Par HAYDN FRANZ JOSEF. Haydn composed his Symphony No. 77 along with his Symphonies Nos. 76 and 78 for a planned journey to England that never took place. Nonetheless, H.C. Robbins Landon calls these works the 'English symphonies” as they are stylistically closely linked to the 'London Bach”, Johann Christian Bach. Haydn himself, in a letter of 1783 to his Parisian publisher Charles-Georges Boyer, described the symphonies as 'Leicht und nicht vil Concertirend”, meaning that they were light in spirit and did not contain extensive solo passages but rather a clear sense of classical form. Continuing the cooperation between Bärenreiter and the G. Henle publisher regarding Haydn's large-scale choral works, operas and symphonies, this edition is based on the G. Henle Complete Edition of the 'Works of Joseph Haydn”. The Bärenreiter catalogue now includes the complete performance material for several 'Sturm und Drang” symphonies as well as all the London and Paris symphonies./ Répertoire / Conducteur

Jupiter

Instrument : orchestra
Type : study score + CD
Series : Eulenburg Audio+Score
Nombre de Pages : 96

The more you read, the more you hear!



The Eulenburg Audio+Score Series contains the orchestral world's treasures from the baroque, classical and romantic repertoire. Each of the 50 volumes consists of a clearly-presented and authoritative score, an informative preface detailing the biographical and creative background, and a Naxos CD containing the work in full length.

Eulenburg Audio+Score is the new way to hear, read and understand music.

Content :
Preface - I. Allegro vivace - II. Andante cantabile - III. Menuetto/Trio. Allegretto - IV. (Finale). Molto Allegro / Partitions classique / Ensemble et orchestre / Conducteur / EULENBURG

Par MOZART WOLFGANG AMADEUS. Wolfgang Amadeus Mozart's horn concertos: the Mozart expert Henrik Wiese edits the central work genre of Viennese classicism according to the current status of international Mozart research. Mozart wrote the Horn Concerto K. 417 - like the other works of this genre as well - for his horn-playing friend Joseph Leutgeb. The jokes which the composer made at Leutgeb's expense are wellknown. For example, he called the dedicatee a 'donkey” in the autograph, and, as Henrik Wiese evidences in his preface, Mozart also occasionally enjoyed a bit of tomfoolery with the soloist in the musical text as well. Otherwise the editor's task was anything but amusing. The main source - the autograph score - is incomplete: missing are the close of Movement I as well as the entire slow middle movement. For these two sections, Wiese used a copy of the score from the archive of the publisher Johann André. The unusual circumstance that Mozart generally left the horn part almost unmarked recurs in the Concerto K. 417 and was deliberately maintained in the Urtext edition./ Répertoire / Conducteur