ฝัง
- เผยแพร่เมื่อ 27 ก.ย. 2017
- Joseph Haydn (1732 - 1809): Symphony No. 80 in d minor, Hob.I:80 (1784)
Giovanni Antonini, Conductor | Kammerorchester Basel
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HAYDN 2032
107 Haydn symphonies until 2032, Haydns 300th birthday, together with the Basel Chamber Orchestra, Il Giardino Armonico and Giovanni Antonini.
www.haydn2032.com
www.outhere-music.com
www.kammerorchesterbasel.ch
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© HMF Productions (2016)
Producer: Thomas Märki
Sound: Joël Cormier
Editing: Amaury Berger - เพลง
man, you can't listen to Haydn without smiling
I haven't bought CDs for about 10 years, but have bought several CDs from this project in the past few months. This has changed my life.
Uno dei più grandi progetti musicali cui ho potuto assistere nella mia vita. Livello musicale straordinario. Assolutamente trascinante. Un punto di riferimento per i prossimi anni. Grazie al Maestro Giovanni Antonini ed alle orchestre impegnate.
Leonardo Mauretti Puoi dirlo forte.
Magnifique comme souvent avec Antonini !!
Great performance. Thanks Haydn for your beautiful composition.
Wat een heerlijk stuk speelse muziek. Opvallende directiestijl van deze dirigent die de dynamiek aanjaagt waar dat geschreven staat. Professionals!
Perhaps no other composer has come up with so many contrasting Symphonic themes and their development, his orchestration is without par like the man himself his music is simply immortal
The Big Three in Classical music have always been recognized as Beethoven, Mozart, and Haydn. But in my view, Haydn exceeds them all!
@@McIntyreBible
I would suggest that it’s worth questioning the received wisdom so often read in books that casually labels Beethoven along with Mozart and Haydn as ‘Classical’.
Is he really ?
Mozart and Haydn - and their music - were products of the Ancien Regime, the Age of Reason, the Enlightenment; Beethoven was a child of the Age of Revolution and you can hear this clearly in every note of his music.
Music cannot be separated from the society which produced it, and again I think this is very evident in Beethoven’s music which reflects an age of uncertainty and radical change (often revolutions as in Industrial and French), as opposed to the the certainties and slow evolution of the 18th century world of his two great predecessors.
I normally solve the problem outlined above by referring to Beethoven as *post-Classical* as whilst I think his music is not Classical as in Mozart and Haydn, neither is it Romantic as in Schumann, Chopin, Mendelssohn, and Liszt for example.
@@elaineblackhurst1509 lady, it depends on one’s opinion, that’s all. To each his own!
@@McIntyreBible
Not sure that real knowledge and understanding *is* based on opinions; some people’s opinion is that the earth is flat which is demonstrably not the case whatever their opinion, and they make themselves look ridiculous by insisting on the point.
Facts and opinions are not the same thing, and judgements based on the latter are liable to challenge.
Like myself, you have a real interest in this music, it’s good to challenge one’s thinking from time to time, whether it’s about the earth being round and flat or spherical, or indeed whether Beethoven is a Classical composer or not; be genuinely interested to know why you think he is.
@@elaineblackhurst1509 The difference between Haydn's & Mozart's music is that they were of the Classical genre; whereas with Beethoven, that was the beginning of the Romantic era.
This performance shows exactly why this recording project will supersede all other Haydn symphony projects by the time it is completed in 2032.
Gripping from start to finish, we have a conductor and orchestra who know what they are doing, are properly rehearsed, have a clear sense of what they are doing, and are then doing it ‘con amore’.
In short: simply sensational, allowing us to hear Haydn’s unique genius afresh; a life enriching experience.
I'm a great fan of standing orchestras - they can put all body and soul into the music.
Yes it’s a good idea for shorter works, but a little harsh on the players in a Wagner opera 😳
mrsneaky2010
There is a well-known painting (1775), of a production of Haydn’s opera L’incontro improvviso at the Eszterhaza theatre showing Haydn at the harpsichord surrounded by the continuo players, it shows that even in the eighteenth century, orchestral players were seated for opera performances.
The composer is at the harpsichord, side on, in front of the stage - in the pit - at the left; all the other players seated in front of him in two rows, facing each other, in an otherwise recognisably modern arrangement, below and along the front of the stage.
The opera comes in at over three hours, players did not have to wait until Wagner to sit down!
@@elaineblackhurst1509 I look forward to their performance of Haydn's Paris symphonies!
benomind
One of the most interesting questions facing Antonini with both the Paris* and London** symphonies - and those in-between - will be related to the size of the orchestra used.
Haydn clearly intended or used for these works, forces far larger than those used hitherto by either of Antonini’s two orchestras in this series: the Concerts spirituel in Paris was about 60 players; Salomon’s London orchestra in 1791 was about 40 but had even exceeded 60 by 1795.
Any works written before the death of Prince Nicholas in 1790, that is up to and including Symphony 92 (‘Oxford’), if they were performed at Eszterhaza, the orchestra would have numbered about 24.
(I am unclear about when the performances of symphonies actually ceased at Eszterhaza, if they ever did; I have seen the date 1781 mentioned, but then we have the problem of Kraus visiting and performing his very fine c minor symphony in 1783).
Perhaps the answer will be to combine the two orchestras, or to go for an Eszterhaza scale performance.
* I hope that Antonini will follow Haydn’s instructions - ignored by Artaria (and Mandyczewski/Hoboken) - that the six ‘Paris’ symphonies be issued in the following order, or at least the series gives us a better feeling for the correct order:
87, 85, 83, 84, 86, 82.
** Similarly, the first ‘London’ set are correctly in (probable) chronological order:
96, 95, 93, 94, 98, (then the Sinfonia Concertante), 97.
Both these revised sequences, along with Mozart’s 39, 40, 41, and Michael Haydn’s set of six 34-39 (Perger 26-31) also written in 1788, all end with the big C major work.
Messing with these composers’ intentions makes no sense.
Love this Symphony, Second movement is amazing. Thank you, Papa Haydn and this wonderful project that honours his work so wonderfully
Un' alta bellissima sinfonia magistralmente diretta da Antonini che rida' l' antico splendore e vitalita' ad una composizione scritta nel 1784. Senza nulla togliere ai geni di Mozart e Beethoven, ma con questa serie di sinfonie spero che Haydn sia rivalutato come giusto che sia.
0:18 I. Allegro spiritoso
5:30 II. Adagio
13:28 III. Menuet - Trio
16:18 IV. Finale. Presto
Always been a 'HAYDN' man&always will be....a great orchestra and conductor....jn
Me too. I first became a Haydn fan in 1987. So that's 34 years and counting.
Me, too!😊
Brilliant in all respects. Great music, skilfully played, well recorded. What sublime project. Thank you!!!
Ihr Lieben, ich stimme euch allen zu. Um es ganz klar zu sagen: Haydn ist RIESIG! Den Rest erledigt der ... Bestattungsunternehmer! Der vierter Satz ist unglaublich!!!
Bravo Maestro (ne viene fuori tutto il senso del teatro nel racconto musicale ) solo lei riesce ad esaltarlo (Grazie )
Haydnt's music is the noblest of any composer in my view.
БРАВО! БРАВО! БРАВО!Слава ТВОРЦУ.
Love the trio
It's a delight!
Great performance and great symphony!
What a wonderful mix of power and beauty.
Amazing!
O adagio é um dos mais lindos que já ouvi. Grande Haydn, divino
A perfect gem with
great orchestrations ❤❤❤
Thanks for posting another great performance! Your performances are so good, I think, because everyone is working hard at making music with their own part. Too often harmony parts stop being musical. Here everyone treats their part as essential. Bravo!
Great,great ♫♪☺
Beautifully done! Bravo!
各パートの表現力…躍動感が素晴らしい。👏👏👍🤩
Bravissimi!
Straordinari
Una sinfonia majestuosa que nos dejo el talentoso
Haydn, para disfrutar de lo sublime.
I love it. Thanks!
Gosh I wish I could just be in there munching on some popcorn.
Bravo!!!!
Una versión extraordinaria!
Bravo!
I especially like the concertmaster.🤑
Beyond words. (though I've used a few here)
この演奏の素晴らしさの一つは
コンサートマスターの統率力にあると思います。
Splendid performance! The Storm und Drang opening of the first part seems to foreshadow Wagner’s opening of Die Walkure...
Nice!
I've just read this article by András Schiff on the humour which is present in Haydn's work, in which he cites this symphony. Listening to it I know what he means - the only explanation of the juxtaposition of that "sturm and drang" furious intensity alternating with a delicate dance phrase (from nowhere) is that it is a joke. It would be nice to see more of the audience to see if any of them smiled at it. It is almost as if Haydn were responding to a challenge, perhaps a bet - can you shoehorn this and this into the same movement?
Some interesting thoughts, perhaps I may offer an alternative view.
Schiff’s articles and lectures on Haydn are invariably interesting, well written or presented, and insightful; they are based on a fundamental understanding of both the composer, and his idiom.
His writings and talks are of course complemented by very fine performances and interpretations of the highest technical and artistic calibre.
Haydn is fortunate indeed to have an advocate of the universally accepted status of Schiff who takes so much trouble to explain properly a composer who still remains somewhat inaccessible and misunderstood to some listeners.
However, in this case we once again hit the perennial problem of commentators resorting to the characteristic misdiagnosis of ‘humour’ to try to explain something they perhaps cannot easily identify, and in short, find difficult to explain.
At this point, it is worth perhaps mentioning that both Griesinger, and Dies (quoting the Allgemeine Musikalische Zeitung) mention humour specifically in their biographies; however, they both struggle with the word, and both mention:
‘…what the English call humour’,
and the AMZ goes on to say that in searching for a German translation of the English ‘humour’:
‘…the German word Laune will not do at all’.
There are clearly nuances within the words and their meanings which perhaps do not translate well, as indeed I think true with the Italian umorismo or spiritoso, neither of which I think carry exactly the same meaning as the English ‘humour’.*
Oscar Wilde fu un scrittore spiritoso;
Allegro spiritoso - as found on many Mozart and Haydn scores;
and so forth illustrate the point in that language.
The juxtaposition of the mock-sturm und drang opening to Symphony 80, with the odd, lopsided - four plus three - waltz-like avant la lettre piece of Shostakovian grotesquerie, is perhaps best described as bizarre.
It is absolutely *not* delicate; nor is it humorous, nor a joke ie something intended to induce laughter.
The development of this quirky, whimsical, and curious little idea is fascinating, visiting a number of remote keys, punctuated by strange silences, and again, is anything but funny - it is a compositional masterclass that was noted by no less than Mozart.
In fact, so much so that Mozart used this symphony to be played at the first performances in Vienna of his Italian sacred cantata Davidde penitente (K469) at Easter, March 1785; once again, hardly the context for a joke and a good laugh, more a statement about the over-riding quality of the work.
I think it is worth mentioning that the opening of the Finale is often classified as ‘humorous’ as well; without the score, it is almost impossible to feel the pulse, or count time correctly.
It is in fact another masterclass, this time in the manipulation of rhythm, again something at which Mozart would not have laughed, but with his composer’s eye - and ear - would have found intriguing.
That said, I think it is good to speculate on these matters as you have done, and the extreme contrast between the opening theme, and the ländler motif, and the battle between the two is one ripe for discussion.
My strong feeling however, is that Haydn is not being humorous, but is being playfully ingenious*, my usual preferred alternative to the rather over-used ‘humour’ aspect of the composer’s character.
* I think that in the instrumental and keyboard music of Haydn, there is sometimes a touch of the opera buffa/giocoso, a better diagnosis than the over-used ‘humour’ aspect; it appears also in later Mozart, for example in the finale of Symphony 35 (‘Haffner’).
What is often described as ‘humour’ in Haydn, is in fact actually the influence of opera buffa in which Haydn was deeply emersed from about 1773 (L’infedeltà delusa), until the end of the Eszterhaza era in 1790.
There are occasionally examples of genuine humour - though not as many as often stated.
‘Humour’ does of course have different characteristics in different countries, and what causes amusement in one country sometimes produces zero response elsewhere.
What an extraordinary piece of music, especially the second movement - it almost hints at Wagner’s Tannhäuser overture in places e.g. 6:35
Der gute alte Haydn! This 4th movement with its hilarious little nothing of a theme, but what a superbe and ingenious development. Incredible!
Kai Agathon You’re right; it is a masterclass in the manipulation of rhythm.
Beautiful!! never enjoyed this one so much! is it already on CD??
Una vera "riscoperta" di F.J.Haydn. Per non parlare di Kraus. Bravo Antonini
And Kozeluch!! I hope Antonini will also consider performing the marvellous Il distratto of Kozeluch.
the Adagio is perhaps one of Haydn's most breathtaking second movements! I believe that in circumstance like this, Haydn greatly surpassed Mozart in terms of writing such inwards music
You are quite right that this is a very special movement, and your comment has unintentionally raised an interesting point: you are not directly comparing like with like.
Apart from the slow introductions to Symphonies 36, 38, and 39, Mozart in fact wrote *no* genuine slow movements - ie Adagio type - in any of his symphonies; without exception, they are Andante type.
Haydn in contrast wrote a significant number of profound and highly personal, genuinely slow Adagio movements, some indeed as slow as Largo in Symphonies 64, 86, and 93.
Many of these movements are extremely beautiful, but in an odd way, often - like in the truly astonishing, almost free-form Capriccio of Symphony 86 - they lack obvious (Mozartian-style if you like) melody.
Genuine ‘slow’ movements are lacking in many other musical genres by Mozart as well, thus highlighting a significant difference between himself and Haydn, namely a more obvious feel of forward momentum often found in Mozart’s works.
On this point, there are also a far greater number of barred common time signatures in Mozart, ie two rather than four beats in a bar; this is I believe one of the few composition techniques that Haydn did directly adopt from Mozart as a result of their close friendship and study of each others’ music.
I think it is in the quality of the slow movements of symphonies - whether Adagio or Andante - that the difference between the greatest composers of the Classical period - Mozart and Haydn - and all the rest is usually most clearly evident.
In Haydn’s case, there is a wide range of slow movements that lift his symphonies beyond those of his contemporaries:
Symphonies 22, 26, 44, 51, 54, 67, 70, 75*, and 76, represent a small selection of very different examples taken from outside the better known later works, that well illustrate this point.
One of Haydn’s many contributions to the development of the symphony was to compose slow movements with a profound, emotional, and intellectual content that better balanced the weight of the first movement - ie moving away from strings only Andante-type found in many of the earliest works; there were similar contemporaneous developments evident in the finales too, whilst the Minuets were also made more interesting in different ways.
* Haydn noted a curious little tale in his London notebook on from April 1792 relating to the slow movement of Symphony 75 - hence it appearing on my list (details from Robbins Landon Volume 2).
‘...On 26 March at Mr Barthelemon’s concert, an English clergyman was present who fell into the most profound melancholy on hearing the Andante’ [Recte: Poco adagio; the incipit follows.] ‘...because he had dreamt the previous night that the piece was a premonition of his death.
He left the company at once and took to his bed. Today, 25 April, I heard from Herr Barthelemon that this clergyman had died’
Haydn was quite moved - and when re-telling the story many years later to one of his early biographers, Dies - he said to him, ‘Isn’t that a strange occurrence?’.
@@elaineblackhurst1509Thanks, I love comments like this
@@giandomenicolupo372
You’re very welcome; glad you found it of interest.
@@elaineblackhurst1509 I apologise for my late reply. I agree completely! It’s quite difficult to describe a Haydn slow movement as with Mozart, it’s not. There’s something about the way Haydn presents the drama and it’s following themes that seems to go beyond the mundane formulated motion that Mozart tends to favour. There’s something quite profound (how yourself put it) in the context of his harmony and choice of melodies that are somewhat arguably ‘odd’ and unconventional at times? This precisely tackles the subject of the human condition combined with such an in-depth notion of yearning that it places Haydn on a platform that is basically untouchable.
In regards to the second half of my comment, this idea could very well be applied to the great J.S.Bach, then again it’s not surprising to compare other composers with Bach as all profound music making stems from him anyway!
화질도 너무 좋네요
13:18, the Third movement.
Some on Antonini's performances are too fierce for my tastes, but this was lovely. I particularly enjoyed the sweet woodwinds in the finale.
(I do wish the CD releases organised the symphonies with some sort of logic - they seem to be essentially random.)
the trio of the minuet seems an anticipation of Brahms
Greatest of all second movements? Adagio here.
Il culmine di questo adagio è alla battuta 17 dove tra le due melodie si innesta un angelico arpeggio discendente dapprima in fa maggiore e quindi in re minore, un grido inaspettato che non si ripeterà più. 6:29
About to fall off of a skateboard at 23:09 😁...All joking aside, I thought this was a marvelous symphony....in concept and in execution
16:18, the Fourth Movement.
How many symphonies did Haydn compose in minor keys?
Jk Stevenson
Haydn composed *eleven* symphonies in minor keys.
The first seven on the list contain many ‘sturm und drang’ features.
c.1765 Symphony 34 in d minor,
1765 Symphony 39 in g minor,
1768 Symphony 49 in f minor (La Passione),
1768 or 1769 Symphony 26 in d minor (Lamentatione),
1770 or 1771 Symphony 44 in e minor (Trauer/Mourning),
1772 Symphony 45 in f# minor (Farewell),
1771, 1772 or 1773 Symphony 52 in c minor,*
1782 Symphony 78 in c minor,
1783 or 1784 Symphony 80 in d minor,
1785 or 1786 Symphony 83 in g minor (La poule/The Hen),
1791 Symphony 95 in c minor.
* Perhaps the most difficult of these works to date: traditionally post-1772, probably due to the obbligato rather than col basso bassoon parts, but more recently, backdated slightly to 1771 which makes more sense as to my ears, it is a lesser work than any of those of 1772.
@@elaineblackhurst1509 You appear to be an expert on Haydn. Here is a link to his biography that I came across. th-cam.com/video/koc3JwyfK8g/w-d-xo.html&lc=UgyIwoPnHNGd2Sqf_CJ4AaABAg.9O5UhQF5ZfO9RC_Y-amdLf
You probably know most of this.
@@1janak362
Thank you for the tip-off; when I checked it out, I found that I had already watched it, and left a comment as well.
Basically, I thought it well done, but did not care for some of the very out-dated cliches, and the simplistic generalisations that were needlessly recycled, and that have plagued and diminished Haydn’s reputation for two hundred years.
As an English person, I can say that some of the silliest and most pointless contributions were from British commentators - the others were excellent.
I simply did not see the point of Roger Norrington at all whose odd contributions gave the impression that he neither understands nor likes Haydn at all, though this perhaps was hardly surprising as his recording of Haydn’s last six symphonies with the London Classical Players is without any shadow of a doubt, the two most awful cds in my entire collection.
I'm liking Haydn more than Bach and Mozart.....(gasp!).
Mozart was well aware of these Haydn symphonies and his two minor-keyed piano concertos (K. 466 and 491) bear some similarities to Haydn's symphonies 78 and 80.
Iggy Reilly
Well spotted.
In March 1785, Symphony 80 was performed alongside Mozart’s Davidde penitente at the annual Tonkunstler-Societat concerts in Vienna - Mozart clearly knew the work.
That said, Mozart could no more have written a single note of this symphony than could Haydn have written a single note of K466; it is fascinating how mutual ‘influence’ between these two composers served only to accentuate the differences between them.
Likewise, you are quite right, the opening of the c minor Symphony 78 had a seminal effect; and not only on Mozart.
@@elaineblackhurst1509 Yes, and to say nothing of the Symphony no. 75 and Don Giovanni. :)
Iggy Reilly
Well spotted again.
Mozart jotted down the incipit of Haydn’s symphonies 47, 62 and 75 with the intention of performing them in his concerts - I seem to remember that the scrap of paper is in Philadelphia.
The opening Presto of Symphony 75 (1779), certainly has something of a hint of Don Giovanni about it, though as ever with these foreshadowings and reminisces, one has to be careful about overstating the case as both composers - and all their contemporaries - were in essence, using a common musical language which today, inevitably lead to listeners hearing similarities or influences which may or may not exist.
In this case, given that Mozart clearly knew Haydn 75, you may be on firmer ground.
Richard Atkinson (th-cam.com/video/DX_JSzCFCQA/w-d-xo.html) entertainingly shows how the last movement of this symphony works.
Richard Atkinson’s insightful videos are some of the best on TH-cam; he has a real knowledge, understanding, and appreciation of Haydn who is particularly well-represented on his channel.
Highly recommended viewing.
I believe this is the symphony which Mozart considered a real hoot. Personally I take it dead seriously.
Did Mozart really think this ?
Davide penitente (K469) is a sacred cantata that was first performed in Vienna just before Easter 1785; Mozart chose two Haydn symphonies to add to the performance of which Symphony 80 was one.
I think it extremely unlikely that he would add to such a serious occasion, a symphony that he thought was ‘a real hoot’, though there are in fact lots of things he would have admired in a work that is just about as un-Mozartian as you could get.
I think you’re right to appreciate the more serious aspects of this very fine symphony which in spite of some modern commentators imagining they find humour - given what I have explained above - I would suggest they are mistaken.
why can't the woodwinds stand as well? I think the cellos should DEFINITELY stand up.
Leave the cellos alone, they are enjoying themselves...
A refreshing performance overall, but the menuetto is too goddamn fast.
polyphoniac
There has been a lot of debate amongst early music specialists about the ‘correct’ speed that Classical minuet movements - ie Haydn, Mozart and their contemporaries - should be taken.
Those debates have also included many like yourself who feel they are now often played too quickly, and others like myself who find those older recordings from the 1960’s and 1970’s ploddingly slow.
It is also worth mentioning that Haydn and Mozart wrote symphonic minuets in their symphonies, not dancing minuets.
Dancing minuets, of which both composers (Beethoven too) wrote a considerable number for Viennese balls, were a rather different - somewhat primitive - species from symphonic minuets being written by the late-18th century.
You are quite right to raise this issue which concerns many listeners.
The evidence is often conflicting, but the modern view is to take them rather more quickly; however, some have gone too far.
As a personal viewpoint, I feel that many of Haydn’s symphonic Minuets lend themselves better to a one-in-a-bar pulse than the more Allegretto-type three in a bar Minuets of Mozart.
(Haydn got the Minuet up to Allegro molto in Symphony 28 (1765), and Symphony 94 (1791); Mozart’s never got beyond Allegretto as in all three of Symphonies 39, 40, and 41).
If you listen to any of the Dorati recordings of the 1970’s, or some thing like Karajan’s Paris or London symphonies with the Berlin Philharmonic from the 1980’s, the three in a bar tempo nowadays seems too leisurely, and dates the recordings rather obviously.
Antonini takes most of his minuet movements in this series so far in a *measured* one-in-a-bar; for me that is the best approach, and is not too fast.
I do agree though, minuets taken as a *fast* one-in-a-bar, like a scherzo, when they have been written as a minuet, is not on;* it becomes grotesque to hear, and unmusical** - Antonini here is ok, you will get used to it.
* The other side of this coin is of course that scherzi sound ridiculous as Minuets; Beethoven’s Symphony 1 being an obvious example where you absolutely must ignore the composer’s very odd ‘Minuet’ marking, and play it as a rapid one-in-a-bar scherzo.
** Haydn really only wrote genuine Beethoven-type scherzi beginning with the string quartets Opus 76 written in 1796/97, (none of the symphonic minuets are scherzi); the old man quite remarkably learned the trick without any shadow of a doubt *from* Beethoven.
@@elaineblackhurst1509 yes, someone called them minuets not to dance on, but to listen to, but I think the tempo depends on the character of the minuet itself.
(the minuet of the Jupiter for instance needs a slower tempo, I think). Antonini is really very great in Haydn, sometimes his minuets are too fast for my taste, but maybe indeed I will get used to it. (Some minuets by Dorati have a certain menacing quality by the slower tempo.. but indeed many old recordings are very boring in this respect).
@@pietstamitz1
You are quite correct; your important point that ‘...the tempo depends on the character of the minuet itself’, is perhaps the single most important thing, and a good reason why they should not all be played at the same tempo.
The other important factor for me in determining the ‘correct’ tempo of the Minuet is the tempi of the other movements of the symphony, the adjacent ones in particular.
I also agree with your point about the ‘correct’ tempo of the minuet of Mozart’s Symphony 41 being more steady, though it has to be said that the conductor understanding the spirit and transmitting the energy within the music itself is often more important than adopting a specific metronome tempo.
However, that is perhaps part of a wider discussion about Mozart’s symphonic minuets, which I think, need to be played at a more relaxed Allegretto-type three in a bar tempo, rather than many of those of Haydn where a measured one-in-a-bar - as adopted by Antonini - works better.
Why must that lead violin be so aggressively "cute"? Antonini's seriousness and intensity in conducting this piece, especially that second movement (see face at end of adagio), makes no impression on her. Yet camera dwells more on her than on those other excellent musicians.
J'ai une critique sévère envers la direction d'Antonini vis-à-vis d'Haydn. Tout est infiniment trop précipité et sautillant...Il efface ainsi tout l'aspect dramatique souvent sous-jacent des pages de ce compositeur et on regrette encore un fois les enregistrements d'un Böhm ou d'un Jochum qui savaient souligner chaque recoin de ces symphonies féériques. La précipitation et le fracas ont encore fait place à l'art et à la beauté immédiate. C'est d'autant plus rageant que ce chef est un grand maître de la musique baroque incontestablement. Mais appliquer à Joseph Haydn les ficelles qui fonctionnent si bien avec Vivaldi ou Porpora est une erreur impardonnable.Son sang italien, bouillant et passionné ne lui permet pas de constater les sacrilèges qu'il commet croyant bien faire. Très dommage.
Même ,je n'étais pas tout à fait d'accord, avec vous, Antonini fait de cette symphonie une allègre mélodie en accélérant le tempo , qui sûrement n'aurait pas plus au bon" papa "Haydn, que l'on fait tressauter et virevolter à l'envi !Il mène son orchestre de la même main que pour des interprétations de Vivaldi,ou autre compositeur italien ,c'est certain ,mais ne lui enlevons pas cette formidable expression qui grave ses directions ,c'est à dire ce côté fortement influencé par ses origines latines.Autrement dit un chef allemand ne devrait jouer que des compositeurs germaniques,ou un italien que du Vivaldi ou Locatelli?.
@@MalisandreFeline Ce serait l'idéal. Un vrai camembert ne peux être fabriqué qu'en Normandie sous peine d'en modifier le goût, et que penser d'une bouillabaisse élaborée à Oslo?
🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸 let artists have their space and creation please@@MalisandreFeline
🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸🥸 let artists have their space and creation please@@MalisandreFeline