Mozart's Last Three Symphonies Nikolaus

Total Page：16

File Type：pdf, Size：1020Kb

MOZART’S LAST THREE SYMPHONIES NIKOLAUS HARNONCOURT CONCENTUS MUSICUS from the STEFANIENSAAL in GRAZ MOZART’S Mozart’s three last symphonies are not separate works, but are to be perceived as a single “instrumental oratorio”! That LAST THREE is the view of “Mozart expert and original-sound past master” SYMPHONIES (Der Spiegel) Nikolaus Harnoncourt, after more than 60 years of study and conducting, and he hails it as the discovery of his life. NIKOLAUS According to Harnoncourt there are ample grounds for such a HARNONCOURT conclusion, and not only in the score. The simple fact that Mozart wrote all three symphonies within two months in the summer CONCENTUS of 1788 backs up his case. Harnoncourt also points out that the first of the three symphonies is the only one with a proper MUSICUS introduction and the last symphony the only one with a true finale. Apart from that, there are numerous tonal and dynamic WOLFGANG AMADEUS MOZART similarities and many harmonic and motivic developments that Symphony No. 39 in E flat major, K. 543 pervade all three works, further supporting the conductor’s Symphony No. 40 in G minor, K. 550 thesis. In practice this means presenting the three symphonies Symphony No. 41 in C major, K. 551 as an integral whole, without a break. At the rostrum of his period-sound orchestra Concentus Video Director Volker Grohskopf Musicus “which played thrillingly well” (The Guardian), Harnoncourt thrills the audience of his long awaited concert in the Stefaniensaal in Graz during the “Styriarte” festival with his Length: 114' innovative reading of the symphonies in E flat major, G minor Shot in HDTV 1080/50i and C major (the “Jupiter”). Cat. no. A045500350000 Harnoncourt astounds the audience with his exposure and emphasis of parts in the score that have never come across A production of before, setting accents, bringing out contrasts and once again ORF Landesstudio Steiermark proving his deep affinity with Mozart’s oeuvre: “Harnoncourt in cooperation with is no lover of easy-listening saccharine Mozart, replacing the ORF 3, Styriarte and UNITEL CLASSICA sugary icing with brusque harshness and rough-edged contrasts” (Kleine Zeitung). “Standing ovation for ultimate Mozart” (Austria). World Sales: All rights reserved · credits not contractual · Different territories · Photos: © Werner Kmetitsch · Flyer: luebbeke.com Kmetitsch Flyer: · contractual Werner Different Photos: © territories credits · not rights · All reserved · Tel. +49.30.30306464 [email protected] Unitel GmbH & Co. KG, Germany · Tel. +49.89.673469-630 · [email protected] www.unitelclassica.com.

Copy Link

Recommended publications

Mozart Magic Philharmoniker
THE T A R S Mass, in C minor, K 427 (Grosse Messe) Barbara Hendricks, Janet Perry, sopranos; Peter Schreier, tenor; Benjamin Luxon, bass; David Bell, organ; Wiener Singverein; Herbert von Karajan, conductor; Berliner Mozart magic Philharmoniker. Mass, in C major, K 317 (Kronungsmesse) (Coronation) Edith Mathis, soprano; Norma Procter, contralto...[et al.]; Rafael Kubelik, Bernhard Klee, conductors; Symphonie-Orchester des on CD Bayerischen Rundfunks. Vocal: Opera Così fan tutte. Complete Montserrat Caballé, Ileana Cotrubas, so- DALENA LE ROUX pranos; Janet Baker, mezzo-soprano; Nicolai Librarian, Central Reference Vocal: Vespers Vesparae solennes de confessore, K 339 Gedda, tenor; Wladimiro Ganzarolli, baritone; Kiri te Kanawa, soprano; Elizabeth Bainbridge, Richard van Allan, bass; Sir Colin Davis, con- or a composer whose life was as contralto; Ryland Davies, tenor; Gwynne ductor; Chorus and Orchestra of the Royal pathetically brief as Mozart’s, it is Howell, bass; Sir Colin Davis, conductor; Opera House, Covent Garden. astonishing what a colossal legacy F London Symphony Orchestra and Chorus. Idomeneo, K 366. Complete of musical art he has produced in a fever Anthony Rolfe Johnson, tenor; Anne of unremitting work. So much music was Soﬁe von Otter, contralto; Sylvia McNair, crowded into his young life that, dead at just Vocal: Masses/requiem Requiem mass, K 626 soprano...[et al.]; Monteverdi Choir; John less than thirty-six, he has bequeathed an Barbara Bonney, soprano; Anne Soﬁe von Eliot Gardiner, conductor; English Baroque eternal legacy, the full wealth of which the Otter, contralto; Hans Peter Blochwitz, tenor; soloists. world has yet to assess. Willard White, bass; Monteverdi Choir; John Le nozze di Figaro (The marriage of Figaro).
[Show full text]
Highlighted = Needs to Be Written/Included
Seeing and Hearing Music COMBINING GENRES IN FILM VERSIONS OF BACH’S SIX SUITES FOR SOLO CELLO SENIOR THESIS FOR MUSIC SIMON LINN-GERSTEIN APRIL 20, 2009 TABLE OF CONTENTS TABLE OF CONTENTS 2 LIST OF MUSIC EXAMPLES 3 LIST OF VIDEO CLIPS 4 INTRODUCING BACH SUITE FILMS 5 PART I: DIAGRAMMING MUSIC: MONTAGE AND SHOWING MUSICAL FORMS/GENRES 7 Introduction to Montage and Links to Sound Recording 7 Comparing Audio and Visual Methods 12 Montage Case Studies 14 PART II: GENERIC CROSSOVER: INFLUENCES FROM OTHER FILM TRADITIONS ON BACH SUITE MONTAGE 25 Documentary Film and Didactic Montage 25 Music Video: Illustrating Both Structure and Gesture 28 Case Studies: Comparing the Influence of Music Video on Two Bach Films 35 PART III: THE HISTORICAL BACH: REPRESENTING SOCIAL AND HISTORICAL CONTEXT/GENRES 41 Showing and Telling History 41 The Myth of Bach’s Spirituality: A History, and its Influence on Bach Suite Films 46 Cautious Avoidance of Historical Context 54 From Dances to DVDs: Melding New and Old Contexts and Genres 55 CONCLUSION 59 WORKS CITED/BIBLIOGRAPHY 61 2 MUSIC EXAMPLES 68 Example 1: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, exposition Glenn Gould’s editing 68 Example 2: Bach Well-Tempered Clavier, Fugue No. 20 in A minor, conclusion Glenn Gould’s editing 69 Example 3: Bach Suites for Solo Cello, Suite No. 1 in G major, Allemande Pablo Casals and Wen-Sinn Yang’s editing 70 Example 4: Bach Suites for Solo Cello, Suite No. 3 in C major, Prelude Mstislav Rostropovich’s editing 71 Example 5: Bach Suites for Solo Cello, Suite No.
[Show full text]
A Culture of Recording: Christopher Raeburn and the Decca Record Company
A Culture of Recording: Christopher Raeburn and the Decca Record Company Sally Elizabeth Drew A thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy The University of Sheffield Faculty of Arts and Humanities Department of Music This work was supported by the Arts & Humanities Research Council September 2018 1 2 Abstract This thesis examines the working culture of the Decca Record Company, and how group interaction and individual agency have made an impact on the production of music recordings. Founded in London in 1929, Decca built a global reputation as a pioneer of sound recording with access to the world’s leading musicians. With its roots in manufacturing and experimental wartime engineering, the company developed a peerless classical music catalogue that showcased technological innovation alongside artistic accomplishment. This investigation focuses specifically on the contribution of the recording producer at Decca in creating this legacy, as can be illustrated by the career of Christopher Raeburn, the company’s most prolific producer and specialist in opera and vocal repertoire. It is the first study to examine Raeburn’s archive, and is supported with unpublished memoirs, private papers and recorded interviews with colleagues, collaborators and artists. Using these sources, the thesis considers the history and functions of the staff producer within Decca’s wider operational structure in parallel with the personal aspirations of the individual in exerting control, choice and authority on the process and product of recording. Having been recruited to Decca by John Culshaw in 1957, Raeburn’s fifty-year career spanned seminal moments of the company’s artistic and commercial lifecycle: from assisting in exploiting the dramatic potential of stereo technology in Culshaw’s Ring during the 1960s to his serving as audio producer for the 1990 The Three Tenors Concert international phenomenon.
[Show full text]
Dossier De Presse Nomination Bartoli EN
New director for Monte-Carlo Opera appointed Cecilia Bartoli to take over from Jean-Louis Grinda on 1 January 2023 At a press conference in Salle Garnier on Tuesday 3 December, H.R.H. the Princess of Hanover, Chair of the Monte-Carlo Opera Board of Directors, made an important announcement: Cecilia Bartoli will take over from Jean-Louis Grinda as director of the Monegasque institution on 1 January 2023. “In March 2019, Jean-Louis Grinda informed Me and H.S.H. the Sovereign Prince of his intention to eventually leave his post as director of the Monte-Carlo Opera. Having occupied this position since July 2007, he felt that, in all good conscience, the time had come to hand over to someone who would bring new ideas to opera in the Principality. Jean-Louis Grinda then mentioned the name of Cecilia Bartoli, whom he had informally consulted. In addition to her personal and professional qualities, Cecilia already has strong ties to the Principality, having led the Musicians of the Prince as artistic director since the ensemble was established in 2016. This attractive proposition naturally caught my interest and attention as Chair of the Opera’s Board of Directors. After receiving the agreement of H.S.H. the Sovereign Prince, a proposal was officially made to Cecilia Bartoli which, I am delighted to say, she accepted,” said Her Royal Highness. Cecilia Bartoli will thus become the first woman to lead the Monte-Carlo Opera. She will also stay on as director of the Musicians of the Prince. “Cecilia Bartoli will, of course, be free to pursue her exceptional career as a singer, just as Jean-Louis Grinda has been free to work as a stage director,” concluded the Chair of the Board of Directors.
[Show full text]
Handel Rinaldo Tuesday 13 March 2018 6.30Pm, Hall
Handel Rinaldo Tuesday 13 March 2018 6.30pm, Hall The English Concert Harry Bicket conductor/harpsichord Iestyn Davies Rinaldo Jane Archibald Armida Sasha Cooke Goffredo Joélle Harvey Almirena/Siren Luca Pisaroni Argante Jakub Józef Orli ´nski Eustazio Owen Willetts Araldo/Donna/Mago Richard Haughton Richard There will be two intervals of 20 minutes following Act 1 and Act 2 Part of Barbican Presents 2017–18 We appreciate that it’s not always possible to prevent coughing during a performance. But, for the sake of other audience members and the artists, if you feel the need to cough or sneeze, please stifle it with a handkerchief. Programme produced by Harriet Smith; printed by Trade Winds Colour Printers Ltd; advertising by Cabbell (tel 020 3603 7930) Please turn off watch alarms, phones, pagers etc during the performance. Taking photographs, capturing images or using recording devices during a performance is strictly prohibited. If anything limits your enjoyment please let us know The City of London during your visit. Additional feedback can be given Corporation is the founder and online, as well as via feedback forms or the pods principal funder of located around the foyers. the Barbican Centre Welcome Tonight we welcome back Harry Bicket as delighted by the extravagant magical and The English Concert for Rinaldo, the effects as by Handel’s endlessly inventive latest instalment in their Handel opera music. And no wonder – for Rinaldo brings series. Last season we were treated to a together love, vengeance, forgiveness, spine-tingling performance of Ariodante, battle scenes and a splendid sorceress with a stellar cast led by Alice Coote.
[Show full text]
Nikolaus Harnoncourt, 86 Austrian Conductor Known for His Attention to Historical Detail
The Washington Post March 8, 2016 Nikolaus Harnoncourt, 86 Austrian conductor known for his attention to historical detail Maestro Nikolaus Harnoncourt conducts the traditionel New Year's Concert of the Vienna Philharmonics in Vienna in 2003. (Leonhard Foeger/Reuters) by Bradley Klapper Nikolaus Harnoncourt, an Austrian conductor whose internationally renowned career first focused on a search for authenticity in baroque and other old music and later expanded into masterful interpretations across the classical spectrum, died March 5 in St. Georgen, Austria. He was 86. His wife, Alice Harnoncourt, confirmed the death but did not specify the cause. He died less than three months after taking his last bow on the concert stage. Born into a lineage that included some of Europe’s most aristocratic families, Mr. Harnoncourt was also part of Austria’s musical nobility, with mastery that put him on the level of other great postwar Austrian conductors Herbert von Karajan, Karl Boehm and Carlos Kleiber. His concern for historical detail was legendary. He often distributed his own material to orchestras, adding expression marks on how to create more authentic or refined interpretations, aiming to erase what he called “traditionally traded” mistakes. Adding period instruments as well as tempi and dynamics discarded by modern performances, Mr. Harnoncourt broke through in the 1970s from relative obscurity with a series of celebrated performances, particularly of Monteverdi and Mozart. He thought of his conducting as alive and romantic, not a relic of history. “I have always hated the word ‘authenticity’ because it is so dangerous,” Mr. Harnoncourt said. “ ‘Museum music’ does not interest me.
[Show full text]
News from Primo Artists | March 2017 View This Email in Your Browser
News from Primo Artists | March 2017 View this email in your browser PERLMAN LEADS THE PHILADELPHIA ORCHESTRA WITH AN "INCREDIBLY DEFT TOUCH" AND IS SET TO TOUR WITH MARTHA ARGERICH IN MARCH 2018 On March 15th and 16th, Itzhak Perlman play/conducted concerts with the Philadelphia Orchestra to standing ovations and top praise from The Philadelphia Inquirer. “The Mozart work took on an emotional deliberation that suggested the late Nikolaus Harnoncourt. Clearly, Perlman – who conducts with a contained Ormandyesque beat – had worked on a series of attractively evolving textures in the symphony. Primary themes spoke with a highly inflected sense of purpose. In the Dvorak 8, Perlman gave a Viennese lilt to the mysterious waltz music of the third movement, which was an incredibly deft touch.” Primo announces the first-ever tour of Itzhak Perlman and Martha Argerich in the 2017-18 season! Two living legends reuniting for a tour of the United States, surely one for the records. March 2018. 6 concerts. 5 cities. Los Angeles, San Francisco, Chicago, Washington D.C. and New York. Click here for tour details. BENEDETTI'S BANNER MONTH IN NORTH AMERICA: TOURING TO 21 CITIES AND FEATURED IN THE ECONOMIST, CNN AND ON THE TAVIS SMILEY SHOW March was a busy month for Nicola Benedetti! Viewers around the world followed the massive success of Benedetti’s 13-city Venice Baroque Orchestra North American tour and over 125,000 watched their viral tour video. Then straight onto an 8-concert tour with Royal Scottish National Orchestra which received glowing tour reviews. The Herald Scotland wrote: “Benedetti was at the top of her game on both the Bruch concerto she clearly loves so well and on the Brahms concerto.” From there, Benedetti performed Bruch with Michael Tilson Thomas on subscription concerts with the San Francisco Symphony.
[Show full text]
The Bach Variations: a Philharmonic Festival March 6–April 6, 2013
FOR IMMEDIATE RELEASE February 20, 2013 Contact: Katherine E. Johnson (212) 875-5718; [email protected] THE BACH VARIATIONS: A PHILHARMONIC FESTIVAL MARCH 6–APRIL 6, 2013 PROGRAM II OF IV Alan Gilbert To Conduct Mass in B minor With Soprano Dorothea Röschmann, Mezzo-Soprano Anne Sofie von Otter, Tenor Steve Davislim, and Bass-Baritone Eric Owens with the New York Choral Artists March 13–16 The New York Philharmonic will present The Bach Variations: A Philharmonic Festival March 6–April 6, 2013. On the festival’s second orchestral program, Alan Gilbert will conduct the Philharmonic in Bach’s Mass in B minor, with soprano Dorothea Röschmann, mezzo-soprano Anne Sofie von Otter, tenor Steve Davislim, bass-baritone Eric Owens, and the New York Choral Artists, Joseph Flummerfelt, director, Wednesday, March 13, 2013, at 7:30 p.m.; Thursday, March 14 at 7:30 p.m.; Friday, March 15 at 8:00 p.m.; and Saturday, March 16 at 8:00 p.m. “The Mass in B minor is a consummate masterpiece that makes me feel humble as a musician when I hear it,” Alan Gilbert said. “Bach took a liturgical, religious starting point and made it even more universal. No matter what you believe, no matter your religious credo, or whether or not you even have a religious credo, it is impossible not to be incredibly moved by this music because it speaks from one human being directly into the heart of another. I feel very privileged to be able to touch this music.” The Bach Variations marks the first time the New York Philharmonic has presented a festival of the music of the Baroque master.
[Show full text]
Journal of the Conductors Guild
Journal of the Conductors Guild Volume 32 2015-2016 19350 Magnolia Grove Square, #301 Leesburg, VA 20176 Phone: (646) 335-2032 E-mail: [email protected] Website: www.conductorsguild.org Jan Wilson, Executive Director Officers John Farrer, President John Gordon Ross, Treasurer Erin Freeman, Vice-President David Leibowitz, Secretary Christopher Blair, President-Elect Gordon Johnson, Past President Board of Directors Ira Abrams Brian Dowdy Jon C. Mitchell Marc-André Bougie Thomas Gamboa Philip Morehead Wesley J. Broadnax Silas Nathaniel Huff Kevin Purcell Jonathan Caldwell David Itkin Dominique Royem Rubén Capriles John Koshak Markand Thakar Mark Crim Paul Manz Emily Threinen John Devlin Jeffery Meyer Julius Williams Advisory Council James Allen Anderson Adrian Gnam Larry Newland Pierre Boulez (in memoriam) Michael Griffith Harlan D. Parker Emily Freeman Brown Samuel Jones Donald Portnoy Michael Charry Tonu Kalam Barbara Schubert Sandra Dackow Wes Kenney Gunther Schuller (in memoriam) Harold Farberman Daniel Lewis Leonard Slatkin Max Rudolf Award Winners Herbert Blomstedt Gustav Meier Jonathan Sternberg David M. Epstein Otto-Werner Mueller Paul Vermel Donald Hunsberger Helmuth Rilling Daniel Lewis Gunther Schuller Thelma A. Robinson Award Winners Beatrice Jona Affron Carolyn Kuan Jamie Reeves Eric Bell Katherine Kilburn Laura Rexroth Miriam Burns Matilda Hofman Annunziata Tomaro Kevin Geraldi Octavio Más-Arocas Steven Martyn Zike Theodore Thomas Award Winners Claudio Abbado Frederick Fennell Robert Shaw Maurice Abravanel Bernard Haitink Leonard Slatkin Marin Alsop Margaret Hillis Esa-Pekka Salonen Leon Barzin James Levine Sir Georg Solti Leonard Bernstein Kurt Masur Michael Tilson Thomas Pierre Boulez Sir Simon Rattle David Zinman Sir Colin Davis Max Rudolf Journal of the Conductors Guild Volume 32 (2015-2016) Nathaniel F.
[Show full text]
Berliner Philharmoniker Nikolaus Harnoncourt
BERLINER PHILHARMONIKER NIKOLAUS HARNONCOURT FRANZ SCHUBERT BERLINER PHILHARMONIKER NIKOLAUS HARNONCOURT FRANZ SCHUBERT Nikolaus Harnoncourt im Foyer der Philharmonie Nikolaus Harnoncourt in the foyer of the Philharmonie 2 Inhalt · Content Vorwort · Foreword . 4 Franz Schubert [1797–1828] Volume 1– 4 Symphonien Nr . 1– 8 · Symphonies Nos. 1– 8 . 6 Volume 5 Messe Nr . 5 in As-Dur · Mass No. 5 in A flat major . 16 Volume 6 Messe Nr . 6 in Es-Dur · Mass No. 6 in E flat major . 20 Volume 7 Alfonso und Estrella . 22 Instrumentierung · Orchestration . 32 »Wer das Kunstwerk erlebt hat, ist nachher nicht mehr derselbe ...« Nikolaus Harnoncourt und Franz Schubert . 34 “Anyone who has experienced this masterpiece is no longer the same ...” Nikolaus Harnoncourt and Franz Schubert . .. 46 Detektiv und Pionier Nikolaus Harnoncourt auf der Suche nach der wahren Absicht des Komponisten . 58 Detective and Pioneer Nikolaus Harnoncourt in search of the composer’s true intentions . 64 Messtext · Mass text . 71 Libretto »Alfonso und Estrella« . 77 Berliner Philharmoniker: Mitglieder · Members . .102 3 Vorwort: Gedanken zum Schubert-Zyklus mit Nikolaus Harnoncourt von Rudolf Watzel Man kann Nikolaus Harnoncourt für vieles dankbar sein: für sein Buch Musik Wir haben zusammen viele Programme zur Aufführung gebracht, und etliches als Klangrede, für die Entdeckung der Opern Monteverdis, für seinen scharfen ist auch auf CD erschienen: die Brahms-Symphonien, Webers Freischütz, Blick auf Originalpartituren und manches mehr . Als Berliner Philharmoniker Musik von Johann Strauss und manch anderes . Jetzt erscheint der Zyklus der sind wir ihm vor allem dankbar dafür, dass er die Einladung angenommen hat, Schubert- Symphonien, zusammen mit den späten Messen und der Oper Alfonso bei uns zu dirigieren .
[Show full text]
Of the Reader If Possible.” Check out His Blog – It's Great! “
of the reader if possible.” Check out his Blog Britten, Tippett, Walton as they were writing – it’s great! their masterieces and being able to discuss “A lot of modern critics employ double them with the composers. I’ve met many of standards. If it’s a new piece they go for it, in the most famous musicians: Messiaen, Nono, the old days they’d have gone at it!” Stockhausen, Strauss.” Ever lighthearted John then told me a Meeting Richard Strauss face to face is criticism joke about Sarasate. “Sarasate last described as “one of the most climactic mom - Tuesday left all criticism behind him, as he did ents in my life”. “It was during the Beecham/ the orchestra.” Strauss Festival in Drury Lane. I was working Sir Thomas Beecham was also reported to for Beecham then and went to see him arriv - be quite a wit and a bit of a joker: wasn’t it ing at the same time as Strauss. The door was Dame Kiri te Kanawa Beecham, who, when asked if he had ever locked and Strauss turned and looked me conducted any Stockhausen, said, “No, but I straight in the eye and shouted loudly, “diese once trod in some.”? verdammen Tür”. I was too shocked to say efugees are grateful people and Georg Solti “Beecham only ever told me one joke in all anything. Fortunately someone came and Rnever forgot how many people helped him the years I worked for him, he needed to have opened it.” to get work with letters of recommend ation, an audience or an orchestra in front of him to “Stockhausen was an hour late for a TV including Arturo Toscanini with whom he had become entertaining.
[Show full text]
Biography EN
MAURO PETER … a dreamy song recital and a flawless, multi-faceted performance – thus Mauro Peter’s perfor- mance at the 2019 Salzburg Festival, according to the Salzburger Nachrichten. This expressive fascination has won him enthusiastic audiences since his spectacular debut at the Schubertiade Schwarzenberg in 2012. Ever since, he has appeared on concert and opera stages everywhere in Europe. The Swiss tenor begins the 2020/21 season with a song recital at the internationally renowned Lucerne Festival. Mauro Peter’s opera season starts with his role debut as Nemorino in Donizetti’s L’elisir d’amore at the Zurich Opera House, where he has been an ensemble member since 2013, celebrating major success, most recently in Zender’s Winterreise and in the title role of Handel’s Belshazzar. Another highlight of the season is his December debut at the Teatro Real in Madrid, where he sings Don Ottavio in Mozart’s Don Giovanni. He will also embody this role at the 2021 Mozart Week in Salzburg. Furthermore, Mauro Peter will perform Schubert’s cycle Schwanengesang for the first time at Vien- na’s Konzerthaus and at the Schubertiade Schwarzenberg in June. In addition, he will make his debut with the Berlin Philharmonic under the baton of Kirill Petrenko, appearing in the orchestra’s Europe Day Concert in 2021. Mauro Peter has celebrated international operatic success performing Wolfgang Amadeus Mo- zart’s music. Roles such as Belmonte, Ferrando, Don Ottavio and Tamino have taken him to the Canadian Opera Company in Toronto, the Bavarian State Opera, the Opéra de Lyon, the Opéra national de Paris, the Royal Opera House in London, the Teatro alla Scala in Milan, the Theater an der Wien, the Zurich Opera House and the Salzburg Festival.
[Show full text]