Het vervolg op de box met symfonieën nrs. 1-5: In Luister gewaardeerd met een 10. Hans Quant schrijft: "Jordi Savall is mijn aanbeveling voor alle jonge muzikaal nieuwsgierigen die zich voor de eerste keer aan Beethovens symfonieën gaan wagen. Luister hier naar, zó heeft hij het bedoeld en dat is heel spannend."|
"Joseph Haydn stond - samen met Mozart en Beethoven - aan de wieg van wat we de Weense klassieke stijl zijn gaan noemen. En toch speelden de eerste decennia van Haydns carri?e zich meestal niet in het grote Wenen af, maar in de provincie. Vanaf 1761 was Haydn als (vice-)kapelmeester verbonden aan het hof van Esterh?y. Hier zou hij de grondslagen leggen voor twee prestigieuze genres: het strijkkwartet en de symfonie. Na de dood van prins Nikolaus in 1790 kwam Haydn ? met behoud van een pensioen ? op straat te staan. De ex-kapelmeester was toen echter al zo beroemd dat de risico?s van het vrije ondernemerschap hem niet konden deren. Hij vervolgde zijn loopbaan met twee succesvolle tournees naar Londen. Voor deze tournees componeerde hij zijn laatste 12 symfonie? (nr.93-104). Uit zijn laatste Weense jaren stammen een aantal van Haydns grootste werken: de oratoria Die Sch?fung en Die Jahreszeiten, en de zes missen voor de naamdag van prinses Hermengild. (HJ)"|"
"These Mozart symphonies were originally recorded in 2001-2002 and are performed on period instruments. The Mozart Akademie Amsterdam is a chamber orchestra founded in 2000 by its conductor, Jaap ter Linden. Thus, this massive project was its first major undertaking, and all in all, the performances are very good and the sound is excellent. The symphonies are presented mainly in chronological order; that is, according to the Köchel listing number. There are exceptions, or so it would seem: #31 ("Paris"), for example, is on disc 9 coming just before #36 ("Linz") and arguably could have been placed on disc 7, after #29. That said, Mozart did revise #31 later on and so ter Linden's numbering is also logical." (Classical Net Review)
"Franz Xaver Richter, along with Johann Stamitz, is regarded as one of the driving forces of the so-called Mannheim School and the renowned Court Orchestra that was founded thanks to Prince Elector Carl Theodor of the Palatinate. In contrast to his equally influential colleagues, he represented a more reserved type of composer, clearly rooted in Baroque music, which may have hindered his own career, but certainly did not damage the reputation of this epoch-making circle of musicians. Consequently, this portrait presents us with an astonishingly broad spectrum of musical expression. There is no shortage of contrapuntal composition, lively gallantries or examples of subtle genre pieces, which indulge in capricious playfulness with programmatic indications – ensuring an enjoyable listening experience." (Presto Music)
"The protagonist of these recordings owed his posthumous fame to an error. The "Jena Symphony", discovered in the city's university library in 1909, was thoroughly studied, discussed and even recorded as a supposed early work by Beethoven. However, since 1968 it has been established that the composition is by no means the titan's “zero” symphony, but rather the 14th of 23 symphonies that Friedrich Witt wrote in Niederstetten, Baden-Württemberg, many of which were also published. A full five weeks older than his colleague from Bonn, whom he outlived by nine years, he had been court conductor in Würzburg since 1802, where his symphonic output took an astonishing turn and was apparently renumbered. The three symphonies recorded here, Nos. 1 to 3, were written a few years earlier than their much-praised cousin, but consistently display uncompromising quality." (Presto Music)
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