This ambitious project is placed under the artistic direction of Giovanni Antonini, who will share the recordings between his ensemble Il Giardino Armonico and the Basel Chamber Orchestra, which he conducts regularly. The aim is to celebrate one of the key composers in the history of music, one of the most prolific he wrote more than large-scale works, symphonies, string quartets, piano sonatas, concertos, oratorios, operas , but also one of the subtlest. Moreover, the Italian conductor believes it is important to establish links between these works and pieces written by other composers contemporary with Haydn or in some way connected with him. Hence, alongside his symphonies, the volumes will include music by figures like Gluck, W. Bach, Mozart, Cimarosa and Kraus. From one season to another, the artists involved in the project will breathe new life into this music for thousands of concertgoers in concertcycles at Musikverein Wien, the Accademia Nazionale di Santa Cecilia in Rome and in Basel.

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Anton van Ölzelt-Newin. Bruckner, very proud of his daring writing did no editing nor alteration or redesign. Truly, the symphony displays a very original style. Bruckner uses themes and intricate combinations he had worked on improvising on the great organ of Linz. He had a chance to hear his work in full only during a rehearsal session, since only the two central movements Adagio and Scherzo were performed in public by the Vienna Philharmonic at the concert that took place on February 11, The second movement is a rare example of a sonata structure Adagio in Bruckner's symphonies.

Robert Simpson BBC went so far as to describe the movement as the most perfectly realized slow sonata design since the Adagio of Beethoven's Hammerklavier sonata. The movement opens with a theme in the strings, a yearning love song that is joined bar 5 by a mournful lament in the oboe.

After a brief transitional passage, there is a modulation to E major that marks the introduction of the second theme, a soaring, untroubled love song bar The third theme bar 53 is characteristic of a funeral march, combining C minor and A flat major and providing a somber contrast to the preceding love song. The dotted rhythm in its first bar calls to mind the oboe lament from the beginning of the movement.

There is a brief developmental section bar 69 that includes modulation on the primary theme as well as inversions of the oboe lament. There is a recapitulation of all three themes bar 93 though the orchestration is different, with the former violin theme primary theme now appearing in the horn and subsequently in the woodwinds.

The second theme is recapitulated in its entirety in the tonic followed by a very short reappearance of the third theme. Finally, a transition over a dominant pedal a Bruckner hallmark leads to the Coda that Simpson referred to as the fine-drawn consolatory coda that is one of Bruckner's best.

At bar one hears the last statement of the primary theme with the movement ending in its tonic, F major, in a state of "perfect serenity.


Hob Imitation

Récitatif de Simon non accompagné. Dans cet air, le plus célèbre de la partition, Haydn utilise pour la première fois le piccolo [7] en imitation du paysan sifflant derrière sa charrue. Récitatif de Lucas non accompagné. Récitatif accompagné de Hanne. Introduction et récitatif accompagné de Lucas, puis de Simon qui annonce l'arrivée du jour.


Fatima zahra laaroussi فاطمة الزهراء لعروسي