Joseph Haydn Sinfonía n.° 47 en sol mayor, « Das Palindrom » Vídeos
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Franz Joseph Haydn Anton Nanut Neville Marriner 1732 1772 1809
Franz Joseph Haydn +••.••(...)) Symphony No. 47 in G major Palindrome, Hob. I:47 +••.••(...):00 - [Allegro] 05:38 - Un poco adagio, cantabile 13:45 - Minuet . The symphony is set in 4 movements: 1. (Allegro) (0:00) 2. Un poco adagio e cantabile (8:08) 3. Menuet al roverso (15:50) 4. Finale: Presto assai (18:42) . Ljubljana Radio Symphony Orchestra - Anton Nanut, conductor For information and analysis of this work visit . Joseph Haydn Symphony No 47 G major 'Palindrome' Neville Marriner conducts Academy of St Martin in the Fields.
Giovanni Antonini Joseph Haydn Esterházy Wilhelm Friedemann Bach Friedemann Bach 1710 1732 1764 1772 1784 1809 2015
HAYDN2032 | NO.2_IL FILOSOFO Ensemble Il Giardino Armonico / dir. Giovanni Antonini First part of the concert Recorded 9 May 2015 Schloss Eisenstadt Second part of the enormous project Haydn 2032, a complete recording of all Haydn Symphonies by the baroque orchestra Il Giardino Armonico conducted by Giovanni Antonini. Recorded 9 May 2015 in the Haydn of the castle of Esterházy in Eisenstadt. Program: Joseph Haydn (1732–1809), Sinfonie Nr. 47 in G-Dur, Hob. I:47 (1772) Joseph Haydn, Sinfonie Nr. 22 in Es-Dur, Hob. I:22 «Der Philosoph» (1764) Joseph Haydn, Sinfonie Nr. 46 in H-Dur, Hob. I:46 (1772) Wilhelm Friedemann Bach (1710–1784), Sinfonia in F-Dur Haydn, Sinfonie Nr. 47 in G-Dur 00:00 Allegro 08:43 Un poco adagio 16:06 Menuet al roverso - Trio al roverso 18:19 Finale: presto assai Wilhelm Friedemann Bach (1710–1784), Sinfonia in F-Dur 28:18 Vivace 33:07 Andante 37:11 Allegro 40:24 Menuetto I - Menuetto II Downloaded from Konstantin Timokhine on Vimeo
Franz Joseph Haydn Bruno Weil Mozart Charles Burney Bach Klinger Tafelmusik 1732 1772 1776 1809 1993
Franz Joseph Haydn +••.••(...)) Symphony No. 47 in G major "Palindrome", Hob. I:47 (1772) 00:00 - [Allegro] 05:38 - Un poco adagio, cantabile 13:45 - Minuet & Trio 16:01 - Finale. Presto assai Tafelmusik, dir. Bruno Weil (1993) "Mozart found Symphony No. 47 arresting. He copied out the beginning of this and two other Haydn symphonies, probably because he intended to use them in his subscription concerts in Vienna in the 1780s. Actually the march-like opening in No. 47 is a device that Mozart used countless times in his own music, which is probably why, unconsciously, he liked Haydn's symphony so much. Mozart may also have liked the original slow movement; the great British musician and writer Dr. Charles Burney, who loved it, referred to it as being based on 'an old organ point', meaning a traditional tune. Whatever its origins, Haydn emphasizes the organ-like quality by having a bassoon double the bass line throughout. The music is written in what is known as double counterpoint at the octave, so that the bottom and top lines can be, and are, reversed. The Minuet is a sophisticated bit of musical trickery. The players must read their music twice for ten bars, up to the double bar, and then they read it twice backwards. The same applies to the Trio. Haydn has taken great pains with the orchestration so that it 'works' both forwards and backwards. It is as neat a piece of legerdemain as any canon by J.S. Bach. There seem to be strong Balkan, or if you wish Gypsy, accents to the Finale / also because of a certain sinister quality to some of the passages. If indeed these three symphonies [45, 46 & 47] were, even vaguely, constructed as a cycle, they constitute a particularly brilliant chapter in Haydn's symphonic life. Nowadays the old term 'Sturm und Drang' (literally 'Storm and Stress', the title of a German play by Maximilian Klinger of 1776) has fallen into disrepute; but if there is such a thing as a typical Sturm und Drang symphony, it must be Haydn's 'Farewell'; and the other two works, though in major rather than minor keys, are full of the nervous, fiery writing, pungent harmonies and slightly sinister overtones that used to be considered the characteristics of even major-keyed Sturm und Drang music." - H.C. Robbins Landon Painting: Musical Group on a Balcony, Gerard van Honthorst
Joseph Haydn Giovanni Antonini 1732 1809
Joseph Haydn +••.••(...)) Symphony No. 47 in G major I. Allegro Il Giardino Armonico Giovanni Antonini This movement has a feature which makes it unique in the symphony repertoire of the whole Viennese Classicism. In the sonata form the recapitulation (the return of the main theme after a development section) brings back to the main tonality (in this case it would be G major.) which we have left at the second theme in the exposition (the first section). In this symphony Haydn arrives in bar 113 to a D major chord which should lead to G major in bar 114. Haydn, however, surprises the listeners in that he brings the main theme in G MINOR (!!!), as if we were still in the development section, so we will only find out later that this was the recapitulation. So in order to fully appreciate this movement, the listener must know the formal structure and tonal organisation of the sonata form. This is music not only for the ear but also for the brain. Score: www.imslp.org The complete symphony: (http•••)
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