Thank you for this post, I am listening to this Rosetta Symphony for the first time, it is divine. “Scene of magic” G minor symphony, Op 6 No 6. In three minor-key movements - including, in its central Andante, piu tosto adagio, one of the longest symphonic movements JC Bach ever wrote - this work reveals Bach’s major symphonic innovations as well as creating an explosive burst of the sturm und drang (“storm and stress”) passions that were the dark side of the 18th century’s sense and sensibility. Bach’s music was designed to appeal to its audiences. His tunes, his simple harmonies and his innovative use of orchestral colour were all supposed to enliven, entertain and elevate his listeners when they first heard his new pieces. But that deliberate attempt to make instrumental music an embodiment of instantaneous feeling and passion instead of the intellectual rigour and contrapuntal complexity of an earlier era. But somebody who did realise how Johann Christian was opening up new possibilities for the expressive potential of instrumental music was Mozart, but also other Rosettes for example.
причем не сразу найдешь... я узнал только из викистатьи о Моцарте и начал искать 39 симфонию Розетти, но реально находится только по запросу "Симфония Антонио Розетти" ну или на инглише
“Scene of magic” G minor symphony, Op 6 No 6. In three minor-key movements - including, in its central Andante, piu tosto adagio, one of the longest symphonic movements JC Bach ever wrote - this work reveals Bach’s major symphonic innovations as well as creating an explosive burst of the sturm und drang (“storm and stress”) passions that were the dark side of the 18th century’s sense and sensibility. Bach’s music was designed to appeal to its audiences. His tunes, his simple harmonies and his innovative use of orchestral colour were all supposed to enliven, entertain and elevate his listeners when they first heard his new pieces. But that deliberate attempt to make instrumental music an embodiment of instantaneous feeling and passion instead of the intellectual rigour and contrapuntal complexity of an earlier era. But somebody who did realise how Johann Christian was opening up new possibilities for the expressive potential of instrumental music was Mozart, but also other Rosettes for example.
rossetti antonio One of the best composers of the classical era
Тоже открыла для себя не так давно. Слушаю каждый день...
вот ещё одна соль-минорная симфония тех времён: ua-cam.com/video/wM38CNN1ikQ/v-deo.html
Thank you for this post, I am listening to this Rosetta Symphony for the first time, it is divine. “Scene of magic” G minor symphony, Op 6 No 6. In three minor-key movements - including, in its central Andante, piu tosto adagio, one of the longest symphonic movements JC Bach ever wrote - this work reveals Bach’s major symphonic innovations as well as creating an explosive burst of the sturm und drang (“storm and stress”) passions that were the dark side of the 18th century’s sense and sensibility.
Bach’s music was designed to appeal to its audiences. His tunes, his simple harmonies and his innovative use of orchestral colour were all supposed to enliven, entertain and elevate his listeners when they first heard his new pieces. But that deliberate attempt to make instrumental music an embodiment of instantaneous feeling and passion instead of the intellectual rigour and contrapuntal complexity of an earlier era. But somebody who did realise how Johann Christian was opening up new possibilities for the expressive potential of instrumental music was Mozart, but also other Rosettes for example.
Beautiful!
Magnifique interprétation. Ce compositeur mérite d'être mieux connu et écouté...
Блискуче виконання геніальної симфонії Розетті, незаслужено забутого і маловідомого, проте ВИДАТНОГО чеського композитора.
причем не сразу найдешь... я узнал только из викистатьи о Моцарте и начал искать 39 симфонию Розетти, но реально находится только по запросу "Симфония Антонио Розетти" ну или на инглише
You can compare it with Mozart's Symphonies Nos. 40 or 25 of the same G minor. Rosetti composed earlier than No. 40 but later than No. 25.
There's is no way in the nine hells that this even remotely compares to Mozart's 40th symphony.
“Scene of magic” G minor symphony, Op 6 No 6. In three minor-key movements - including, in its central Andante, piu tosto adagio, one of the longest symphonic movements JC Bach ever wrote - this work reveals Bach’s major symphonic innovations as well as creating an explosive burst of the sturm und drang (“storm and stress”) passions that were the dark side of the 18th century’s sense and sensibility. Bach’s music was designed to appeal to its audiences. His tunes, his simple harmonies and his innovative use of orchestral colour were all supposed to enliven, entertain and elevate his listeners when they first heard his new pieces. But that deliberate attempt to make instrumental music an embodiment of instantaneous feeling and passion instead of the intellectual rigour and contrapuntal complexity of an earlier era. But somebody who did realise how Johann Christian was opening up new possibilities for the expressive potential of instrumental music was Mozart, but also other Rosettes for example.