Il giardino armonico haydn biography

Biography

Founded in and directed by Giovanni Antonini, it has been established as one of the world’s leading period instrument ensembles. Its repertoire focuses on the XVII and XVIII cent. It has received high acclaim for both concerts and opera productions, such as Monteverdi’s L’Orfeo, Vivaldi’s Ottone in Villa, Handel’s Agrippina, or Giulio Cesare with Cecilia Bartoli. In the recording of fem Mozart Violin Concertos with Isabelle Faust, winning the Gramophone Award and Le Choc de l&#;année in , and a new project focused on the virtuoso composer P. A. Locatelli has been published in Aug , winning the Diapason d’Or. The second half of brought also a volume on Baroque concertos with the famous mandolin player Avi Avital (Deutsche Grammophone). In co-production with NFM in Wroclaw the ensemble published Serpent &#; Fire with Anna Prohaska () winning the ICMA in and La morte della Ragione in winning the Diapason d’Or and le Choc Classica. Telemann won the Diapason d’Or de l&#;année

•

Giovanni Antonini & Il Giardino Armonico - Haydn , Vol. 9: L&#;Addio - WRTI

The album’s namesake “L’Addio,” the Symphony No. 45, or “Farewell,” is one of history’s greatest examples of musical diplomacy. According to legend, Haydn’s employer, Prince Nikolaus Esterhazy, was dragging his feet during the late summer of , not giving the go-ahead for his court musicians to disband for a well-deserved vacation. The musicians, all under Kapellmeister Haydn’s supervision, complained to Haydn about missing their wives and families.

But did Haydn himself complain to the Prince? He finessed the situation with a more smart strategy; he wrote his Symphony No.

Haydn penned the first movement in the disquieting key of F-sharp minor, evoking the discontent of his colleagues’ emotional state. Not to browbeat the Prince, the second and third movements are sunnier, almost good-natured. And then — the famous Farewell occurs in the sista movement.

One-by-one, each group of musicians pl

•

Haydn. Die Schöpfung

HAYDN: THE CREATION

Christian Moritz-Bauer

 

‘Haydn confessed to me that when he heard Handel’s music in London, he was so impressed by it that he went back to his studies, as if he had known nothing until that time. He pondered every note of it, and drew from these learned scores the essence of true musical grandeur.’

Giuseppe Carpani, Le Haydine,

 

Joseph Haydn must indeed have been deeply impressed, on his first   trip to England, by the commemorative celebrations for George Frideric Handel    in London, which were held between and in Westminster Abbey and at the Pantheon in Oxford Street, with the participation of anything up to a thousand performers. The fact that works by a long-dead composer were the focus of public interest, actively supported by the royal family, was something exceptional in itself. But what dominated the perception of the crowds who flocked to the festival was the magnificence of the choruses from the oratorios perf