No.1 La Passione

Il Giardino Armonico
Giovanni Antonini, conductor
Christian Moritz-Bauer, musicologist
Bernhard Lassahn, writer
Gueorgui Pinkhassov, photographer


Joseph Haydn (1732–1809)
Symphony Nr. 1
in D major, Hob. I:1 (1757)

Joseph Haydn (1732–1809)
Symphony Nr. 39
in G minor, Hob. I:39 (1765)

Christoph Willibald Gluck (1714–1787)
Extracts from Don Juan ou Le Festin de Pierre
Ballet Pantomime (1761). Original version

Joseph Haydn (1732–1809)
Symphony Nr. 49
in F minor, Hob. I:49 «La Passione» (1768)


Haydn Nights in St Martin's Church in Basel and at Esterházy Palace in Eisenstadt, and a Haydn Lounge at the Tonhalle concert hall in Zurich. The first concert tour entitled «La Passione» is on the theme of passion, and adopts an innovative, genre-smashing format to showcase the music of Haydn. This is complemented by readings, discussions of the works, culinary delights, and photographic contributions from the agency Magnum Photos. Ticket-holders can look forward to a particularly atmospheric, joyous musical experience.


1st violins _Stefano Barneschi*, Fabrizio Haim Cipriani, Ayako Matsunaga, Liana Mosca
2nd violins _Marco Bianchi*, Francesco Colletti, Judith Huber, Maria Cristina Vasi
Violas _Renato Burchese*, Carlo De Martini
Celli _Paolo Beschi*, Elena Russo
Basses _Giancarlo De Frenza* Stefan Preyer
Horns _Christian Binde*, Edward Deskur, Stefan Blonk, Martin Lawrence
Oboes _Emiliano Rodolfi*, Josep Domenech
Bassoon _Alberto Guerra
Harpsichord _Riccardo Doni

«I am crazy about him.»

Simon Rattle, principal conductor of Berlin Philharmonic, on Joseph Haydn (Die Zeit, 31.05.2009)


Exclusively for Haydn2032:
«La Passione» photographed by Gueorgui Pinkhassov, Magnum Photos

The first «Radiale Nacht» Haydn2032
«La Passione» on June 21, 2014 at the Radialsystem in Berlin.

Press conference:
On June 21, 2014, Giovanni Antonini presents the project Haydn2032 at the Radialsystem in Berlin.


Audio samples from the first CD production «La Passione». CD and limited collector's edition release on 7th October 2014.
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Joseph Haydn (1732 - 1809)
Symphony no. 39 in G minor, Hob. I:39 (1765)

I. Allegro assai

Joseph Haydn (1732 - 1809)
Symphony no. 49 in F minor, Hob. I:49 «La Passione» (1768)

II. Allegro di molto

Christoph Willibald Gluck (1714 - 1787)
Don Juan ou Le Festin de Pierre, Ballet Pantomime (1761), original version

XV. Allegro non troppo


Giovanni Antonini about Haydn2032

Author Bernhard Lassahn about Haydn2032

Giovanni Antonini with Il Giardino Armonico at the Teldex studios.

The first Haydn Night at the Radialsystem in Berlin


Franz Joseph Haydn
Symphony No. 1 in D major

by Christian Moritz-Bauer

When Joseph Haydn was 17 – that is, in 1749 – he had to leave the choristers' school at St Stephen's in Vienna, the very first place where he had practised as a musician ...
Franz Joseph Haydn
Symphony No. 39 in G minor

by Christian Moritz-Bauer

With Hob I:39, this programme (dedicated to passion, and indeed taking «La Passione» as its title) offers not only another act of creativity – Haydn's first symphonic work from 1757 ...
Franz Joseph Haydn
Symphony No. 49 in F minor
«La Passione»

by Christian Moritz-Bauer

The Symphony in F minor is the only work to be recorded for the Haydn2032 initial project whose autograph score has survived. This is kept at the Stockholm Music ...
Christoph Willibald Gluck and his times
Abridged version of: Sybille Dahms, «Einige Fragen zur Originalfassung von Gluck und Angiolinis Don Juan»

When the pantomime ballet Don Juan was performed for the first time on 17 October 1761 with music by Christoph Willibald Gluck and ...


«… there’s not a trace of antiquatedness or fustiness. The individual motifs and parts are interestedly absorbed with tremendous musical excitement as the music moves ahead on a journey of discovery.»

RBB Inforadio, 22 June 2014, Harald Asel

«… [Antonini] uses every inch of his body and dramatic facial expressions to direct his musicians... »

Deutschlandradio, 22 June 2014, Anne Berger

«As well as his exceptional appreciation for timbre and his aptitude for exposing subcutaneous dramatic arcs, the way in which he [Antonini] developed Haydn’s symphonic work [...] from the depths of pianissimo was also fascinating, ironically enough. This original dynamic calibration creates space for more relaxed, colourful musicianship in the fortissimo range, which does full justice to the instruments.»

Der Tagesspiegel, 23 June 2014, Carsten Niemann

«This ‘Italian Haydn’ has something to be said for him.»

Crescendo, RA, July 2014

«But what really knocks you off your feet is how Haydn’s music is narrated by Antonini and Il Giardino Armonico. In the allegro first movements of the 1st and 39th Symphonies they develop a impassioned sonic speech, playing with much drive and dynamic, and ironically breaking off the flow. The music pulses, lives. The andante movements of both works are pleasant walks through broad landscapes or expansive palace gardens – as if lovers were strolling in conversation. The minuet-and-trio movements of the 39th and 49th Symphonies are proof of how exciting a minuet can sound. Strikingly articulated, light as a dance yet full of substance.»

bz, Christian Fluri, 6 November 2014

«And he chooses captivating tempi: fiery, dancing, ashen melancholy.»

Neue Züricher Zeitung, Peter Hagemann, 7 November 2014

«It knocks you off your feet. It wouldn’t occur to anyone who hears the Italian ensemble Il Giardino Armonico and its conductor Giovanni Antonini that Joseph Haydn once bore the epithet ‘Papa’ – so stunningly effervescent and virtuosic is the musicianship.»

Neue Zürcher Zeitung, Peter Hagmann, 7 November 2015

«The freshness of the playing style on the original instruments, the sprightly musical diction, which is enjoyed to the full with the symphonic experimenter Haydn, the love of pointed emphasis and the animating musical language – with Antonini it all goes without saying.»

Salzburger Nachrichten, Karl Harb, 10 November 2014

«The superbly quick-witted opening of an editorial feat.»

Tagesspiegel, Ulrich Amling, 7 December 2015

«Here the breath of fiery furies hisses.»

Frankfurter Allgemeine Zeitung, Jan Brachmann, 21. December 2014

«The fine thing about this recording is that in all the rush of blood Antonini never forgets the architectural vigour of the music. As harshly as the strings tell of hounding, greed and fear, the winds trace harmonic passages and regular points of rest … But now and then the horns can be quite different, howling in the storm like the hounds of hell.»

Frankfurter Allgemeine Zeitung, Jan Brachmann, 21 December 2014

«It is as if Ill Giardino Armonicao had never played anything other than Viennese classics … And what they can coax out of old Haydn is well worth hearing. Haydn turns out to be as brilliant as he is ironically sly.»

Robert Strobl, Toccata, January 2015