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3 CD -
82876 60602 2 - (p) 2005
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Franz Joseph
Haydn (1732-1809) |
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The Paris
Symphonies (Nos. 82.-87)
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Sinfonie
Nr. 82 C-dur, Hob. I:82 "L'Ours" (1786) |
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32' 54" |
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- Vivace assai |
12' 06" |
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CD1-1
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- Allegretto |
7' 45" |
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CD1-2
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- Menuet / Trio
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4' 52" |
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CD1-3
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- Finale
Vivace
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8' 11" |
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CD1-4
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Sinfonie Nr. 83
g-moll, Hob. I:83 "La Poule" (1785) |
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31' 08" |
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- Allegro spiritoso |
10' 44" |
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CD1-5
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- Andante |
11' 00" |
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CD1-6
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- Menuetto
Allegretto / Trio
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3' 53" |
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CD1-7
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- Finale Vivace
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5' 41" |
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CD1-8
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Sinfonie Nr. 84
Es-dur, Hob. I:84 (1786) |
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32' 30" |
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- Largo / Allegro
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12' 45" |
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CD2-1
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- Andante |
6' 32" |
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CD2-2
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- Menuet Allegretto / Trio
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3' 50" |
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CD2-3
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- Finale Vivace
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9' 23" |
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CD2-4
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Sinfonie Nr. 85 B-dur,
Hob. I:85 (1785) |
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27' 15" |
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- Adagio / Vivace |
12' 47" |
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CD2-5
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- Romance Allegretto
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6' 46" |
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CD2-6
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- Menuet Allegretto / Trio |
4' 31" |
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CD2-7
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- Finale Presto
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3' 11" |
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CD2-8
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Sinfonie Nr. 86 D-dur,
Hob. I:86 (1786) |
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31' 15" |
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- Adagio / Allegro spiritoso |
12' 35" |
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CD3-1
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- Capriccio largo
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6' 47" |
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CD3-2
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- Menuet Allegretto / Trio |
5' 40" |
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CD3-3
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- Finale Allegro con spirito
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6' 35" |
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CD3-4
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Sinfonie Nr. 87 A-dur,
Hob. I:87 (1785) |
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29' 59" |
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- Vivace
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11' 16" |
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CD3-5
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- Adagio |
7' 18" |
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CD3-6
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- Menuet / Trio |
4' 55" |
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CD3-7
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- Finale Vivace
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6' 30" |
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CD3-8
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Concentus
Musicus Wien |
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Nikolaus
Harnoncourt
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Luogo
e data di registrazione
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Mozartsaal,
Konzerthaus, Vienna (Austria) - 10-15
dicembre 2001 & 4-5 giugno 2002 |
Registrazione
live / studio
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studio |
Producer
/ Engineer
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Martin
Sauer / Michael Brammann / Teldex Studio
Berlin |
Prima Edizione CD
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Deutsche
Harmonia Mundi - 82876 60602 2 - (3 cd)
- 64' 18" + 59' 50" + 61' 40" - (p) 2005
- DDD |
Prima
Edizione LP
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Notes |
Haydn’s
"Paris" symphonies were commissioned in
1784 by the directors of the “Concert de
la Loge Olympique”, and they were
probably first performed as soon as the
scores arrived in the French capital in
1787. We do not know in what order they
were planned.
The first edition was published (against
Haydn's will because of the legal
situation) by Artaria in Vienna in the
following order: 87, 85, 83, 84, 86, 82.
Not long after this, Longman &
Broderip published them in England.
Forster printed them ca.1788 from copies
that Haydn sent to him (i.e. authentic
material!).
Imbault of Paris (according to the
autograph manuscript in the collection
of the Loge Olympique) brought them out
as follows: 83, 87, 85, 82, 86, 84.
Thus are three 3 authentic sequences:
1. Numerical
2. Artaria
3. Irnbault
Every symphony introduces new elements
and many innovations, and Haydn
disappoints all of the listener's
expectations with the immense diversity
of ideas and forms.
Symphony no. 82 “L’Ours" (The Bear),
1786
Title added later in ?
C major. Probably used by Mozart as a
model for his “Jupiter” symphony, which
is likewise a masterpiece of
counterpoint.
Mov. I. - Proud, martial - the
lyrical element, bars 5-8, and the
second subject, bar 70, are episodes. A
kind of Orlando furioso who is made even
wilder by every attempt to placate him,
until he finally collapses in
exhaustion. Hero or clown? The movement
is dominated by this dualism.
Mov. II. - A song as a rondo. The
theme here seems to follow a poem
line-by-line: it could even be a ballad.
There are countless poems with this
verse scheme. F minor - heavy
melancholy, a sad story with two basic
elements: request and rejection. 2 comic
elements: in a reprise, the oboes burst
out in cheeky laughter, mocking the
sensitive little soul, while towards the
end we hear a rustic pedal point
(peasants' dance) - no such problems
here!
Mov. III. - The minuet is the
most ‘nor|'nal’ of the movements (1
man,1 woman), only the trio is a
dialogue in Ländler style such as is
still found today in the Salzkammergut
region of Austria.
Mov. IV. - The origin of the
symphony’s name is to be found here: the
low drone of a bagpipe or a dancing bear
(from bar 12) is heard in the woodwind
for a few bars. This is a boisterous,
rustic piece, with carousing, laughter
and tears, and time and again the pedal
points that drone in the background for
nearly half of the movement (129 bars).
This is radical music with no lyrical
contrast.
Symphony no. 83 “La Poule" (The Hen),
1785
Title added later in ?
G minor (displeasure, resentment,
reluctance - the key of death)
Old saying: "Hens are like people, and
their conflicts caricature our own". A
work about conflict - and dispute.
Mov. I. - Both the themes of the
first movement end with an angry climax
- and one of these actually leads to a
collapse (bar 116). At bar 146, the
terror rnotif is converted into a motif
of happiness (G major!).
Mov. II. - Big andante
concept, a grand and sad story is
interrupted by angry nightmares and
frightened reactions. Is this perhaps
supposed to depict a drearn, a brooding
reflection of the first rnovement? E
flat: the inevitable pleas andthe search
for a way out; a heavy, dark end.
Mov. III. - Minuet. The conflict
is turned into comedy: there's no way
you can dance a minuet like this! The
dancer cannot help but trip up. G major,
a cheerful, stumbling dance.
Mov. IV. - The finale is a hunt:
all energetic and jolly - but the shots
are real, the prey takes flight, and at
bars 85-87 some listeners will make out
the sound of a wounded beast.
Symphony no. 84, 1786
E flat major - serious and solemn, the
key used for religious and state
ceremonies.
Mov. I. - Dialogue: it would be
nice <-> no chance: stubborn, full
of grim resolution-dogrnatic; then in F
major (bar 148) happy at last.
Mov. II. - A complex double
variation form: a theme in the major (up
to bar 16) is answered by a theme in the
minor (from bar 17). This situation is
open to a wealth of variation.
Mov. III. - A fast and cheeky
dance - not really a minuet any rnore -,
which is almost swept away by the lively
trio.
Mov. IV. - The finale surprises
with a lyrical beginning and an
operetta-like reaction to it. All this
is developed with a certain
thoughtlessness-yes-no-ever rnore
defiant. A lengthy and soft detour
before the reprise. All very witty and
bizarre.
Symphony no. 85, B flat major “La
Reine”,1785
The title refers to Marie Antoinette,
who liked this symphony so much that she
repeatedly played the romance from it on
the harpsichord while she was in
captivity. The symphony no. 85 is really
a suite: I. Overture - II. Gavotte -
III. Menuet - IV. Contredanse
Mov. I. - The first
movement opens in the style of a
traditional French overture, and even
the Vivace section is danceable. But at
bar 62 the key switches to F minor and
the music becomes temporarily dark and
dramatic.
Mov. II. - Romance, an enchanting
poem in the form of a gavotte with 4
variations.
Mov. III. - The minuet and the
trio really have the character of a
waltz, perhaps Haydn wanted to send the
Queen a greeting from her native Vienna.
Mov. IV. - The finale is a
contredanse in rondo forrn.
Symphony no. 86, D major,1786
Mov. I. - A dramatic introduction
with an extrerne emphasis on harrnony...
And the Allegro, too, lives from
harmony: it opens with modulations, A
major then E minor, only changing to D
major at bar 5. In the development,
Haydn surprises his audience at every
step: this symphony shows entirely new
skills on the composers part,
particularly where harmony is concerned
- the listener finds himself in a
labyrinth.
Mov. II. - Capriccio - a totally
unpredictable piece where the composer
follows his comical ideas without paying
attention to form - this is how a
capriccio was! The results are bizarre
in places and not without pathos.
Mov. III. - In the minuet, Haydn
again fools the dancers by changing
time, but also by magical scales that
distract us from the dance. The trio
that follows, however, is a genuine
Ländler.
Mov. IV. - The finale is light
and witty in the extreme, even comical
in places. Only occasionally do defiance
and terror rear their heads.
Symphony no. 87, A major, 1785
A rare key, an extreme story, a totally
unusual form!
Mov. I. - Drama and
paralysis, bar 27: espressivo, bar 37:
violence (E major) - bar 47: what can I
do to stop this violence? The
development becomes increasingly
dramatic and intense, and the music
subsides into confusion before the
reprise (bars 107-130).
Mov. II. - A grand emotional tale
rich in harmony, with a concertante in
the wind section before the coda (bars
86-97).
Mov. III. - Nothing short of
amazing, the variety of music that Haydn
sells as “minuets“! Here, it is a droll,
expressive dance with a trio literally
"Hoffmannesque" in character.
Mov. IV. - The finale is a rondo
with many insistent small repetitions,
but also with unusual plays with sound
and modulations.
Nikolaus
Harnoncourt
Translation:
Clive
Williams
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Nikolaus
Harnoncourt (1929-2016)
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