Bravo. I especially enjoyed the back row musicians…interesting how French horns, flute , oboe and Bassoon sound so vibrant…they added so much richness to to the already great first violin and supporting strings. What a delight!
No, it's not in the score. They are in a jolly mood and it's a refreshing practical joke. Also the big sweep at 16'37". It was all for the show and is not on the CD recording.
@@Rigpasword Haydn would like it! Maestro Haydn is SO Great, I was a bit sad today, and Haydn never fails to cheer me up. To Love Haydn is to Love Life! I'm always fascinated by this giant of a master, so unique!
"La sera" (1761) La terza e ultima sinfonia del ciclo (la teoria sostenuta da qualche commentatore, che una quarta sinfonia intitolata "la notte" sia andata perduta, è puramente ipotetica) è anche la più equilibrata per la fusione tra il concertismo dell'età barocca e l'individualismo tematico del periodo classico. "Il mattino" comprendeva i due elementi senza alcun tentativo di conciliazione., ad un primo tempo straordinariamente ricco e "moderno" seguivano tre movimenti barocchi. Nel "mezzogiorno" tutto è barocco, tranne la parte centrale che è viceversa di una originalità imprevedibile. "La sera" pur non abbandonando uno stile sontuoso, con larghe possibilità di discorso periferico, si configura in forme di classica purezza usando un materiale di prima scelta. LDC
Are they only going halfway with the HIP here? Pretty much all of Haydn’s early and middle period symphonies should have continuo if you’re playing them in that way.
Last week I had the opportunity to ask one of the violinists who had played at that concert. This is what I learned: the idea was Stefan Preyer's, the second bassist's (on the left). So Giancarlo De Frenza, the first bassist, mimicked a player utterly delighted at his prowess of performing a trill and, in a frenzy (nomen est omen), endeavoring at extending it to infinity, whereupon Stefan Preyer bursts out (he starts speaking in his Austrian dialect, so I translate; then he continues in Italian): "Stop it! Move on! You are late! Avanti, avanti!" Giovanni Antonini reinforces with "Basta, basta!" (= "Enough!"), but at the end of the trio appeasingly adds "Bravo, bravo!".
@@loganfruchtman953 Haydn is quoted as saying that C.P.E. Bach was his principal musical influence and that he studied C.P.E.'s compositions diligently. Mozart agreed with Haydn's opinion of C.P.E. Bach and said, "He is the Master and we are the children."
Such a pity about the altercation spoiling the 3rd movement - even if it was intended! Would rather listen to another rendition in future. Please don't spoil your wonderful musicianship with gimmicks like this
Actually, they don't play the prank on the "Les heures du jour" CD. Haydn invites the joke by putting a fermata on this bar, where the violone plays an Fsharp shake, while the continuo instruments play Aflat, both to resolve the dissonance with G in the next bar. But I fully agree with you - the CD version without the prank is more satisfying, the musical joke of the violone's endless scale and this dissonant trill is quite sufficient.
If you can read English, or the Translate to… function works, this question is answered by RS in response to the same question asked in this thread by @Stevessphoto. (The original conversation is a mix of Austrian dialect and then Italian).
Bravo. I especially enjoyed the back row musicians…interesting how French horns, flute , oboe and Bassoon sound so vibrant…they added so much richness to to the already great first violin and supporting strings. What a delight!
Delightful! I'm looking forward to many more hours of Haydn's beautiful music and humor.
A New uploaded video from Prof. Antonini. Having waited for such a long time.👍👍👍
Brilliant and lively, exciting and funny. You are the very best interpreters of Haydn anywhere.
Großartige Komposition in hervorragender Wiedergabe! Ich bin sehr begeistert.
SERE GUTE !
Bravo! Bravissimo! 👏👏👏👏
So delightful! Outstanding playing and video work. Bravo all!
Beautiful recording!
Pure joy. Life affirming. Many thanks.
Exciting. Beautiful. Lyrical. Majestic. Thank you
Wonderful!💕
15:57 😂 The player's acting skills!
15:57, is this part of the original program?
Wonderful! But I wonder what was going on between the bass players at 16:00. Haydn did have a sense of humor; was that in the score?
No, it's not in the score. They are in a jolly mood and it's a refreshing practical joke. Also the big sweep at 16'37". It was all for the show and is not on the CD recording.
@@robertspruijtenburg3625 Whatever it was, definitely in the spirit of Haydnesque humor and antics!
@@Rigpasword Yes, absolutely! Haydn would have been delighted! If his Prince would have been "amused", however, is another matter altogether...
@@Rigpasword Haydn would like it! Maestro Haydn is SO Great, I was a bit sad today, and Haydn never fails to cheer me up. To Love Haydn is to Love Life! I'm always fascinated by this giant of a master, so unique!
"La sera" (1761) La terza e ultima sinfonia del ciclo (la teoria sostenuta da qualche commentatore, che una quarta sinfonia intitolata "la notte" sia andata perduta, è puramente ipotetica) è anche la più equilibrata per la fusione tra il concertismo dell'età barocca e l'individualismo tematico del periodo classico. "Il mattino" comprendeva i due elementi senza alcun tentativo di conciliazione., ad un primo tempo straordinariamente ricco e "moderno" seguivano tre movimenti barocchi. Nel "mezzogiorno" tutto è barocco, tranne la parte centrale che è viceversa di una originalità imprevedibile. "La sera" pur non abbandonando uno stile sontuoso, con larghe possibilità di discorso periferico, si configura in forme di classica purezza usando un materiale di prima scelta. LDC
…and joyful
❤Ле СУАР чюдесно
❤такие экспромты это только Гайдн❤❤❤
👍 최고
Eccezionali!
Are they only going halfway with the HIP here? Pretty much all of Haydn’s early and middle period symphonies should have continuo if you’re playing them in that way.
How did CPE Bach write this?
What is spoken during the "joke"? Was it one scolding about the key or the way they other was playing?
Last week I had the opportunity to ask one of the violinists who had played at that concert. This is what I learned: the idea was Stefan Preyer's, the second bassist's (on the left). So Giancarlo De Frenza, the first bassist, mimicked a player utterly delighted at his prowess of performing a trill and, in a frenzy (nomen est omen), endeavoring at extending it to infinity, whereupon Stefan Preyer bursts out (he starts speaking in his Austrian dialect, so I translate; then he continues in Italian): "Stop it! Move on! You are late! Avanti, avanti!" Giovanni Antonini reinforces with "Basta, basta!" (= "Enough!"), but at the end of the trio appeasingly adds "Bravo, bravo!".
Grande Stefano Barneschi novello Luigi Tomasini (sic !)
It's his birthday today
Was Papageno born in the first movement?
No.
Haydn seems to be in a CPE Bach mode with this symphony. I can see similarities with the older master's style.
Haydn was more influenced by the Mannheim school with his symphonies. CPE Bach’s symphonies were influenced by Haydn’s
@@loganfruchtman953
To be polite, it must be said that both points you make are open to debate.
@@loganfruchtman953 Haydn is quoted as saying that C.P.E. Bach was his principal musical influence and that he studied C.P.E.'s compositions diligently.
Mozart agreed with Haydn's opinion of C.P.E. Bach and said,
"He is the Master and we are the children."
Auf einmal klingt Haydn wie Mozart!
Haydn makes me feel
better. With 6 inches
of snow. Chatt TN. 😮 😮
Wow. It's been many years since we've had 6 inches of snow up here in NYC.
일단 웃을 수 밖에 없는 포퍼먼스이다.
이단
소리을 가지고 표현하고 싶다면 최소한 일정 부분에 대한 경지를 알고 하라
상대적으로
넘볼수 없는 소리가 많은데
겨우 관현악 고유의 소리로
그걸 넘어 서거나
스스로의 한계를 모르면
자기를 넘어 설 수가 없다
😊😊😅😅
5:36, the Second Movement.
Just a shame that the camera man didn't know where the bassoon was! It is his solo in bar 6 after all...
Such a pity about the altercation spoiling the 3rd movement - even if it was intended! Would rather listen to another rendition in future. Please don't spoil your wonderful musicianship with gimmicks like this
Actually, they don't play the prank on the "Les heures du jour" CD. Haydn invites the joke by putting a fermata on this bar, where the violone plays an Fsharp shake, while the continuo instruments play Aflat, both to resolve the dissonance with G in the next bar. But I fully agree with you - the CD version without the prank is more satisfying, the musical joke of the violone's endless scale and this dissonant trill is quite sufficient.
I don't think it spoils anything at all
Что контрабасист сказал своему коллеге по-немецки в конце Менуэта?
If you can read English, or the Translate to… function works, this question is answered by RS in response to the same question asked in this thread by @Stevessphoto.
(The original conversation is a mix of Austrian dialect and then Italian).
Genial @@elaineblackhurst1509