Mozart: Symphony No. 39 | Nikolaus Harnoncourt & Concentus Musicus
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- Опубліковано 23 вер 2024
- Yet another stroke of genius from Mozart: Symphony No. 39 in E-flat major, K. 543, performed here by Nikolaus Harnoncourt and Concentus Musicus, some of them playing period instruments. The concert took place in the Stefaniensaal in 2014 in Graz/Austria.
(00:32) I. Adagio - Allegro
(11:23) II. Andante con moto
(19:08) III. Menuetto. Allegretto - Trio
(23:08) IV. Finale. Allegro
Symphony No. 39 in E-flat major, K. 543 is the first of Mozart's (1756-1791) last three symphonies. The works were composed in close succession during the summer months of 1788. According to Mozart's own "List of all my works," the Symphony in E flat major K. 543 was completed on June 26, the Symphony in G minor K. 550 on July 25, and the Symphony in C major K. 551 on August 10, 1788.
In Mozart's music, the key of Symphony No. 39, E-flat major, generally associated with tonal richness, warmth, and often also for a kind of ceremonial dignity. The key connects the symphony to the Divertimento for String Trio K. 563, completed in late September 1788, and the overture to Mozart's last opera "The Magic Flute" from 1791. In the early 19th century, the symphony was dubbed the "swan song." This is possibly due to the fact that the work was printed last in several chamber music adaptations of the time, and was therefore associated with the idea of the swan song as the artist's last utterance.
The Austrian Nikolaus Harnoncourt was one of the most influential conductors of the 20th and early 21st centuries. For over 60 years, he had a formative influence on the world of classical music. In 1953, he and his wife, the violinist Alice Hoffelner, founded the Concentus Musicus Wien, a historical music ensemble specializing in the performance of early music. At the time, the influence that Concentus Musicus Wien had on music worldwide was groundbreaking. Many historical music ensembles were formed following its example.
Thumbnail photo: © Werner Kmetitsch
© 2014 Unitel
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RIP Maestro Harnoncourt 💐
❤
Puro amore!
This outstanding performance reminded me once again that Harnoncourt was one of few conductors (actually, I don't know of any others) who took all of Mozart's "structural" repeat signs seriously (Bernstein, somewhat surprisingly, comes close). Harnoncourt takes all the repeats in the repetition of the minuet after the trio, for example. (The convention of not taking minuet/scherzo post-trio repeats is, I bet, a post-Beethoven/Schubert development.) He also takes the development-recapitulation repeat in the Finale at 29:16. This has a shock effect here as it also does in Mozart 40 and 41. Taking all these repeats makes these symphonies, especially the finales, considerably longer, but after hearing performances such as Harnoncourt's one feels shortchanged by the too-common abbreviated versions. BTW Haydn's first three "Paris" symphonies Nos. 82-84 also have finale-development repeats, and it is surely also no coincidence that they are in the same three keys: Mozart 39, 40 and 41, in E-flat major, g-minor, and C-major, respectively, corresponding to Haydn 84, 83, and 82.
"is, I bet, a post-Beethoven/Schubert development"
Very much so. It become very apparent since Beethoven wrote a few Sonata Scherzi where he explictly tells the performer to NOT play the repeats in the da Capo. If that were the norm back then, he wouldn't have had to ask for it.
This is from that MOZART!!! concert. Epic.
Vielen lieben Dank für die herrliche Musik
They still are as wonderful as the music that they just performed here.
Love late Harnoncourt and the CMW in this symphony
Моцарт ,- один из Величайших композиторов !!!!!!!!!!!!!!!!!!!!!!!!!!!!
Ah Bravo 👏🏻 Bravo 👏🏻 ❤
Браво!!!
Èpic és Harnoncourt. EPD
Awesome :)
ขอบคุณครับ
classy
Que bien ... !
I like this performance of Concentus Musieus under the conductor Nikolaus Harnoncourt for Mozart 39 Symphony, but if this orchestra plan to play early music, only Brass and Woodwind instrument use period instruments maybe no enough, for Cello for example they can use viola da gamba.
It's nice to see and hear a Harnoncourt version of this symphony, however the interpretation is not one of my favorites, too many rubati and tempo changes, and in the introduction of the first movement there are many mismatches and they do not sound together. Trumpets and horns also hit a lot of wrong notes.
I understand that it's a live concert, but there are HIP orchestras that are more precise.
Harnoncourt is very missed.
That is not what is in the score at all. Ugly, and very poorly phrased.