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Haydn 2032 Volume 1: La Passione
 
15,00 €
 
Formát:
CD
 
 
Dostupnosť:
7-14 dní
 
 
Katalógové číslo:
ALPHA670
 
 
EAN kód:
3760014196706
 
 
Autori:
Christoph Willibald Gluck, Joseph Haydn
 
 
Interpreti:
Giovanni Antonini, Il Giardino Armonico
 
 
Vydavateľ:
ALPHA
 
 
Zoznam skladieb
Haydn: Symphony No. 39 in G minor
16:02

Giovanni Antonini, Il Giardino Armonico
Recorded: 20-24 October 2013
Recording Venue: Teldex Studio Berlin, Germany

I. Allegro assai
5:20

II. Andante
3:43

III. Menuet - Trio
2:28

IV. Finale (Allegro di molto)
4:31


Gluck: Don Juan ou Le festin de pierre, Wq. 52
21:14

Giovanni Antonini, Il Giardino Armonico
Recorded: 20-24 October 2013
Recording Venue: Teldex Studio Berlin, Germany

Sinfonia (Allegro)
1:36

1. Andante grazioso
1:05

2. Andante
2:07

3. Allegro forte risoluto
1:12

4. Allegro gustoso
1:27

5. Moderato
0:59

6. Grazioso
1:07

7. Allegro
1:30

8. Moderato - Presto
0:52


Don Juan ou Le festin de pierree, Wq. 52: 9. Risoluto e moderato
0:58

10. Allegro - 11. Allegro - 12. Allegro
0:46

13. Andante staccato
1:24

14. Larghetto
2:04

15. Allegro non troppo
4:07


Haydn: Symphony No. 49 in F minor 'La Passione'
20:51

Giovanni Antonini, Il Giardino Armonico
Recorded: 20-24 October 2013
Recording Venue: Teldex Studio Berlin, Germany

I. Adagio
7:41

II. Allegro di molto
6:21

III. Menuet - Trio
3:49

IV. Finale (Presto)
3:00


Haydn: Symphony No. 1 in D major
12:34

Giovanni Antonini, Il Giardino Armonico
Recorded: 20-24 October 2013
Recording Venue: Teldex Studio Berlin, Germany

I. Presto
4:47

II. Andante
5:45

III. Finale (Presto)
2:02
Popis
IN COLLABORATION WITH THE ‘JOSEPH HAYDN FOUNDATION’ - BASEL ‘Symphony No. 49 is of dramatic inspiration, as is the finale of the 39th (with four horns!) in a fairly “Gluckist” style. We are at the beginnings of Sturm und Drang. ‘The first performance of Gluck’s ballet Don Juan, in Vienna in 1761, was an outstanding event in the development of dramatic expression in music. This was the first “modern” ballet, featuring dancers illustrating the story, not through a pre-established dance form (minuet, gavotte, etc.) but through free expression of their bodies. ‘I am truly captivated by the very strong correspondence existing in Gluck’s score between the story of Don Juan (the dancers’ movements) and the music, like a sort of little dictionary of musical gestures, with elements that are to be found in purely instrumental music of the period, including Haydn’s. ‘Yet it was in the 1760s (thus after the first performance of Gluck’s Don Juan) that Haydn began his first “dramatic” symphonies. ‘So I find it very interesting to bring together this piece by Gluck and these symphonies.’
 
 
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