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Sym #31, 59 & 73, Harnoncourt Classical, Import, CD
|1. Symphony No. 31 In D Major: Symphony no.31 in D Major: Allegro|
|2. Symphony No. 31 In D Major: Symphony no.31 in D Major: Adagio|
|3. Symphony No. 31 In D Major: Symphony no.31 in D Major: Menuetto - Trio|
|4. Symphony No. 31 In D Major: Symphony no.31 in D Major: Finale: Moderato Molto - Presto|
|5. Symphony NO. 59 In A Major Feuer: Symphony no.59 in A Major: Presto|
|6. Symphony NO. 59 In A Major Feuer: Symphony no.59 in A Major: Andante Piu Tosto Allegretto|
|7. Symphony NO. 59 In A Major Feuer: Symphony no.59 in A Major: Menuetto - Trio|
|8. Symphony NO. 59 In A Major Feuer: Symphony no.59 in A Major: Allegro Assai|
|9. Symphony No. 73 In D Major La Chase: Symphony no.73 in D Major: Adagio - Allegro|
|10. Symphony No. 73 In D Major La Chase: Symphony no.73 in D Major: Andante|
|11. Symphony No. 73 In D Major La Chase: Symphony no.73 in D Major: Menuetto - Trio|
|12. Symphony No. 73 In D Major La Chase: Symphony no.73 in D Major: Presto (La Chasse)|
Rares furent les compositeurs, qui, comme Haydn, parvinrent à transcender le cadre apparemment inflexible de la forme symphonique, donnant naissance à cent cinq symphonies d'une exceptionnelle variété d'inspiration. Les trois symphonies regroupées témoignent de cette étonnante diversité. Elles ont été enregistrées par l'un des plus grands interprètes de la musique de Haydn de ces dernières décennies : Nikolaus Harnoncourt. Il s'agit de trois symphonies "à titres", qui dévoilent différents aspects de l'inspiration de Haydn : appel de cors, le feu et la chasse. Parfaitement à son aise dans ce répertoire proche de la terre, Harnoncourt nous donne bien vite une démonstration intense de vie. Il dirige ces joyaux avec une truculence et une rugosité qui mettent en valeur notamment l'humour acide du compositeur. N'allez pas chercher mieux, il n'y a pas ! Cherchez plutôt les autres disques Haydn d'Harnoncourt ! (et ils sont nombreux...) Pierre Massé
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The virtuosity and musicianship of Harnoncout and the Concentus Musicus Wien are astounding. Better still, they sound enraptured from the first bar until the last and why wouldn't they be? The Hornsignal, Fire and La Chasse are three of Haydn's greatest creations and none the worse for lacking the neuroticism of Late Romanticism. Surely the Lord of the Dance must revel in this music. Contrary to expectations, Harnoncourt imparts charm to proceedings; the slow movement of the Hornsignal is a nocturne and idiomatically played here: one is transported back to the 'Magic Castle' in the middle of the Hungarian countryside with nary a light-globe to sully the stars above. The concertante finale of the same symphony is magically played with poise and stillness. The horn-passages throughout are undertaken with great verse and brio. And what could one possibly say of the finale of La Chasse that would do it justice? It carries all before it.
As played like this, there are no greater symphonies in the world. None.
When I worked in a classical music shop, I would often thunder out this CD on the sound-system and not once did I manage to play it all the way through: it inevitably found a home well before the hunt began in the last movement of La Chasse.
At the behest of his 'Wild Man of Borneo' daemon, Harnoncourt has recorded any number of howlers over time. Here, his madness is transfigured into genius. Redemption accordingly is his.
Traditionalists that don't like period strings and sound are probably the only people that shouldn't bother with this issue. Harnoncourt is one of the crown princes of the period movement, perhaps establishing the first well-known period performance way back in the 1960s with that recording of Bach's Brandenburg concertos. His band uses period instruments and plays without vibrato here but that hardly does anything to get in the way of these magnificent renderings.
Everyone else is going to be swept away by the elan and joie de vive of the Hornsignal, masculine playing in the Fire symphony, and the dance rhythm the conductor gets out of his orchestra in the chase. For his part, Harnoncourt is on his best behavior, eschewing the many highly personal and idioscyncratic devices he often injects into music of the great composers. No great slowdowns, stop or ritards affects this issue.
If you haven't found the reisssue and came here instead, either buy the used versions from someone or keep looking. Don't pay anyone $50 or $100 since you can get this new somewhere in the world. However, if you have the money to spend, this is a Haydn recording that is definitely worth it!