What a versatile artist Steven Isserlis is. Having made his name as a sympathetic interpreter of a wide variety of romantic and modern music, here he shows he can be just as persuasive in eighteenth-century repertoire. His stylistic awareness is evident in beautiful, elegant phrasing, selective use of vibrato and varied articulation, giving an expressive range that never conflicts with the music’s natural language. In the cello concertos he is helped by an extremely sensitive accompaniment, stressing the chamber musical aspects of Haydn’s pre-London orchestral writing. The soft, intimate sonority at 3'06'' in the first movement of the D major is a typical example. The Adagios are taken at a flowing speed, but Isserlis’s relaxed approach means they never sound hurried. The Allegro molto finale of the C major Concerto, on the other hand, sounds poised rather than the helter-skelter we often hear. In his understanding of the music, Isserlis is a long way ahead of Han-na Chang, whose version places the emphasis on fine, traditional-style cello playing. Mork’s vivacious, imaginative performances characterize the music very strongly, but my preference would be for Isserlis’s and Norrington’s lighter touch and greater refinement.
Joseph Haydn (1723-1809) was one of the greatest musical innovators. His close friend Mozart, and his student Beethoven greatly revered him yet today in concert halls he is often overshadowed in favour of his younger contemporaries. By speaking to the greatest living exponents of Haydn's music, Phil Grabsky's film readdresses the balance and sheds light on the master and his work. It includes performances by some of the world’s most celebrated musicians and orchestras.
Haydn’s Creation, the culmination of his life’s work, in a legendary 1986 performance conducted by Leonard Bernstein in the exquisite Baroque splendor of the Benedictine Abbey of Ottobeuren, Bavaria, now available on DVD for the first time. This spectacular performance also includes Bernstein’s spoken introduction to the performance —always an invaluable addition to any concert.
The music of Franz Joseph Haydn (1732–1809) is so technically superb, so widely imitated, and so rich in quality and quantity that almost since the moment of its creation it has exemplified the Classical style. More than any other single composer, it was Haydn who created the Classical-era symphony. And his 68 string quartets? They are the standard by which all other Classical string quartets were and are judged. No less an expert than Mozart wrote that it was from Haydn that he had learned how to write quartets.
"Karajan's direction is exactly as in the studio: majestic, broadly paced without being inert, vast in dynamic range, always considerate to his soloists, unerring in its preparation and clinching of climaxes." ~BBC Music Magazine
Sir Simon (Denis) Rattle became one of the world's leading conductors at an unusually early age. As a boy, Rattle studied percussion; at the age of 11, he appeared as a percussionist with the Royal Liverpool Philharmonic Orchestra. He joined the National Youth Orchestra, again as a percussionist, and began conducting when he was a teenager. At 15, he founded and conducted the Liverpool Sinfonia.
The music of Franz Joseph Haydn (1732–1809) is so technically superb, so widely imitated, and so rich in quality and quantity that almost since the moment of its creation it has exemplified the Classical style.
Haydn’s Creation, the culmination of his life’s work, in a legendary 1986 performance conducted by Leonard Bernstein in the Baroque splendour of the Benedictine Abbey of Ottobeuren, Bavaria. Includes Leonard Bernstein’s spoken introduction to the performance.
“Bernstein held it all together with maximum expressive power and spirit of contemplation. A great, moving occasion.” Abendzeitung (Munich) [concert review]
“The Creation gives us time to remember – and rejoice in – the purity and grace and fortitude of Nature, to restore our souls, to recover our moral strength, and to rediscover our power to praise” (Leonard Bernstein)
Das Oratorium Die Schöpfung ist eines der Höhepunkte des späten Schaffens von Joseph Haydn. Das 1798 uraufgeführte Werk gilt als das erfolgreichste Werk des großen Komponisten und zugleich als Paradebeispiel des klassischen Oratoriums. Die vorliegende Aufnahme der Schöpfung stammt von 1975. In den Hauptrollen singen die preisgekrönte amerikanische Sopranistin Helen Donath, der deutsche Tenor Adalbert Kraus sowie der Schweizer Bass-Bariton Kurt Widmer.
Begleitet werden sie von der Altistin Vera Scherr sowie vom Süddeutschen Madrigalchor und dem Festivalorchester Ludwigsburg, unter der Leitung von Wolfgang Gönnenwein, dem langjährigen künstlerischen Leiter der Festspiele (1972 bis 2004).