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Harnoncourt and Haydn | Warner 2564688377

Harnoncourt and Haydn

New Item

Label: Warner

Cat No: 2564688377

Barcode: 0825646883776

Format: CD

Number of Discs: 2

Release Date: 17th August 2009

This product has now been deleted. Information is for reference only.

Contents

Artists

Concentus Musicus Wien
Royal Concertgebouw Orchestra
Wiener Symphoniker

Conductor

Nicholas Harnoncourt

Artists

Concentus Musicus Wien
Royal Concertgebouw Orchestra
Wiener Symphoniker

Conductor

Nicholas Harnoncourt

About

CD 1    
1. Symphony No.6 in D major, 'Le matin'
Concentus musicus Wien
5. Piano Concerto in D major Hob.XVIII No.11 : III Rondo all'ungerese
Herbert Tachezi, Concentus musicus Wien
6. Symphony No.94 in G major, 'Surprise'
Royal Concertgebouw Orchestra
10. Armida : Act 1 "Se pietade avete, oh Numi" [Armida]
Cecilia Bartoli, Concentus Musicus Wien
11. Die Schöpfung [The Creation] : Part 1 The Representation of Chaos - "Im Anfange schuf Gott Himmel und Erde" [Raphael, Choir, Uriel]
Robert Holl, Arnold Schoenberg Chor, Josef Protschka, Wiener Symphoniker
12. Die Schöpfung [The Creation] : Part 1 "Nun schwanden vor dem heiligen Strahle" [Uriel, Choir]
Josef Protschka, Arnold Schoenberg Chor, Wiener Symphoniker
13. Te Deum in C major Hob.XXIIIc, 2, 'for the Empress Maria Theresa'
Luba Orgonasova, Elisabeth von Magnus, Deon Van der Walt, Alastair Miles, Concentus musicus Wien

CD 2    
1. Symphony No.45 in F sharp minor, 'Farewell' : I Allegro assai
Concentus musicus Wien
2. Symphony No.73 in D major, 'The Hunt' : IV Presto [The Chase]
Concentus musicus Wien
3. Overture in C major Hob.XXVIII No.7, 'Il mondo della luna' : I Allegro
Concentus musicus Wien
4. Mass No.11 in D minor Hob.XXII, 11, 'Missa in angustiis' [Nelson Mass] : I Kyrie
Luba Orgonasova, Elisabeth von Magnus, Deon Van der Walt, Alastair Miles, Arnold Schoenberg Chor, Concentus musicus Wien
5. Symphony No.104 in D major, 'London'
Royal Concertgebouw Orchestra
9. Die Jahreszeiten [The Seasons] : Der Frühling - I "Seht, wie der strenge Winter flieht" [Simon, Lukas, Hanne]
Angela Maria Blasi, Josef Protschka, Robert Holl, Concentus musicus Wien
10. Die Jahreszeiten [The Seasons] : II "Komm, holder Lenz" [Chorus]
Arnold Schoenberg Chor, Concentus musicus Wien
11. Die Jahreszeiten [The Seasons] : III "Vom Widder strahlet jetzt" [Simon]
Robert Holl, Concentus musicus Wien
12. Die Jahreszeiten [The Seasons] : IV "Schon eilet froh der Ackersmann" [Simon]
Robert Holl, Concentus musicus Wien
13. The Seven Last Words of Christ on the Cross Hob.XX, 2 : I Introduction
Arnold Schoenberg Chor, Concentus musicus Wien
14. The Seven Last Words of Christ on the Cross Hob.XX, 2 : II "Vater, vergib ihnen"
Inga Nielsen, Margareta Hintermeier, Anthony Rolfe Johnson, Robert Holl, Arnold Schoenberg Chor, Concentus musicus Wien



Nikolaus Harnoncourt at Eighty

Once dubbed the high priest of “authenticity”, dread word, Nikolaus Harnoncourt, cellist, early music specialist, author and conductor has long been both plausible and consistent in his denial of the accusation. “I would never use the word authenticity for my work”, he says. “It can only be authentic ‘me’, not authentic Bach, Biber, Handel or Telemann. Old instruments produce the best sound for this repertory but they do not necessarily produce the sound of the period.”

Nowadays, even the “early music” label can no longer be applied with undue emphasis to Harnoncourt, for he has become, over the past twenty-five years or so, as identifiable an interpreter of Classical, Romantic and twentieth-century music as he has remained in the Baroque sphere on which his reputation was established. Indeed, since his set of Beethoven symphonies for Teldec was named Record of the Year in the 1992 Gramophone Awards, Harnoncourt has performed and recorded all the Schubert symphonies (Teldec), as well as symphonies by Haydn, Mozart, Schumann, Brahms, Dvorˇák and Bruckner, and a wide range of vocal and choral music from the seventeenth to the twentieth centuries.

“For me the emotional responses in music are the most important. Authenticity and performing practice are always in danger of becoming dogmatic. Besides musical value, an opera must have a message as a wok of art which is not bound just to its own time. The drama must be so timeless in its depiction of human psychology that you can forget it is three hundred years old, or whatever. Monteverdi is such a composer, Handel another.” Happy birthday, maestro, and many happy returns of the day!

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