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1 CD -
4509-90843-2 - (p) 1994
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Franz Joseph
Haydn (1732-1809) |
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Symphony No. 31 in D major,
Hob. I/31 "mit dem Hornsignal" |
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32' 37" |
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- Allegro |
7' 22" |
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1
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- Adagio |
9' 28" |
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2
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- Menuetto
- Trio |
5' 02" |
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3
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- Finale:
Moderato molto - Presto
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10' 45" |
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4
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Symphony
No. 59 in A major, Hob. I/59 "Feuer" |
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21' 10" |
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- Presto |
6' 22" |
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5
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- Andante
più tosto Allegretto
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6' 46" |
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6
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- Menuetto
- Trio
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4' 07" |
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7
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- Allegro
assai
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3' 55" |
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8
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Symphony
No. 73 in D major, Hob. I/73 "La Chasse" |
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23' 36" |
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- Adagio
- Allegro
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9' 17" |
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9
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- Andante
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5' 00" |
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10
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- Menuetto
- Trio |
4' 09" |
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11
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- Presto
("La Chasse") |
5' 10" |
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12
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CONCENTUS MUSICUS
WIEN (mit
Originalinstrumenten)
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Erich Höbarth, Violino
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Gerold Klaus, Viola |
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Alice Harnoncourt, Violino |
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Ursula Kortschak, Viola |
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Anita Mitterer, Violino |
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Dorle Sommer, Viola (No. 73) |
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Andrea Bischof, Violino |
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Herwig Tachezi, Violoncello |
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Peter Schoberwalter, Violino |
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Dorothea Guschlbauer, Violoncello
(Nos. 31,59) |
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Karl Höffinger, Violino |
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Max Engel, Violoncello (No. 73) |
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Helmut Mitter, Violino
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Eduard Hruza, Violone |
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Walter Pfeiffer, Violino (Nos.
31,59)
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Andrew Ackerman, Violone |
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Maria Kubizek, Violino (Nos.
31,73) |
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Robert Wolf, Traversflöte (Nos.
31,73) |
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Silvia Walch-Iberer, Violino
(No. 31) |
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Hans Peter Westermann, Oboe |
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Irene Troi, Violino |
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Marie Wolf, Oboe |
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Barbara Klebel, Violino (Nos.
31,59) |
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Christian Beuse, Fagott |
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Herlinde Schaller, Violino |
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Nikolaus Broda, Fagott (No. 73) |
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Thomas Feodoroff, Violino |
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Hector McDonald, Naturhorn (No.
31) |
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Christian Tachezi, Violino |
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Evemaria Görres, Naturhorn (No.
31) |
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Peter Schoberwalter junior, Violino |
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Glen Borling, Naturhorn (Nos.
31,59) |
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Christian Schneck, Violino (Nos.
31,59)
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Edward Deskur, Naturhorn (Nos.
31,59) |
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Helmut Mitter, Violino (No. 73)
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Andrew Joy, Naturhorn (No. 73) |
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Maighread McCrann, Violino (Nos.
59,73) |
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Rainer Jurkiewiez, Naturhorn
(No. 73) |
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Christine Busch, Violino (No.
73)
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Andreas Lackner, Naturtrompete
(No. 73) |
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Editha Fetz, Violino (No. 73
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Martin Rabl, Naturtrompete (No.
73) |
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Lynn Pascher, Viola |
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Dieter Seiler, Pauken (No.73) |
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Helmut Mitter, Viola (Nos.
31,59) |
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Nikolaus
Harnoncourt, Gesamtleitung |
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Luogo
e data di registrazione
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Casino
Zögernitz, Vienna (Austria)
- dicembre 1992 (Symphony No. 73)
- ottobre e novembre 1993 (Symphonies No.
31 e 59) |
Registrazione
live / studio
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studio |
Producer
/ Engineer
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Wolfgang
Mohr / Helmut Mühler / Michael Brammann
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Prima Edizione CD
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Teldec
"Das Alte Werk" - 4509-90843-2 - (1 cd)
- 77' 38" - (p) 1994 - DDD |
Prima
Edizione LP
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Notes
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Musically
speaking, the 18th century was first
and foremost the age of the symphony.
Scarcely any other genre created such
a furore as did this particular type
of orchestral composition with its
three or four movements contrasting in
tempo. Nor was it
merely a musical phenomenon, but a
sociological one, too, since, although
bound up with the emergence of a
middle-class concert-going audience,
it cannot be attributed to the growth
of that culture alone. From Sweden to
Sicily, symphonies were being written
throughout the whole of Europe, with a
total of more than ten thousand such
works known to have been composed
between 1700 and the end of Viennese
Classicism, even if not all these
pieces bore the standardised title of
“symphony” or "sinfonia".
Only a fraction of this total
has been critically evaluated and
edited, and even fewer works have been
performed in the concert hall or
recorded on CD. Yet it
can be said with some confidence that
only a handful of composers displayed
the same degree of inventive
experimentation as did Joseph
Haydn in his handling of the new form.
Time and again we find him using novel
and constantly changing resouroes,
with the result that each of his 106
complete surviving symphonies is of a
formally different phenotype. But what
seems so lucid and self-evident to
present-day audiences struck Haydn's
contemporaries - performers and
listeners alike - as
altogether abnormal. In
1783, for example, an anonymous review
of Haydn’s Symphony no. 73 in the
first issue of Carl Friedrich Cramer’s
Magazin der Muaik warned
potential performers: “Since all his
symphonies contain difficulties and
untoward passages that require
practised and accurate playing and
which cannot be tossed off without
precise observation and knowledge of
the performance markings, no amateur
or other performer who is unsure of
himself should risk playing them but
should first get to know them
properly, lest he make a fool of
himself."
Haydn wrote the majority of his
symphonies for the Esterházy
court at Eisenstadt (later at Eszterháza),
where, as vice-Kapellmeister
from 1761 to 1766 and as Kapellmeister
from 1766 to 1790, he served
Prince Paul Anton and (from 1762)
Prince Nikolaus Esterházy.
Symphony no. 31 (“Hornsignal") was
written in 1765 and is one of a number
of symphonic orchestral works in which
the concertante element plays a
substantial role, so much so, in fact,
that it could be
termed a sinfonia
concertante, which is how it was
described on the title page of the
first edition of the parts, published
by Forster in
London in 1786 and by Sieber in
Paris in or around 1785. The
concertante instruments are four horns
(two in G/D and two in D).
In the slow movement,
solo violin and solo cello also share
the thematic lead, while the finale (a
set of seven variations) is contested
by violin, violone (double bass),
flute and two oboes. Braying chords on
the horns at the start of the opening
movement are followed by the horn
motif that gives the work its
nickname. Such a signal is typical of
the Southern
Hungarian-Croatian-Romanian hunting
call that was blown on animal horns
and contains only the tonic, octave
and twelfth, although in Haydn’s case
the characteristically dotted fanfare
consists only of an octave and
repeated notes. The braying chords on
all four horns are heard again at the
end of the opening movement and in the
Presto coda of the final movement,
allowing Haydn to create a melodic
link between the beginning and end of
the symphony.
Another work with hunting associations
is Symphony no. 73. which probably
dates from 1780/81. Of the three works
included in the present CD, this one
comes closest to the later aesthetic
idea of the symphony as a musical
expression of THe
solemn and sublime. The fourth
movement, headed “La Chasse",
originally served as the overture to
Haydn’s opera La Fedeltà premiata
Hob. XXVIII:10, a work in
which the goddess of hunting,
Diana, appears. The
hunting call that features in this
movement was even quoted in
a contemporary Manuel du Chasseur,
published in Paris, as an early
example of the genre. In the earliest
copy of the symphony the first and
last movements were transposed. By
1782, when the Viennese publisher
Christoph Torricella brought out the
work under the title La Chasse
as a “Grand Simfonie en 10 partie",
the movements had already been
restored to what is now their usual
order, but the trumpet and timpani
parts had been removed.
Nothing is known about the genesis of
Symphony no. 59, although recent
research has revealed that the curious
name by which it is
known in German-speaking countries -
“Feuer-Symphonie" - has nothing to do
with Gustav Friedrich Wilhelm
Großmannßs play Die Feuersbrunst,
which was performed at Eszterháza
in 1774, and that the symphony was not
intended, therefore, as incidental
music for the play (Nor should
Großmann's piece be
confused with Haydn’s
singspiel of the same name.) Two
copies of the symphony survive from as
early as 1769, while entries in
Haydn’s so-called Entwurf-Katalog
suggest that it may have been written
in 1767/68.
Symphony no. 59 is
full of surprises - which in itself
may be sufficient to iustify a
nickname suggestive of pyrotechnics. In
the fifth bar, for example, Haydn
surprises his listeners (and
performers) with a series of sustained
notes marked piano that enter
unexpectedly after the violent forte
repetitions of the opening bars. The
works is scored for two oboes,
bassoon, two horns and strings which
togethercreate a body of symphonic
sound substantially more homogeneous
than in the "Hornsignal"
Symphony of only a few years earlier.
Martin
Elste
Translation:
Stewart
Spencer
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Nikolaus
Harnoncourt (1929-2016)
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