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Haydn: Symphonies, Vol. 16 (Nos. 74, 75, 76)

Haydn: Symphonies, Vol. 16 (Nos. 74, 75, 76)

1 août 2006
4.0 étoiles sur 5 1 commentaire client

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Format: CD
L'acquisition du colossal corpus des symphonies de Haydn chez Naxos permet au mélomane curieux d'en posséder les 34 volumes sans avoir de doublons. La collection a aussi l'avantage de répartir entre plusieurs interprètes l'exécution des oeuvres, ce qui évite l'écueil de la monotonie. Précisons que toutes les versions se font avec de petites ou moyennes formations et que les chefs ne jouent pas la carte d'un baroque tranchant violemment avec la tradition : on est plutôt dans un modernisme sage et de bon goût qui, à défaut d'être génial, convaincra ceux qui veulent découvrir ces symphonies sans se faire violence. Il n'y a pas de logique éditoriale quant à la politique d'enregistrements, qui ne suit un ordre ni croissant ni chronologique (les numéros des symphonies ne correspondent pas aux dates de composition).

En plus de sa formation de musicien - il étudia le violon avec Schneiderhahn - Helmut Müller-Brühl étudia la théologie et la philosophie. Il dirige depuis 1963 l'Orchestre de Chambre de Cologne, fondé par Abendroth, son professeur, en 1920. Cette formation joue de la musique ancienne sur instruments modernes, à l'image de St Martin-in-the-Fields.

La symphonie 74 (1780) a au milieu du Vivace des développements harmoniques assez audacieux, et son Trio laisse chanter le basson. La 75 (1779) a un II de caractère hymnique avec thème et variations et un Trio avec flûte dominante. Dans la 76 (1782) on entend un thème proche d'une valse dans le I et le Trio, un long et prenant Adagio et s'acheve sur un très élégant Finale. Livret en français.
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6 internautes sur 6 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Exploring the Haydn Symphonies -- Nos. 74.75, and 76 24 janvier 2005
Par Robin Friedman - Publié sur Amazon.com
Format: CD
While thinking about Haydn and this recording, I came across an article by Terry Teachout in the January, 2005 issue of "Commentary" titled simply "Haydn!". Teachout observes how Haydn's works remain more admired than heard. He praises Haydn for his sense of seriousness without being somber, for his humor, cheerfulness, and classic balance, for his inventiveness and creativity, and for the size and high quality of his compositional output. Unlike many other artists, Haydn, Teachout argues, was a person comfortable with himself and with life. He did not take himself too seriously and did not exhibit the artisic temperament which became beloved of the romantics. Instead, Haydn worked inobtrusively and steadily over the years with an increasing sense of growth and sureness. In a quiet, workmanlike way, he produced a body of great music.

We are fortunate today that Haydn's symphonies have been recorded in detail and are available for the interested music-lover. Among the most accessible of these recordings are those on the budget-priced Naxos label by a variety of ensembles and conductors. The recording I am discussing here features the Cologne Chamber Orchestra conducted by Helmut Muller-Bruhl. These recordings make it possible for the interested listener to sample some of Haydn's symphonies, beyond the familiar works or to explore them in detail. The symphonies will not disappoint and will bring musical pleasure and knowledge at every level of experience.

Haydn's "70's" symphonies lie between the earlier storm and stress symphonies and his subsequent Paris and London symphonies. They show stock-taking, consolidation, consistency, and an increasing growth of musical power.

The symphony no. 74 in E flat major which opens this CD was probably composed in 1780. The opening vivace assai begins with with three large chords followed by a flowing main theme and a lyrical second theme with short phrases and pregnant pauses. There is an extensive development which passes into the minor key just before the return of the main themes. The second movement, adagio cantabile, is a set of variations on a theme first stated in the violin over an accompaniment in the cello. The theme is embroidered by different groups of instruments, including a lovely moment for flute, bassoon, and oboe. The minuets on this CD are generally taken rather slowly. This symphony features a quiet minuet with a dancelike theme giving emphasis to the bassoon in the trio. The finale, allegro assai, is a quiet, lively and humorous movement, with a variety of rhythms and featuring themes of different lengths and note values. It has something of a quizzical character.

The symphony no. 75 in D major, also composed in 1780, opens with a dramatic slow introduction marked "Grave" followed by a dashing, rapid theme punctuated by tympani. This movement reminded me of Mozart's Don Giovanni overture, which shares a similar structure and is also in the key of D. The second movement, poco adagio, features the horns and again consists of a set of four variations for different combinations of instruments. The third variation in particular is given over to a beautiful solo for cello. The minuet for this symphony is stately and stated in the lower register with a contrasting trio for the winds in a higher register. The finale is a rondo with a light, quiet theme and two markedly contrasting episodes.

The final symphony of this CD, No. 76 in E flat major was composed for a proposed trip to London that did not materialize until ten years later. The opening allegro is dominated by the initial theme forcefully stated in the strings which builds throughout the movement. The second movement is an extensive adagio ma non troppo which contrasts a quiet, lyrical theme with a dramatic, angular theme in the minor. Both themes are developed and varied as the movement progresses. The third movement is the minuet, which again is taken slowly here. It is tinged with melancholy after the intensity of the slow movement. The trio is a little dance in the strings. The finale, allegro, ma non troppo, is a delight. The main theme of this movement is a graceful, lyrical melody stated in the violin followed by a full orchestral statement. There is a wonderful descending figure in the cellos as the movement progresses, and the symphony comes to an uptempo, joyous close.

This CD will bring the joy and inventiveness of Haydn to the receptive listener.
2 internautes sur 4 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Great Music, Not Just A Way To Fill-In Your Haydn Collection 7 avril 2001
Par Michael Brad Richman - Publié sur Amazon.com
Format: CD
When I first got into classical music, purchasing all 104 symphonies by Haydn seemed like a monumental, if not impossible task. I simply couldn't afford something as grand as the Dorati Complete Haydn Symphonies Boxed Set, and besides I wasn't even sure if I'd like Haydn all that much. I played it safe and made my first four purchases the two Szell Sony Essential Classics discs collecting Symphonies Nos. 92-97 between them, and Bernstein Royal Editions of the Paris (82-87) and London (100-104) Symphonies. (I can't remember why I opted for these instead of the Davis Philips two-fers -- the performances are just as amazing, and they are probably cheaper when all is said and done.)
To say the least, these Szell and Bernstein performances were stunning, and I was definitely on my way to a love affair with Haydn. But as I searched out more single disc Haydn titles, I found it very difficult to fill in the gaps in my collection between Symphonies 80 and 104. I discovered a few quality recordings here and there that fit the bill -- a Furtwangler performance of Symphony No. 88 on DG Originals and a Klemperer recording of Symphony No. 98 on EMI -- but for the most part I came away empty-handed.
At this point, a friend suggested the Naxos label. I was naive then and I told my friend I wasn't interested in hearing Alfred Rumplestiltskin and the East Cowtown Nebraska orchestra perform the great works. He told me not to be such a snob, and assured me that the performances and recording quality were consistently excellent, and that symphonies like the Cologne and Northern Chamber Orchestras, while not the Berlin Philharmonic, were certainly first class groups.
Well, now I am the proud owner of several Haydn Naxos Symphony CDs, including Volumes 12, 13, 16 (this title), 18, 20 and 21. All the performances are brilliant, and often indistinguishable from the Szell and Bernstein accounts, well at least to my intermediate-level listening ear. At this rate, I may continue backwards with Haydn's Symphonies on Naxos until I reach el numero uno. And another nice thing is that with Naxos that might even be an affordable undertaking.
3 internautes sur 6 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Good musical value 4 août 2003
Par DWPC - Publié sur Amazon.com
Format: CD Achat vérifié
Three of Haydn's most pleasant, if not most note-worthy, symphonies are ably performed on this CD. This disk is an excellent choice for the casual listener who enjoys Haydn's style, but a really serious Haydn fan would probably search further. Typical Naxos competance in the recording quality.
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