Die Schöpfung (The Creation), oratorio, H. 21/2: Introduction: Representation of Chaos: Largo
Die Sieben letzten Worte unseres Erlösers am Kreuze (The Seven Last Words of Christ on the Cross), for orchestra, H. 20/1 A: The Earthquake: Presto e con tutta la forza
Overture to L'isola disabitata for orchestra, in D minor, H. 1a/13
Symphony No. 64 in A major ("Tempora Mutantur"), H. 1/64: Largo
Symphony No. 6 in D major ("Le Matin"), H. 1/6: Minuet & Trio
Die Schöpfung (The Creation), oratorio, H. 21/2: Introduction: Representation of Chaos: Largo
Die Sieben letzten Worte unseres Erlösers am Kreuze (The Seven Last Words of Christ on the Cross), for orchestra, H. 20/1 A: The Earthquake: Presto e con tutta la forza
Overture to L'isola disabitata for orchestra, in D minor, H. 1a/13
Symphony No. 64 in A major ("Tempora Mutantur"), H. 1/64: Largo
Symphony No. 6 in D major ("Le Matin"), H. 1/6: Minuet & Trio
Symphony No. 46 in B major, H. 1/46: Finale: Presto
Symphony No. 60 in C major ("Il distratto"), H. 1/60: Finale: Prestissimo
Die Jahreszeiten (The Seasons), oratorio, H. 21/3: Introduction to Winter (Original Version)
Symphony No. 45 in F sharp minor ("Farewell"/"Candle"/"Letter B"), H. 1/45: Finale: Presto
Symphony No. 45 in F sharp minor ("Farewell"/"Candle"/"Letter B"), H. 1/45: Finale: Adagio
Pieces (32) for flute-clock, H. 19/1-32: Music for Musical Clocks
Symphony No. 90 in C major ("Letter R"), H. 1/90: Finale: Allegro assai
This collection of Haydn movements from Sir Simon Rattle, recording live with the London Symphony Orchestra, has the aim of revealing Haydn the wild experimentalist, the fearlessly original thinker. It doesn't have any right to succeed as well as it does. Surely this facet of Haydn's personality has already been demonstrated by complete works that take their appeal specifically from the composer's endlessly inventive ways of working within strict formal constraints. Yet the performance succeeds brilliantly, and one may ...
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This collection of Haydn movements from Sir Simon Rattle, recording live with the London Symphony Orchestra, has the aim of revealing Haydn the wild experimentalist, the fearlessly original thinker. It doesn't have any right to succeed as well as it does. Surely this facet of Haydn's personality has already been demonstrated by complete works that take their appeal specifically from the composer's endlessly inventive ways of working within strict formal constraints. Yet the performance succeeds brilliantly, and one may observe that it's situations like this that show Rattle's greatness as a conductor. There were theatrical aspects to the performance: the finale of the Symphony No. 45 in F sharp minor, for instance, in which Haydn had pairs of instruments depart from the stage as a suggestion to his employer to declare the season finished, was reenacted on-stage with lamps being turned off. But the mood comes through well enough just by virtue of Rattle's spontaneity. Sample the Allegro assai finale of...
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