The flutes provide crystal for our arrival. Naturally, a la Vienna/Hungary we are enchanted with good folk dancing. All is right for an evening of gemutlichkeit. Well done, Herr Haydn.
Another marvellous performance in this revelatory series once again showing how Haydn really was writing highly original symphonies that were a little bit different from any of his contemporaries, whilst maintaining a highly professional and inspirational quality level. Antonini’s slightly larger orchestra once again enables him to contrast very effectively, both the intensity and dramatic power inherent in the music, with the chamber music delicacy Haydn’s precise and deliberate scoring sometimes requires. The orchestral balance is beautifully managed and together, and with the forward momentum and dynamism of Antonini’s conducting, we have for me, the finest recording available of this modest little symphony. Almost certainly written as an introduction to a theatrical work or cantata according to HC Robbins Landon and others - hence its inclusion in this volume, rather than as a symphony per se - this would perhaps explain its three movement structure and relative brevity (though three movement symphonies were in fact very common at this time). Written only a year or so later than Symphonies 6, 7, and 8 (Le Matin, Le Midi, Le Soir), it is a very different work in every respect as is clearly audible. As with all his works of the period, Haydn’s attention to detail is meticulous and often particular to his own players, something reflected in the approach of Antonini and his orchestras. This little symphony is full of interest, once again Prince Nicholas must have sat wondering what was coming next; - an exciting manipulation and development of motifs in the first movement, - a slow section with two flutes, - a Minuet of odd phrase lengths, split into a first part of 9 bars followed by a second part of 21, contrasting with a beautifully scored Ländler Trio with wind band solos. Quite simply; another brilliant contribution to this fantastic series of recordings; many thanks once again to everyone involved with Haydn 2032.
I'm not sure if symphony n°9 having only three movements and being short are sufficient conditions for it having been conceived originally as an introduction to a theatrical work or cantata. In the first years of Haydn's career as a composer he has been experimenting (his special trademark!) with a bewildering variety of symphonic forms. Most of the "pre-Eisenstadt" symphonies (i.e. prior to May 1, 1761) have only three movements. Specifically, these are the patterns (chronological order according to Sonja Gerlach): - Fast - slow - fast (sonata form finale): n°1, 2, 4, 27, 10, 17, 19, 107 (all "pre-Eisenstadt"), 12, 16 (both 1763) - Fast - slow - minuet: n°9 (1762), n°30 (1765), n°26 (1768) - Slow - fast - minuet: n°18 (1757/59) - Fast - minuet - fast: n°25 (1760/61), but the 1st movement is in two parts: a long Adagio followed by a Allegro molto - Fast - minuet - slow - fast: n°37 (1757/58), n°32 (1760/61), n°108 (1762?); n°15 (1761) is a special case with its 1st movement being in the form of a French overture: slow - fast - slow. - Slow - fast - minuet - fast: n°11, n°5 (both 1760/61), n°34 (1763), n°22 ("Philosopher"; 1764), n°21 (1764), n°49 ("La Passione"; 1768) - Fast - slow - minuet - fugue: n°3 (1761), n°40 (1763) - Fast - slow - minuet - variations: n°72 (1763), n°31 (1765) - Fast - slow - minuet - fast (= "normal"): n°20 (1758/60), n°6, n°7, n°8 (all three 1761), n°36, n°33 (both 1761/62), n°14 (1762), n°13 (1763), n°23, n°24 (both 1764), n°39, n°29, n°28 (all three 1765). N.B. n°6 and n°7 are Haydn's first symphonies with a slow introduction. So, after having started his employment with the Esterhazys on May 1, 1761, Haydn composed only another three 3-movement symphonies (n°9, 30 and 26): Symphony n° 26 "Lamentatione" of 1768 chronologically is Haydn's last symphony in three movements. However, it's only starting in 1764 that with Haydn the four movement type we are used to today became final. But even then the sequence of movements is not entirely fixed: n°44 "Mourning" (1772) and n°68 (1774/75) have their minuets placed second. By the way, the minuet remains a "movable entity" also in Haydn's string quartets: it's placed second in all opus 9 and opus 17 quartets, in three of the opus 20 quartets, as well as in opus 33 n°1 and opus 64 n°2 (its "twin": both are in B minor) and, last but not least, even in the last quartet he completed, opus 77 n°2 (1799). The same is also the case with Mozart: string quartets K. 387, K. 458, K. 464, and K. 499; and Beethoven: string quartets opus 18 n°5, opus 59 n°1, opus 132, opus 135, and, of course, symphony n°9. Furthermore, as you know, Mozart composed many three-movement symphonies, which all lack a minuet: K. 162, K.181, K. 182, K. 184, K. 199, K. 297 "Paris", K. 318 and K. 504 "Prague" (K. 319 too originally had only three movements; I'm not considering Mozart's many youth symphonies). These are all symphonies originating from the tripartite opera overture (fast-slow-fast), as can still be seen in the overture to his "Abduction from the Serail" (1782). Also Haydn's "Lo Speziale" (1768) and "Armida" (1784) have such three-part overtures. And by the way: for Haydn minuets as a finale seem to have remained a possible structure all along: quite a few piano sonatas (mostly only two or three movements) have a minuet as finale: even the famous E flat sonata n°49 composed for Maria Anna von Genzinger (1789) has one. The same is true also for a number of his piano trios. And that symphony n°9 is so different from n°6-8 which precede it (only n°36 and 33 lie in between) has more to do IMHO with Haydn's unlimited creativity and fantasy than with anything else. When his string quartets opus 1 and 2 were published in the 1760-ies a reviewer remarked that "one would never expect one and the same composer being the author of all these pieces, such is their variety!". That has been my personal experience too while discovering Haydn's symphonies as a youth: with every "new" symphony I was utterly surprised how completely different it was from all those I already knew: with Haydn you will never know what to expect next...
Robert Spruijtenburg Once again, some fascinating thoughts and insights; they will be much appreciated by those who, beside myself, look in at the Haydn 2032 project. Thank you.
What is fascinating with Haydn is that he allways knows how to avoid what I would call " children song" melodies. Sth that is very often found in music of that period. Even Mozart suffers from this.
@@christianwouters6764 At the risk of massively over-simplifying: Haydn’s conception of melody is shorter, instrumental, and motivic - often within a monothematic context; Mozart’s is longer, cantabile, and balanced - set amidst a profusion of contrast. In short, many of Mozart’s melodies do perhaps have more of the shape, feel, and memorability of a nursery rhyme than do those of Haydn.
@@elaineblackhurst1509 Alltough exact contemporaries and in the same artistic environment not one work by Haydn could have been composed by Mozart or vice versa. But both were fully appreciated by the public. This is the problem of today's classical music. There is no artistic consensus anymore. A fan of Boulez won't go to a Phillip Glass concert.
@jovieregge: One of the most beautiful symphonies. In these dark times the music of Haydn performed by this orchestra and Antonini is a source of peace, harmony and joy.
AnnFench Lokentaz You can find all the details about the series to date on the Haydn 2032 website. In summary: Vol.1 La Passione: Haydn Symphonies 1, 39, 49, plus Gluck’s Don Juan (GA).* Vol.2 Il Filosofo: Symphonies 22, 46, 47, plus a Sinfonia in F by WF Bach (GA). Vol.3 Solo e pensoso: Symphonies 4, 42, 64, plus Haydn’s late aria ‘Solo e pensoso’; the overture to his opera L’isola Disabitata; and Mozart’s aria ‘Vado, ma dove?’ (GA). Vol.4 Il Distratto: Symphonies 12, 60, 70, plus Cimarosa’s Il Maestro di Cappella (GA). Vol.5 L’Homme de Genie: Symphonies 19, 80, 81, plus Kraus’ Symphony in c minor VB142 (KB). Vol.6 Lamentatione: Symphonies 3, 26, 30, 79, plus Kraus’ Overture in d minor VB147 (KB). Vol.7 Gli Impresari: Symphonies 9, 65, 67, plus Mozart’s Thamos music K345/336a (KB). Vol.8 La Roxelana: Symphonies 28, 43, 63, plus Bartok’s Romanian Folk Dances for Orchestra, and an anonymous Sonata Jucunda (GA). Vol.9 L’addio Symphonies 15, 35, 45, plus Haydn - Scena: ‘Berenice, che fai?’ (GA). Vol.10 Les heures du jour Symphonies 6, 7, 8, plus Mozart - Serenata notturna (GA). In preparation: Vol.11 Au gout Parisien Vol.12 Les Jeux et les Plaisirs Vol.13 Hornsignal Vol.14 L’Imperiale Vol.15 Majestaten * Note: (GA) = Il Giardino Armonico; (KB) = Kammerorchester Basel.
(1762) Il manoscritto di questa sinfonia è perduto, ma si conosce la data che vi figurava, 1762, quindi essa è posteriore al ciclo del Giorno. Come si spiega allora la scrittura primitiva, lo stile svelto e superficiale del movimento iniziale e la ripartizione in tre tempi, caratteristiche delle opere sperimentali come le sinfonie n. 1 e n. 4? Dopo avere puntualizzato queste debolezze , Robbins Landon propone la soluzione seguente: la sinfonia sarebbe stata concepita come ouverture a un'opera comica in un atto, e quindi composta, come soleva fare Haydn in simili circostanze, con mano veloce, senza troppo badare agli sviluppi, ai temi, ai passaggi obbligati della "forma sonata". LDC
@@jasonhurd4379 yeah, it is nice, cute a little piece but not until Mozart's three piano sonatas at the release from archbishop's service world could hear any serious music in orchestral or concert form other than operas, and than again Haydn was not an opera composer... good think Haydn left trumpet and a couple of cello concertos and really established string quartet but that was all I guess..
@@stickom I would suggest that Mozart’s Piano Concerto No 9 - ‘Jenamy’ (K271) written in 1777 is perhaps his first unqualified masterpiece; regarding Haydn, perhaps a read through Charles Rosen’s The Classical Style (1971) may help - he describes some of Haydn’s music in 1772 as ‘…on a level that no other composer of Haydn’s time could equal or even approach’. Both these examples pre-date Mozart’s move to Vienna by some considerable time, so I’m reminded of Napoleon’s well-known dictum that you should not interrupt your enemy when he is making a mistake.
@@elaineblackhurst1509 Hahaha the dictit- spot on, all these unfortunate souls enjoy “the music” and again I am not a musician but the virtue of growing up in a play theatre- concert halls (family affairs..) just made me a rare creature always looking for drama not the action, love, characters not the story… but yes JeuneHomme is large concerto, everything in it, scary early in Mozart’s live when he was still making trilling serenades for that owner of earth and sky some bishop De Colloredo…. Yes, ill see for that essay my sister has all critics and scholar articles on the subject, thank you.
We definitely need to hear more early Haydn...especially when conducted by Maestro Antonini!
So vivid and energetic performance ! Bravo!
Спасибо огромное ! Всех поздравляю с наступившим 2024 годом ! Желаю мира, здоровья, успеха и любви !
A total delight! Magically well played and charming. Bravo and brava.
The flutes provide crystal for our arrival. Naturally, a la Vienna/Hungary we are enchanted with good folk dancing. All is right for an evening of gemutlichkeit. Well done, Herr Haydn.
Bravissimi e complimenti al direttore d' orchestra.Un' altra sinfonia rispolverata e ravvivata.Immagino sentita adesso come ai tempi di Haydn!
Another marvellous performance in this revelatory series once again showing how Haydn really was writing highly original symphonies that were a little bit different from any of his contemporaries, whilst maintaining a highly professional and inspirational quality level.
Antonini’s slightly larger orchestra once again enables him to contrast very effectively, both the intensity and dramatic power inherent in the music, with the chamber music delicacy Haydn’s precise and deliberate scoring sometimes requires.
The orchestral balance is beautifully managed and together, and with the forward momentum and dynamism of Antonini’s conducting, we have for me, the finest recording available of this modest little symphony.
Almost certainly written as an introduction to a theatrical work or cantata according to HC Robbins Landon and others - hence its inclusion in this volume, rather than as a symphony per se - this would perhaps explain its three movement structure and relative brevity (though three movement symphonies were in fact very common at this time).
Written only a year or so later than Symphonies 6, 7, and 8 (Le Matin, Le Midi, Le Soir), it is a very different work in every respect as is clearly audible.
As with all his works of the period, Haydn’s attention to detail is meticulous and often particular to his own players, something reflected in the approach of Antonini and his orchestras.
This little symphony is full of interest, once again Prince Nicholas must have sat wondering what was coming next;
- an exciting manipulation and development of motifs in the first movement,
- a slow section with two flutes,
- a Minuet of odd phrase lengths, split into a first part of 9 bars followed by a second part of 21, contrasting with a beautifully scored Ländler Trio with wind band solos.
Quite simply; another brilliant contribution to this fantastic series of recordings; many thanks once again to everyone involved with Haydn 2032.
I'm not sure if symphony n°9 having only three movements and being short are sufficient conditions for it having been conceived originally as an introduction to a theatrical work or cantata. In the first years of Haydn's career as a composer he has been experimenting (his special trademark!) with a bewildering variety of symphonic forms. Most of the "pre-Eisenstadt" symphonies (i.e. prior to May 1, 1761) have only three movements. Specifically, these are the patterns (chronological order according to Sonja Gerlach):
- Fast - slow - fast (sonata form finale): n°1, 2, 4, 27, 10, 17, 19, 107 (all "pre-Eisenstadt"), 12, 16 (both 1763)
- Fast - slow - minuet: n°9 (1762), n°30 (1765), n°26 (1768)
- Slow - fast - minuet: n°18 (1757/59)
- Fast - minuet - fast: n°25 (1760/61), but the 1st movement is in two parts: a long Adagio followed by a Allegro molto
- Fast - minuet - slow - fast: n°37 (1757/58), n°32 (1760/61), n°108 (1762?); n°15 (1761) is a special case with its 1st movement being in the form of a French overture: slow - fast - slow.
- Slow - fast - minuet - fast: n°11, n°5 (both 1760/61), n°34 (1763), n°22 ("Philosopher"; 1764), n°21 (1764), n°49 ("La Passione"; 1768)
- Fast - slow - minuet - fugue: n°3 (1761), n°40 (1763)
- Fast - slow - minuet - variations: n°72 (1763), n°31 (1765)
- Fast - slow - minuet - fast (= "normal"): n°20 (1758/60), n°6, n°7, n°8 (all three 1761), n°36, n°33 (both 1761/62), n°14 (1762), n°13 (1763), n°23, n°24 (both 1764), n°39, n°29, n°28 (all three 1765). N.B. n°6 and n°7 are Haydn's first symphonies with a slow introduction.
So, after having started his employment with the Esterhazys on May 1, 1761, Haydn composed only another three 3-movement symphonies (n°9, 30 and 26): Symphony n° 26 "Lamentatione" of 1768 chronologically is Haydn's last symphony in three movements. However, it's only starting in 1764 that with Haydn the four movement type we are used to today became final. But even then the sequence of movements is not entirely fixed: n°44 "Mourning" (1772) and n°68 (1774/75) have their minuets placed second. By the way, the minuet remains a "movable entity" also in Haydn's string quartets: it's placed second in all opus 9 and opus 17 quartets, in three of the opus 20 quartets, as well as in opus 33 n°1 and opus 64 n°2 (its "twin": both are in B minor) and, last but not least, even in the last quartet he completed, opus 77 n°2 (1799). The same is also the case with Mozart: string quartets K. 387, K. 458, K. 464, and K. 499; and Beethoven: string quartets opus 18 n°5, opus 59 n°1, opus 132, opus 135, and, of course, symphony n°9. Furthermore, as you know, Mozart composed many three-movement symphonies, which all lack a minuet: K. 162, K.181, K. 182, K. 184, K. 199, K. 297 "Paris", K. 318 and K. 504 "Prague" (K. 319 too originally had only three movements; I'm not considering Mozart's many youth symphonies). These are all symphonies originating from the tripartite opera overture (fast-slow-fast), as can still be seen in the overture to his "Abduction from the Serail" (1782). Also Haydn's "Lo Speziale" (1768) and "Armida" (1784) have such three-part overtures.
And by the way: for Haydn minuets as a finale seem to have remained a possible structure all along: quite a few piano sonatas (mostly only two or three movements) have a minuet as finale: even the famous E flat sonata n°49 composed for Maria Anna von Genzinger (1789) has one. The same is true also for a number of his piano trios.
And that symphony n°9 is so different from n°6-8 which precede it (only n°36 and 33 lie in between) has more to do IMHO with Haydn's unlimited creativity and fantasy than with anything else. When his string quartets opus 1 and 2 were published in the 1760-ies a reviewer remarked that "one would never expect one and the same composer being the author of all these pieces, such is their variety!". That has been my personal experience too while discovering Haydn's symphonies as a youth: with every "new" symphony I was utterly surprised how completely different it was from all those I already knew: with Haydn you will never know what to expect next...
Robert Spruijtenburg Once again, some fascinating thoughts and insights; they will be much appreciated by those who, beside myself, look in at the Haydn 2032 project. Thank you.
What is fascinating with Haydn is that he allways knows how to avoid what I would call " children song" melodies. Sth that is very often found in music of that period. Even Mozart suffers from this.
@@christianwouters6764
At the risk of massively over-simplifying:
Haydn’s conception of melody is shorter, instrumental, and motivic - often within a monothematic context;
Mozart’s is longer, cantabile, and balanced - set amidst a profusion of contrast.
In short, many of Mozart’s melodies do perhaps have more of the shape, feel, and memorability of a nursery rhyme than do those of Haydn.
@@elaineblackhurst1509 Alltough exact contemporaries and in the same artistic environment not one work by Haydn could have been composed by Mozart or vice versa. But both were fully appreciated by the public. This is the problem of today's classical music. There is no artistic consensus anymore. A fan of Boulez won't go to a Phillip Glass concert.
0:00 (applausi)
0:18 Allegro molto
4:40 Andante
9:35 Minuetto e trio, Allegretto
12:08 (applausi)
4:35, the second movement.
Preciosa 9ª Sinfonia de Haydn , Los dos primeros movimientos magníficos pero el tercero es sublime
Magnifique sublime et c'est tous ce que j'aime.
@jovieregge:
One of the most beautiful symphonies. In these dark times the music of Haydn performed by this orchestra and Antonini is a source of peace, harmony and joy.
Excelente interpretación orquestación magnifica
9:30, the third movement.
Wowza
wonderful last (?) movement :menuet with alternating legato and staccato;trio with waltz !
He got glasses … Andante 4:40 … Minuetto 9:35
Who got glasses?
Which volume is it in the Haydn2032 project ?
AnnFench Lokentaz
You can find all the details about the series to date on the Haydn 2032 website.
In summary:
Vol.1 La Passione: Haydn Symphonies 1, 39, 49,
plus Gluck’s Don Juan (GA).*
Vol.2 Il Filosofo: Symphonies 22, 46, 47,
plus a Sinfonia in F by WF Bach (GA).
Vol.3 Solo e pensoso: Symphonies 4, 42, 64,
plus Haydn’s late aria ‘Solo e pensoso’; the overture to his opera L’isola Disabitata; and Mozart’s aria ‘Vado, ma dove?’ (GA).
Vol.4 Il Distratto: Symphonies 12, 60, 70,
plus Cimarosa’s Il Maestro di Cappella (GA).
Vol.5 L’Homme de Genie: Symphonies 19, 80, 81,
plus Kraus’ Symphony in c minor VB142 (KB).
Vol.6 Lamentatione: Symphonies 3, 26, 30, 79,
plus Kraus’ Overture in d minor VB147 (KB).
Vol.7 Gli Impresari: Symphonies 9, 65, 67,
plus Mozart’s Thamos music K345/336a (KB).
Vol.8 La Roxelana: Symphonies 28, 43, 63,
plus Bartok’s Romanian Folk Dances for Orchestra, and an anonymous Sonata Jucunda (GA).
Vol.9 L’addio Symphonies 15, 35, 45,
plus Haydn - Scena: ‘Berenice, che fai?’ (GA).
Vol.10 Les heures du jour Symphonies 6, 7, 8,
plus Mozart - Serenata notturna (GA).
In preparation:
Vol.11 Au gout Parisien
Vol.12 Les Jeux et les Plaisirs
Vol.13 Hornsignal
Vol.14 L’Imperiale
Vol.15 Majestaten
* Note:
(GA) = Il Giardino Armonico;
(KB) = Kammerorchester Basel.
(1762) Il manoscritto di questa sinfonia è perduto, ma si conosce la data che vi figurava, 1762, quindi essa è posteriore al ciclo del Giorno. Come si spiega allora la scrittura primitiva, lo stile svelto e superficiale del movimento iniziale e la ripartizione in tre tempi, caratteristiche delle opere sperimentali come le sinfonie n. 1 e n. 4? Dopo avere puntualizzato queste debolezze , Robbins Landon propone la soluzione seguente: la sinfonia sarebbe stata concepita come ouverture a un'opera comica in un atto, e quindi composta, come soleva fare Haydn in simili circostanze, con mano veloce, senza troppo badare agli sviluppi, ai temi, ai passaggi obbligati della "forma sonata". LDC
cute...i mean energizing but childish-like, not much drama, ..in fact not at all
You are ignorant of XVIIIth-century æsthetics if you can detect no drama in this work. Please educate yourself before commenting again. Thank you.
@@jasonhurd4379 yeah, it is nice, cute a little piece but not until Mozart's three piano sonatas at the release from archbishop's service world could hear any serious music in orchestral or concert form other than operas, and than again Haydn was not an opera composer... good think Haydn left trumpet and a couple of cello concertos and really established string quartet but that was all I guess..
@@stickom
I would suggest that Mozart’s Piano Concerto No 9 - ‘Jenamy’ (K271) written in 1777 is perhaps his first unqualified masterpiece; regarding Haydn, perhaps a read through Charles Rosen’s The Classical Style (1971) may help - he describes some of Haydn’s music in 1772 as ‘…on a level that no other composer of Haydn’s time could equal or even approach’.
Both these examples pre-date Mozart’s move to Vienna by some considerable time, so I’m reminded of Napoleon’s well-known dictum that you should not interrupt your enemy when he is making a mistake.
@@elaineblackhurst1509 Hahaha the dictit- spot on, all these unfortunate souls enjoy “the music” and again I am not a musician but the virtue of growing up in a play theatre- concert halls (family affairs..) just made me a rare creature always looking for drama not the action, love, characters not the story… but yes JeuneHomme is large concerto, everything in it, scary early in Mozart’s live when he was still making trilling serenades for that owner of earth and sky some bishop De Colloredo…. Yes, ill see for that essay my sister has all critics and scholar articles on the subject, thank you.
@@stickom What the hell are you actually talking about? Utter nonsense. You been on the turps?