![Haydn 2032 [DSD Bundle]](https://media.cdnb.nativedsd.com/storage/nativedsd.com/wp-content/uploads/2025/09/01140705/Frame-6-4-190x190.png "Frame 6")
Back in 2013 Giovanni Antonini embarked on Haydn 2032, where, in time for the 300th anniversary of his birth, he would record with the two orchestras he is most associated with all of Haydn’s Symphonies and major choral works interspersed with pieces mainly by the composer’s contemporaries. As of June 2025, they had reached volume 17, Per il Luigi.
The presentation is unusual in that each of the named albums contains a group of themed works, covers and booklets full of largely modern photos of people and art, plus essays by Antonini and others.
In terms of the sound, they started out recording in 24/88.2 and 96 and in 2019 moved to 24/192. But earlier this year they decided to convert the series to DXD and DSD up to 512, which will be of interest to audiophile music lovers.
Before looking at what this means, a few words on the performances. As expected, every repeat is in place. The slow introductions aren’t rushed and most of the time Antonini takes his time in the slow movements, aided by some beautiful woodwind playing from both bands. Opening Allegros are rhythmically bouncy, with delightful string playing, but when needed, as in The Bear with its crashing timpani, blaring brass and crisp sforzandi, Antonini turns on the power. He doesn’t adopt a one speed suits all approach in the Menuets, but they are always rhythmically alert and elegantly phrased.
In the Presto finales judging by some of the programme notes Antonini is upset that some reviewers have criticised his relaxed tempi, arguing that Haydn’s conception of the word was different to ours. Does it matter? Most of the time no, there is the clarity that slightly slower tempos can bring, but sometimes you do need more excitement and it is odd that he is very fast in the opening Presto of No. 59.
The big question is do you need the series in DSD if you already have them in PCM format? If you take Vol. 1 with Il Giardino Armonico then in the first movement of No. 39 the 24/96 version has a middle-distance, open, clear image, with slightly edgy violins. In Vol. 16 we have three of the London Symphonies with the combined Italian and Swiss orchestras in 24/192. Turn to DSD512 in Vol. 1 and the soundstage comes alive, every instrument sounds fuller and more analogue. In Vol. 16 the PCM is excellent, but again the DSD is more life-like and you can almost touch the woodwind in the slow movement of No. 94.
Audiophiles may need both formats, but if you are new to this cycle then please try the DSD, or DXD. It does make a difference and at present you can get a bundle discount at Native DSD.
Originally written for Classical Source by Rob Pennock.
