haydn's symphonies are often more interesting than Mozart's per form, orchestration, and even content. He was always experimenting and I'm hearing something new each time I re-listen and for his leaner sound (as opposed to Mozart's richer counterpoint), there is a wiry energy that never disappoints.
Musica de ensueño agradable al oido y que me transporta a un mundo maravilloso. Haydn uno de los mejjores compositores.
Beautiful symphony! What winds! Bravo to all involved, especially Haydn! 👏👏👏👏
A lively, invigorating symphony played with dash and panache!
Are you British? 😄
@@Mr.CelloPaul No I'm not. I've lived and worked in many countries. I'm an egg, white on the outside, yellow inside.
Papa knows best.
Bravi Corni
Gotta love that horn-motive in the beginning...DAM-DADADA-DA-DAA :)
@Chris Allen Yea, have been watching on flixzone} for months myself :)
@Chris Allen Yup, have been using flixzone} for since december myself :)
@Chris Allen Yup, I have been watching on Flixzone} for months myself =)
Early Haydn signature motive
Haydn: Symphony No. 30 in C major, "Alleluja"
00:20 I. Allegro
05:35 II. Andante
11:53 III. Finale: Tempo di menuet, Più tosto allegretto
15:23 IV. Applause
Bravissimo to all!
BRAVO
Love those valveless horns!
Hallelujah ❤
Fantástica interpretación!
7:30 i dunno where is this sound but the cunductor also was surprised lol.
"Alleluja" (1765) Il nome è giustificato dall'impiego del tema gregoriano dell'Alleluja cantato a tutt'oggi durante la Messa. Non è escluso che la stessa sinfonia fosse destinata a una celebrazione religiosa o civile, come è il caso di molte altre sinfonie in do maggiore di Haydn. In quest'opera breve, per la quale il compositore utilizza, per l'ultima volta, la forma tripartita, fondendo minuetto e finale in un movimento solo, sono evidenti i segni di una maturità conquistata nel corso di un lungo cammino. Come la sinfonia n.29, e pur differenziandosi profondamente da questa, l'Alleluja contiene musica di rara bellezza. LDC
Complimenti all' ottima esecuzione! Non capisco come mai la grandezza di Haydn sia offuscata dai geni di Mozart e Beethoven.....o io sono fuori dal coro?
claudio8313
Sono d’accordo - ottima esecuzione; questa mi piace più di tutti!
Esecuzioni come questi apriranno gli occhi e le orecchie di tutti.
E' importante essere "fuori dal coro", specialmente in tempi in cui i "gusti musicali"vengono, in qualche modo, imposti.
Certamente. Scusa la risposta ovvia. Anch’ io amo tantissimo Haydn. Ma poesia musicale non è pari ai due. In fondo la vita quotidiana e musicale del nostro si è svolta in “ tranquillità “ la sua essenza “ religiosa” viene fuori nella Creazione e in molte messe! Non credi?
@@matteovasta5952 Si e' vero. Haydn ha trascorso molti anni in tranquillita' sotto la protezione della nobile famiglia Esterhazy. Pero' non del tutto. Per esempio a Fertod ebbe una corrispondenza tormentata con un'amante e negli ultimi anni li dentro chiuso nel palazzo la solitudine lo tormentava fino a renderlo il contrario di quello che si dice sul suo carattere allegro, gioviale ed espansivo. Certo non si puo' paragonare Haydn con Mozart e Beethoven; sono tre cime, ma a me personalmente soprattutto nelle sinfonie piace di piu' Haydn. Le sue sinfonie sono a mio parere come delle pellicole che in maniera diretta descrivono le vicissitudini e le sensazioni di quel periodo; dalla tribolazione con l'impeto dello Sturm Und Drang alla pace con la soavita' degli Andanti o Adagi. Un Grande
Si, ...nella Creazione che e' un capolavoro. Ma anche Seven Last Word of Christ, soprattutto strumentale e' grandioso
I am not a trained musician so my comments fit in a layman's terms. I find the first movement to be exuberant even with the strong hint of Gregorian chants embedded in the music. Antonini seems to have the respect of his ensemble and the music is simply divine considering it might have been written for the Easter holiday. I can see why Esterhazy was quite content to keep him in his fold.
Très belle symphonie contre l'ensemble des crétins qui peuplent le monde
Meglio il Giardino Armonico. Nell’assieme il suono è un po’ “ pesante “. Gli archi cosiddetti antichi non sono facili ad offrire un suono facilmente gradevole. Oggi la diffusione senza una vera cultura non produce forti emozioni.
Complimenti per il finissimo udito . . . non ritenevo che dalle emissioni TH-cam si potesse valutare la qualità del suono più di tanto . . .
@@eugeniomarcocasu8089 grazie. Sono 50 anni che ascolto dischi e compact e video. Si è sviluppato automaticamente la possibilità di apprezzare differenze.