ฝัง
- เผยแพร่เมื่อ 22 ธ.ค. 2021
- Joseph Haydn (1732-1809): Symphony No. 15 in D major, Hob. I:15 (1761/13)
Il Giardino Armonico | Giovanni Antonini, Conductor
Support Haydn2032 on Patreon.com/haydn2032
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. 15, Il Giardino Armonico, Giovanni Antonini - เพลง
![[TH] 2024 PMSL SEA GF D3 | Summer | มาร่วมเป็นพยาน กับวินาทีแชมป์!](http://i.ytimg.com/vi/JCYvEsFlwx8/mqdefault.jpg)
In my opinion, Giovanni Antonini is the best interpreter of Haydn's music ever. This Haydn2032 project will remain a milestone in the history of performances.
Dear Joseph Haydn, maybe you are the greatest musical genius that ever worked on this earth? In any case, you bring life to life, lift out of depression, give joy in life. You and those who skillfully strive for you my deep bow.
Yo no lo hubiera dicho mejor…
Haydn has been my absolute favourite since my early teens. I'm now 60...nothing's changed except I wish these period performances were widely available back then.
The horn players are unbelievably incredible! Sound plus intonation….I’m in awe
A wonderful symphony, beautifully played! Bravo to all! 👏👏👏👏👏 This video series of Haydn symphonies is the highlight of TH-cam. Thank you all!
Thank you very much!
Thank you so much for giving us the gift of your fine conducting, playing, and performance!
I've only purchased two physical CDs in the past year, and one of them is from the Haydn2032 collection. I plan on buying the whole set. I didn't think I could I could possibly love Haydn's music any more, but then this ensemble came along.
L'introduction lente de cette symphonie, reprise après le vivo, est une pure merveille ! L'élégance absolue de l'Art du grand Haydn ! Les sonorités des cors naturels (en Ré, tonalité royale pour cet instrument) sont d'une beauté époustouflante : de simple notes qui se comptent sur les doigts d'une main et pourtant tout est dit ! Quand le Grand Art sait être sobre ...
4:52
100以上もあるハイドンの交響曲を少しずつ聴いているが、この第1楽章の緩徐の旋律は非常に美しく、ハイドンもこういう曲を作曲しているのを始めて知りました。これからも 何度も聴いていこうと思います。
❤jedes mal beim Zuhören und Zuschauern bewundere ich mehr die Musik und das Ensemble🙏💝
This is almost certainly one of the works that was included in a series of so-called "lesser known" Haydn symphonies broadcast by the BBC at 8 am on Sundays during the early 1960s; this was my entrée to many of these works, some of which I recorded from the radio broadcasts in my parents' house in Cheltenham. Undoubtedly, as with Elaine Blackhurst, the present performance of this superb and ambitious early symphony is the best that I have encountered.
In trying to establish the dates of composition of early Haydn symphonies that were written at around the time of the composer's change of employment from Count Morzin to the Princes Esterházy, one major challenge is a relative dearth of dated autograph scores. From memory, the only extant autograph scores of Haydn symphonies written before 1764 are those for Nos. 7, 9, 12, 13 and 40. This list does not include any works that antedate the composer's employment with the Esterházy family. Accordingly, one is grateful for any additional objective criteria that might assign a work to either the 'Morzin years' or the 'early Esterházy' years. The earliest known reference to Symphony No. 15, according to H. C. Robbins Landon's 1955 book on the Haydn Symphonies, is dated 1764 (a catalogue associated with the monastery of Göttweig). Several early Haydn symphonies include a part for solo 'cello; this is a feature of No. 15, where it occurs in the trio section of the minuet (as I confirmed by looking at a miniature score of this work). Other early Haydn symphonies with this feature include Nos. 6-8, 13, 16 and 36. At least No. 7 (and, almost certainly, 6 and 8) and 13 can be securely dated to the early Esterházy years. In volume 1 of 'Haydn: Chronicle and Works' (1980), Landon assigns Nos. 15 and 16 to the Morzin years, although No. 16 has, more recently, been moved forward to around 1763, the year of the dated autographs of Nos. 12, 13, and 40. Was the 'cellist Joseph Weigl - a member of the Esterházy orchestra - the intended recipient of these solo 'cello parts? As noted above, one is handicapped by a paucity of dated autograph scores and - with a relative dearth of data - can do no more than speculate that a solo 'cello part in an early Haydn symphony is more likely to place the work after the start of the composer's employment with the Esterházy family than before it.
Once again, I have to say that in this astonishing and revelatory series, Giovanni Antonini’s performance of this symphony - in this case with Il Giardino Armonico - sweeps aside all other available performances, and becomes my number one choice performance.
There is a real sense of commitment to the work, and also a belief in its worth - there is nothing perfunctory in the performance of a relatively unknown early symphony, but rather, we hear a fascinating, experimental, and highly professional symphony delivered with real impact that delivers unimagined beauties and coherence across all four movements to such a degree that I feel that I am listening to the symphony for the first time.
Everything to my ears is triple plus: tempi and dynamics - both wide-ranging and natural, not forced; the thoughtful shaping of the music; orchestral balance; the contrast between the Adagio and Andante movements (the latter is a very fine movement with no sense of a strings-only anti-climax); the superlative quality of the playing by a conductor and orchestra who clearly *get* Haydn; and so much more.
For myself as a listener, this performance delivers a richly satisfying musical experience, somewhat akin to a very fine meal of several courses.
On general matters: firstly, the symphony is normally dated 1761, but whether it is a very late-Morzin work, or a very early-Eszterhazy work has *not* to my knowledge been established conclusively (the title at the top of the video states ‘Eisenstadt 1761’).
I think there are arguments for both cases; my feeling is that it is *probably* a Morzin work, but this is undermined by the Andante in particular which feels to me as though it might be later.
Do any other readers have a view on this ?
Almost unbelievably, the indefatigable HC Robbins Landon notes that somehow this symphony - minus all the wind parts - was published by Chevardiere in Paris as early as April 1768 as part of a set of six; however did they get hold of the - textually inaccurate - copies ?
The final point I would make is that the cd as a whole containing Symphonies 15, 35, and 45 (‘Farewell’), along with a magnificent performance of the London concert scena ‘Berenice, che fai ?’, represents a candidate for cd of the year - it is a fantastic disc.
Your comments are so well written and demonstrate a deep knowledge of Haydn's time and music.
Greetings from eisenstadt
Thank you, Elaine, for an excellent commentary on this remarkable symphony and its first-rate performance. This work can reasonably lay claim to the title of having the greatest deviation from what became Haydn's standard number and order of movements (fast-slow-minuet-fast, occasionally opening with a slow introduction until No. 90 when, barring the lone exception of No. 95, it too became a standard feature). Only a handful of other symphonies might challenge that title, such as the six-movement No. 60 (but which, excluding the final two, has the same sequence of movements as a typical "London" symphony); No. 18, a three-movement work with the order slow-fast-Tempo di Minuetto; or No. 25, another three-movement one that opens with an unusually long slow "introduction" and lacks an actual, discrete slow movement.
The quasi-French overture slow-fast-slow form of No. 15's first movement in particular is unique within Haydn's symphonies, though it is loosely suggested in the second movement of No. 6 (slow-not quite as slow-slow, specifically Adagio-Andante-Adagio) and, by a very big stretch, in the opening one of No. 103. Among his non-symphonic works, that type of tripartite movement is also rare, with the final movement of the String Quartet in C Major, Op. 54 No. 2 being a prime example.
Out of curiosity I did back-to-back listenings of this recent performance with two that were recorded roughly half a century ago--ones by Max Goberman and the Vienna State Opera Orchestra, and by Ernst Märzendorfer and the Vienna Chamber Orchestra. Unlike Maestro Antonini and his ensemble, the Goberman recording includes a (fortunately discrete) harpsichord continuo but, oddly, omits the repeat for the second half of the third movement (an omission that was obvious both by listening to it and, as I was doing, following along with the score). Otherwise, outside of the Goberman "Presto" sections being more "Allegro" as opposed to being true to that former tempo in the Antonini version, in my opinion both are top-notch renditions. However, the gold medal still goes to Il Giardino Armonico's performance by at least a small margin, due in particular to the more dynamic, energetic quality of the fast sections.
The less said about the Märzendorfer rendition of No. 15 the better. It represents a rare failure in what is, I think, overall a fine group of performances that have the additional distinction of being the first complete set of recordings of all of Haydn's symphonies, predating the much better known and circulated second, Dorati set. I found myself grinding my teeth and tempted to hit the "Stop" button during Märzendorfer's rendering of the first movement, in which Adagio-Presto-Adagio sounds squished into a single Allegro tempo. The other 3 movements are played with a uniformly sluggish character far more likely to induce slumber than keep a listener on the edge of their seat, as the Antonini version does. And while struggling through that old recording I couldn't help thinking about what might have happened if this symphony had been played that poorly at its premiere, some 260 years ago. If it were presented first to Count Morzin the latter might not have recommended Haydn to Prince Paul Anton. Or if this symphony is from early in his employment with the Esterházy family, either that prince or his much longer-lived successor might have given Haydn the sack. In either case, the effects on musical history would have been catastrophic.
Perhaps someday, I may do a similar side-by-side comparison of Antonini's performance with others I have previously heard by Dorati, Fischer, Hogwood, Solomons, etc. However, I sincerely doubt any of them could surpass or likely even come close to this one, and I too look forward to future entries in the Haydn 2032 project.
I have to agree and I have circa 10 versions of this work in my collection of over 1000 haydn cds.
I think one problem with most interpretations (which has only occurred to me today) is that they skip over the revolutionarty bits of Haydn to try to make him appeal to a wider audience and be more like Mozart. That's a huge mistake. There is no popular appeal in this symphony! To enjoy it you have to think about what you are hearing. Luckily Giovanni Antonini does not commit the crime I have alluded to. He presents it as it is. Thus all the idiosyncrasies of Haydn are exposed and the enjoyment of the discerning listener is increased.
I've come to realize that these early symphonies are not just some precursor to later great works, but rather they are masterpieces in their own right.
Elaine, you are very knowledgeable on Haydn which I greatly respect. Please let me have your expert opinion.... the Serenade Quartet by Haydn (with its famous slow movement) is now attributed to Romanus Hoffstetter. Personally I do not think he wrote it at all.... do you believe he did, or like me, believe it was by Haydn. Many thanks in advance.
!!!Qué maravilla!! Gran música, y gran interpretación, como merece el gran Haydn!!
The most important musical project at moment, and for next years. I have all the CD boxes, but hope to see you again in Rome "dal vivo"...
magical opening!
Yes that first movement is almost scherzo like.
straordinario primo movimento adagio-presto-adagio ( e che esecuzione ! )
Magical. Thank you.
So beautiful. Thank you for your brilliant performance(s).
Bravoooo!!!! 👏👏
Lovely. Outstanding music making in a beautiful setting Many thanks to all involved.
Many thanks!
Brilliant performance. Awaiting your live January performance with great anticipation!
17:35, the Fourth Movement.
Wonderful, as usual. Made me switch to better headphones immediately.
:) thank you !
@@Haydn2032 Thank you very much for answering. Haydn always was my favourite composer, and this project deserves more recognition. There are so many more works to look forward to, can't wait for what you will do to "Fire" or "Maria Theresia", or my personal favourites, Nos. 21 and 88.
Another fantastic recording. Bravi!
Where is this performed, it's an ideal setting ...
BRAVO BRAVO you don't distroy my documents ever again. Opposite mixed text
👌
19:29 ending
Omly josef....really!
I hope, when Corona finally ends, you will come to play in Eisenstadt again.
Mr. Rachlin, who is responsible for the new "Herbstgoldfestival", is unfortunately not valuing the tradition of period instruments and historic accurate renditions of Haydn's music.
It's unfortunately really superficial.
Eisenstadt is always on our list...! We will be back in Eisenstadt at some time, for sure! (A Haydn Project without Eisenstadt in the tourplan... no way;) !)
What is the function of the wildly moving person in front of the orchestra? Not a single musician pays attention to him. To me it seems that after giving the sign to start he might as well walk away. If I remember correctly Haydn himself conducted sitting in the orchestra as violonist or cembalist.
@Christian Wouters Such a woefully ignorant comment to make!!
You may be right about Haydn's style of conducting. However, at the time, music was reserved for aristocrats who knew when to be quiet.
To me, this is not one of Haydn’s best dramatic symphonies!
@@bobshifimods7302 FYI, I’m quite familiar with Haydn’s compositions. He is one of my favorite composers. But to me this symphony lacks depth!
Je tiens à dire, même si je suis le seul, que je déteste la sonorité de cet orchestre composé d'instruments "anciens" !
Haydn, Mozart etc se sont toujours intéressés aux propgrès des instruments de musique. Ils trouvaient ceux de leur temps très médiocres et défectueux ! ( "Qu'est-ce qui joue plus faux qu'une flûte ? Deux flûtes !"- Mozart) !
En tout cas pour moi c'est la première et la dernière fois que j'écoute cet orchestre grinçant et stridulant !
PS
Quand Ton Koopmann dirige un orchestre composé d'instruments anciens c'est beau : l'exact contraire de ce que l'on entend ici !
Je vous défie de trouver plus belles sonorités que celles de ces deux cors naturels !
un ebreo?
so what??