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Haydn: the Sturm Und Drang Sy

I Solisti Zagreb; Antonio Jani Audio CD

Price: CDN$ 12.06 & FREE Shipping on orders over CDN$ 25. Details
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Product Details


Disc: 1
1. Allegro Con Brio
2. Menuetto (Allegretto) - Canone In Diapason
3. Adagio
4. Presto
5. Allegro Assai
6. Adagio
7. Menuetto (Allegretto)
8. Presto - Adagio
9. Vivace
10. Poco Adagio
See all 12 tracks on this disc
Disc: 2
1. Allegro (No Tempo Indication In Autograph)
2. Un Paco Adagio, Cantabile
3. Menuet Al Riversi - Trio Al Roverso
4. Presto Assai
5. Allegro
6. Adagio
7. Menuetto (Allegretto)
8. Allegro
9. Adagio
10. Allegro Di Molto
See all 12 tracks on this disc

Product Description

Product Description


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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 5.0 out of 5 stars  3 reviews
10 of 10 people found the following review helpful
5.0 out of 5 stars Run,Run,Run for Fun,Fun,Fun! Oct. 12 2005
By Doug - Haydn Fan - Published on Amazon.com
Format:Audio CD
This exact set is available in another format for nearly three times as much, and I believe they are the same transfers. So this is the one to purchase. Many of the performances are worth the Set price by themselves. Number 48 is a great symphony for cheering up a blowsy day or attitude, and the others contain tremendous passions - literally in one case - normally not expected when listeners think of Haydn. The sound of the original LPs has been transferred reasonably well, with a degree of fidelity far more acceptable than many modern original instrument performances.

For this price you will have several of the most glorious symphonies of the entire repetoire, and again, 48 is the crowning glory, if I may be allowed a small pun.
4 of 4 people found the following review helpful
5.0 out of 5 stars A classic slice of Haydn's minor key period Jan. 11 2012
By Larry VanDeSande - Published on Amazon.com
Format:Audio CD|Verified Purchase
These "sturm and drang" symphonies from Franz Josef Haydn (1732-1809) represent the middle portion of his time in this arena; it roughly spans the time from the (ironcially lyrical) Symphony No. 39 in 1767 to about the introduction of the Symphony No. 64 in 1775. These were all written during Haydn's three-decade stay as an employee of the Hungarian Esterhazy family when the composer wrote symphonies for royal or festive occasions in the same way J.S. Bach wrote cantatas for performance on Sundays in church.

Originally issued way back when by Philips and later by Bach Guild, Antonio Janigro's collection has many of the nicknamed minor key symphonies from the period including: the No. 44 in E minor nicknamed trauer or mourning; No. 45 in F sharp minor, the famous "Farewell" symphony Haydn wrote with disappearing musicians in the finale designed to remind the monarch it was time to give them time off with their families; and the Symphony 49 in F minor nicknamed passion some years after the composer wrote it that serves to summarize the period. Another nicknamed symphony in this group is No. 48 in C major that celebrates the visit of the Empress Maria Theresa to the Esterhazy palace in Bratislava (modern day Slovakia) where Haydn directed the musical programming.

The sturm and drang (storm and stress) movement in German arts took place starting around 1760 and proceeded to the Romantic era of the 19th century. In music, Beethoven's Symphony No. 3 (completed 1804 and premiered 1805) is generally regarded as the first romantic symphony. Sturm and drang was characterized by art of greatly extended emotional range compared to the visceral constraints and rationalism of the 18th century Classical period and its predecessor, the Englightenment.

Haydn's sturm and drang work expressed greater passion or even nervousness while he continuously adhered to classical form. Though influenced by this trend in art and musicmaking, Haydn moved away from minor key chaos later in his creative life and never abandoned classical form right to his final symphony (No. 104) and his oratorios, The Creation and The Seasons. This defied the trend of those including the writer-philosopher-politician-scientist Goethe, whose strum and drang work led the way to expanded literary forms of the Romantic 19th century.

Antonio Janigro and the Zagreb (Croatia, part of Yugoslavia when these recordings were made) Radio Orchestra were a hit when these recordings arrived in 1964 and have maintained a place in the classical music literature ever since. Janigro was one of several "house" conductors for the Bach Guild and he was especially well-placed in this repertory, for not only does his character as an impassioned interpreter of Franz Josef Haydn regularly show, he uses speeds that enhance the stormy nature of the minor key symphonies and ehance the brightness and sunny caricature of the major key opuses.

One only needs to hear opening of the "Trauer" symphony to get an idea of the music and Janigro's way with it. The first dozen bars demonstrate a rising minor key motif in strings accompanied by woodwinds. While Janigro and his band don't press the gas particularly hard here, he revs up more in the second subject where lower strings announce the concept and violins repeat before a clarinet reinforces the idea. Janigro's band maintains a rock solid beat in vigorous movement that enunciates Haydn's drama. Janigro and band show us how Josef Haydn was changing and expounding on his ideas about the new storm and stress trend sweeping German music.

Janigro is equally good in the sunnier major key symphonies like the vivid and delciate opening of the G major No. 47, with woodwinds mimicking strings before those strings abound in delightful, rapid figures. In the No. 48 Maria Theresa, the monarch's visit explodes into your ears with a full symphonic tutti followed by bellowing woodwinds and brass before the energetic main theme takes off at about 125 for the quarter note. While the Zagreb orchestra wasn't composed of the world's best players, they never fail to present Janigro's vision of Haydn as a classical composer bursting a little into the coming romantic era.

The sound on this almost five decade old recording is OK by modern standards if you can forgive drums that are a trifle mushy. You can always hear the woodwinds and brass and timpani never dominate as they may when a conductor can't differentiate Haydn from Beethoven. Under Janigro (1918-89) these symphonies dance more than they growl and storm or mourn when the score calls for it. I can't imagine a better introduction to Haydn's music from the period than this discount pressing even if one or two of the symphonies are performed in what would today be considered out of date editions of the score.

For listeners interested in other symphonies that fit into Haydn's middle period under the storm and stress label, I'd recommend the festive Nos. 41 and fiery 59 from Muller-Bruhl, the serious-minded No. 52 and delightfully humorous No. 60 (best heard mated on Blum's LP or this download), and/or the "Imperial" No. 53 from Stokowski in ancient sound or Haenchen in modern sound with an equally good No. 48. For more recommmedations, see my listmanaia list "My favorite Haydn symphonies."
2 of 2 people found the following review helpful
5.0 out of 5 stars an unexpected delight Sept. 28 2012
By Kirk List - Published on Amazon.com
Format:Audio CD|Verified Purchase
I purchased this after reading the five star reviews here. Many thanks. Despite major competition, this 2-fer
ranks very high. Its assets: good sound, a chamber orchestra, and Janigro's conducting. It reminds me of two
Haydn paragons: Hans Rosbaud in #s 92 and 104 and George Szell-especially in #s 95-98 (see my reviews). Janigro
is intense and passionate, especially in the three minor key symphonies (#s 44, 45, and 49). In these, I like especially the tone of sorrow/lamentation in #44/1 and 2, the slow opening movement and furious second movement of #49, and the outer movements of #45 (including an especially beautiful exit scene). My favorite of the six is #48, a C majot special like #s 75, 90 and 97 et al, which usually are large scale, trumpet/tympany
laden, celebratory and exciting. Janigro does not disappoint, at least matching Orpheus CO and Trevor Pinnock.
Pinnock and Janigro employ similar tempi, but I prefer Janigro's orchestra and less frequently rushed tempi.
#s 46 and 47 are also very well played-so too is Raymond Leppard's #47 and the #46 of Derek Solomons (a fine conductor who employed a very small orchestra which can sometimes sound undernourished.

Peers: #44: Orpheus, Fricsay, Sacher, Pinnock, Scherchen, Adam Fischer,Marriner
#45: Orpheus, Pinnock, Solomons, Fischer, Marriner
#46: Pinnock, Solomon, Fischer
#47: Pinnock, Solomons, Fischer, Leppard
#48: Orpheus, Fischer, Ristenpart, Pinnock, Marriner
#49: Orpheus, Fischer, Pinnock, Scherchen, Marriner
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